space Photography by Wouter and Canon
CONTENTS 01
The Calm Waters of Photographer
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Canal House
Maria Svarbova’s “In the Swimming Pool” Series
By The Ranch Mine Studio
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Grace Farms
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Grace Farms
in New Canaan, United States
in New Canaan, United States
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Quintessa Pavilions
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Quintessa Pavilions
By Walker Warner Architects
By Walker Warner Architects
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Sunshine Canyon House
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Sunshine Canyon House
by Renée del Gaudio
by Renée del Gaudio
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Language of Flowers
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Language of Flowers
A wordless tongue, understood around the world.
A wordless tongue, understood around the world.
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The Illustrated Motions and Emotions
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The Illustrated Motions and Emotions
of Nicolò Canova’s Art
of Nicolò Canova’s Art
EDITR’s NOTE When we speak of “context” of architecture, the term usually refers to the built environment or the historical background of a building. But the climatic conditions of a building site are also contextually determined. These require specific concepts that respond to factors such as heat and cold, fluc tuations in temperature, and snow loads. Not only elaborate technical solutions are needed in this regard, but also design approaches that integrate climate considerations into the planning and construction process.
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The Calm Waters of Photographer, Maria Svarbova’s
“In the Swimming Pool” Series Words: Maria Svarbova | Photography: © Maria Svarbova
In the Swimming Pool is Maria’s largest series yet, originating in 2014 and continuing to develop to date. Sparked by a hunt for interesting location, her fascination with the space of public swimming pools contributed to developing her visual style. Sterile, geometric beauty of old pools set the tone for these photographs. Each of them pictures a different pool, usually built in the Socialist Era, in various locations in Slovakia.
tion, the swimmers are as smooth and cold as the pools tiles. The colours softly vibrate in a dreamlike atmosphere. Despite the retro setting, the pictures somehow evoke a futuristic feeling as well, as if they were taken somewhere completely alien. There is no disturbing emotion, there is no individuality in their stillness. The artificial detachment, created by Maria’s visual vision, allows unique visual pleasure, unattainable in real life.
There is almost cinematographic quality to the highly controlled sceneries that Maria captures. The figures are mid-movement, but there is no joyful playfulness to them. Frozen in the composi-
Source: www.mariasvarbova.com
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The Calm Waters of Photographer, Maria Svarbova’s “In the Swimming Pool” Series The lens of photographer Maria Svarbova has captured hauntingly still images of women in various stages of swimming in her photographic series, “In the Swimming Pool.” Maria says that her inspiration came courtesy of the stark architecture of her local swimming pool in Slovakia; an eighty-year old building that was constructed back when swimming was “more a social duty than a sport” which is lined with plain white tiles and “No Diving” signs. “I was struck by the calmness of the water and its mirrorlike reflections,” she says. “That and the signs - there were so many! For a space designed for exercise, they certainly like to tell you what you can and can’t do!” Although the photographer has always chosen to depict people as the main subject matter of her art, it’s easy to question, at least at first, if in this series the photographed subjects play a supporting role to the main star, i.e. Socialist Era public swimming pools found throughout Slovakia. Started in 2014, the series’ strong visual identity uses the swimming pool locations as austere geometric backdrops. Within these, the female subjects stand out, not thanks to any movement or feeling emoted from their controlled poses - as they actually appear to be almost frozen, like mannequins - but due to their brightly colored swimsuits and swimming caps that pop as the statement elements of each composition. “People fascinate me,” Maria says. “Space has no meaning without humans. The same also goes the other way around. Humans have no meaning without space.” And it’s easy to see her point when staring at her photos - take away the swimmers and there’s no focal point to the location of these images; similarly, take away the location backdrop and the swimmers are without context. “The main focus of my series was to harmonize the humans and space,” she shares. “The series challenges the viewer to question the ingrained roles people play in society,” Maria says explaining that the overall narrative is: “The emptiness and mindless inability to change one’s predetermined role in life in the absence of emotion.” Interestingly, although severe and motionless, the images aren’t disturbing. In fact, they seem to transcend not just time and eras but also any hold on a viewer’s emotional language. In looking at these images, the viewer seems to be able to capture the still peace of the subjects as if it were a transmittable essence. Source: www.yatzer.com
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Maria Svarbova was born in 1988 in Slovakia. Despite studying restoration and archaeology, she found a medium for her artistic expression in photography. Since 2010, she has focused on developing her own photographic language, quickly gaining international recognition. Amongst awards, solo and group exhibitions, her work has been featured in Vogue, Guardian, Instagram, and many other publications. Highlights of her commercial work include commission for promotional poster displayed at the Taiwanese landmark, 101 skyscraper.
