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CHRISTIAN PAUL KUSCH 2014 ©

UNITÉ D’HABITATION BERLIN

BERLIN CHARLOTTENBURG

wakestrange

sixtensason

Laurens Bisscheroux, AZM Kantoor, Heerlen, 1972

ryanpanos

Stuttgart House | Le Corbusier | Adrian Wilson

arquitecturavisual

Alvar Aalto - Jyvaskyla University. Jyvaskyla, Finland. 1953-1959

Photo: © Nico Saieh

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Ricardo Bofill, Taller de Arquitectura. Sant Just Desvern, España. 1973-1975

En 1973 Ricardo Bofill encontró una fábrica de cemento abandonada, un complejo industrial de principios de siglo que consiste en más de 30 silos subterráneos, galerías y salas de máquinas enormes, y decidió convertirlo en la sede del Taller de Arquitectura. El trabajo de remodelación duró dos años. La fábrica, abandonada y parcialmente en ruinas, era un compendio de elementos surrealistas: escaleras que subían hasta la nada, las estructuras de hormigón armado que nada sostenía, trozos de hierro que cuelgan en el aire, grandes espacios vacíos pero sin embargo, llenos de magia.

arquitecturavisual

KATERINA TSIGARIDA - HOLIDAY HOUSE IN MOUNT PELION. Mount Pelion, Greece. 2000

The architectural intervention on the vast rock volumes of Mount Pelion consists of small structures, semi open spaces, local stone paved paths and natural stone furniture scattered all over the rocky site and organizing natural geometries. The intervention aimed to be as mild and as discreet as possible, as the rock’s apparent extension and it is built out of its very material. The structural simplicity and the cross-scaled unity of materials complement it to the natural surroundings and attain the mild transition from inside out and vice versa, from natural rock to the built volumes and the absolute adaptation to the landscape.

remash

waasmunster house ~ ono architectuur

itscolossal

Ingenious Doors Open and Close Liked Folded Pieces of Paper. Designed by Klemens Torggler.

creativetopography

maderadearquitecto

Edificio residencial en Barcelona / Josep Lluís Mateo

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midcenturymiskatonic

germanexpressionism:

Above, the expressionist restaurant set from Dr. Mabuse (Dir. Fritz Lang, 1922)

Below, the casino dance floor of the Scala restaurant in Berlin (1921-22)

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elcontexto

Fantastic Thesis project from Liam James McRoberts

New Zealand undoubtedly has an attachment to the Victorian and Edwardian Villa that is seen to sit within a complex love / hate relationship. These historic artefacts decorate and populate New Zealand’s oldest suburbs, and as much as we love their contribution to our built environment, the villa is also seen as problematic, specifically in regards to inner city intensification and how we respond to heritage beyond mere ‘facadism’.

This project addresses a very real and contemporary issue within New Zealand. Rather than superficially imitating the villa as commonly seen throughout New Zealand, this project has focused on the re-interpretation of the Victorian and Edwardian villa. This has been interpreted on two points, based around the underlying theme of integration. Firstly, the Victorians had a particular interest and attachment to nature that stemmed from the growing body of natural science during the 19th century. This attachment was displayed in the ‘aestheticization’ of nature through meticulously well-maintained gardens and of course delicate timber ornament within and outside of the villa. Secondly, the villa is arguably New Zealands first mass-produced, prefabricated house, built upon contemporary steam powered machinery imported from the United States and England during the mid 1840’s. The Victorians took great pride in this industrialisation and the villa consequently became a symbol of their prosperity. Re-interpreting these two points, firstly the ‘aestheticization’ of nature is argued to be somewhat superficial. Responding to an attachment to nature must be addressed beyond the ‘backyard’ and ornament, particularly when the common view with contemporary inner city intensification is the loss of the backyard or the ‘quarter acre pavlova paradise’ that is ingrained in Kiwi culture. Taking the Japanese spatial theory of ‘Ma’ the idea of the garden is interpreted as a space of ‘withdrawal’, influencing programmatic separations and spatial ‘betweenness’. Revealing private and public garden spaces that intend to promote a direct interaction with nature. Secondly, the integration of contemporary fabrication through CNC machinery and prefabrication techniques aim to promote a level of craftsmanship and prosperity that resonates with the New Zealand villa, while critically addressing contemporary sustainability issues in the face of global climate change.

More [here].