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Maria Svarbova has developed a distinctive style early on – departing from traditional portraits to focus on experimentation with space, colour and atmosphere. Her interest in architecture and public spaces, usually built in the Socialist era, led her to create unique sceneries. The human body in Maria’s photographs is more or less a prop, without individuality or emotions. As part of a careful composition, beautifully alien figures create still, dream-like scenes with ordinary objects. There is a silent tension, the drama is hidden under a clean, smooth surface.
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Even in her more ornamental, nostalgic works there is a sense of cold detachment. Everyday actions such as sports or doctors visit are frozen in a moment and through Maria Svarbova’s eyes, given a new meaning. Soothing pastels, geometry and visual purity give a sense of otherworldly order, undisturbed visual pleasure that is unattainable in real life. Through her photographs, Maria stops time and shares her vision: she is not afraid to address loneliness and isolation; nevertheless she chooses to celebrate its still, calm beauty.
Credits line: Photo, Concept: Maria Svarbova Costume, Styling: Zuzana Hudakova, Martina Siranova Models: Simona, Vladka, Michaela, Stanka, Lukas, Lea, Ivanka / M managmenet/
“My photographs are a succession of short scenes in which the frontality and absence of contrasts remove any narrative dimension.�
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Interiore
Grace Farms A Look at Connecticut’s Grace Farms, a Studiously Calm Take on New Canaan Modernism Words: Matt Johnson | Photography: Matt Johnson | readcereal.com Developed by SANAA, an acclaimed Japnese architectural firm, The building cuts a sinuous trall across the Immaculate grounds – Framed by tall, wild grasses and flowes – blending in effortlessly with surrounding environment.
Grace Farms sits on 80 pristine acres, tucked away in New Canaan, Connecticut, feeling perfectly tended to. If you were to stumble upon it during a hike, you’d get the sense that you’ve been let in on a secret. At a certain beguiling level of beauty, places tend to project the impression of exclusivity. But what makes the allure of Grace Farms special lies within its modesty and openness. Grace Farms is a place, quite literally, for everyone. It’s a community centre, and a paradigm of what such a place could be in an ideal world – an inspiring, creatively engaging, and caring
centre that not only serves the local people, but any passerby that has made a decision to visit. Grace Farms Foundation is also incredibly active in pursuing their core initiatives to incite real change in the community, overseeing projects in areas such as nature, the arts, faith, and justice. It leads one of the largest charges against human trafficking in the US, hosting workshops, educating the public, and helping pass measures into law.
Grace Farms provides a platform for people to experience nature, encounter the arts, pursue justice, foster community, and explore faith. These statistics represent our collaborative impact.
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When you visit, the first thing you’re likely to notice is the architectural design. The non-profit centre is built around a slick, serpentine structure aptly named ‘The River Building’. Developed by SANAA, an acclaimed Japanese architectural firm, the building cuts a sinuous trail across the immaculate grounds – framed by tall, wild grasses and flowers – blending in effortlessly with its surrounding
environment. With one, long continuous roof supported by a series of slim, white beams, the experience of looking down onto the winding steel roof from afar – softly glistening in the afternoon light – elicits a feeling of serenity that is akin to observing a gently flowing river. It’s the kind of Waldenesque experience that is usually reserved for the deepest recesses of nature.
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Nestled under this roof, you’ll discover five different buildings – or volumes, per SANAA terminology – with each one surrounded by floor-toceiling glass windows offering a 360° view, letting the outside in. Here, you’ll find places to meditate, to eat, to borrow and read a book, to listen to a concert or a lecture, to play basketball, to take art classes, or simply to indulge in a quiet tea ceremony. gracefarms.org
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AR CHIT ECTURE
Quintessa Pavilions By Walker Warner Architects Photography: Photographs© Matthew Millman and Matthew Williams. | blog.gessato.com
Back in 2003, Walker Warner Architects designed the beautiful Quintessa Estate Winery. A quintessential Napa Valley vineyard, the estate stretches across 280 acres in a picture-perfect natural landscape with rolling hills, a lake and old oak trees. Now, the practice completed the Quintessa Pavilions, a 250-square-foot extension which consists of a series of thoughtfully designed structures. A perfect blend of nature and modern, but also simple and elegant architecture, the extension takes its rightful place on the sprawling estate. Designed with environmental sensibility in mind, the pavilions’ build and aesthetic complements the existing winery as well as the surrounding landscape. The natural materials and finishes allow the structures to age gracefully over time. Each pavilion
provides an intimate and immersive wine-tasting experience. Sited to offer protection from the elements, the structures also respect existing trees and frame the landscape. The extension runs parallel to the estate’s ridgeline, with a concrete wall marking the entrance. Prefabricated steel roof overhangs provide protection, while large openings and sliding doors enhance the relationship to nature. This open design maximizes natural light and cross ventilation, offering access to a stunning panorama at the same time. Napa syar stone, reclaimed Sinker cypress or FSC Certified Afromosia wood. The project recently received a prestigious Citation Award from the American Institute of Architects San Francisco (AIA SF) chapter.
ARCH ITECTURE
Quintessa Pavilions By Walker Warner Architects The Quintessa Pavilions feature a range of natural materials. These include Napa syar stone, reclaimed Sinker cypress or FSC Certified Afromosia wood. The project recently received a prestigious Citation Award from the American Institute of Architects San Francisco (AIA SF) chapter.
the weather conditions. Carefully designed and built in a sustainable way The design of the pavilions evokes the existing vineyard in its environmental sensitivity and the materiality of its palette by incorporating durable, sustainable materials that take on an old appearance and wear well. Running parallel to the ridge, a bold, ash-shaped concrete wall forms the access to the pavilion where a portal has been sculpted to reveal the panoramic view from the terrace to the vineyards and beyond. The prefabricated steel structure creates extensive overhangs that protect visitors from the elements and at the same time expansive walls of operable doors help maximize openness to provide illumination, views and cross ventilation. The low retaining walls are made of Napa stone and the deck surface is made from a prefabricated concrete paving from local sources. Cabinets and ceilings are made from reclaimed Sinker cypress wood selected for its durability and warmth. The custom-made FSC Afromosia Certified furniture has been designed to accommodate a range of group sizes. The surrounding plantations are resistant to drought and native pastures are intended to smooth the transition from the pavilions to the vineyards.
The carefully designed pavilions for wine tasting have been built in a sustainable way San Francisco, USA, July 05, 2017 - Walker Warner Architects has been awarded the coveted Citation Award from the San Francisco section of the American Institute of Architects (AIA SF) for the recently completed Quintessa Pavilions project in Napa Valley, California . The studio designed the Vineyard at Finca Quintessa in 2003. The Walker Warner Architects portfolio encompasses real estate projects and personalized residences in the West of the United States and Hawaii which exhibit a simple elegance and sensitivity to the environment. An ideal fusion between architecture and nature Set on a mountain range within the stunning 113.3-hectare Quintessa State Estate in Napa Valley, the Quintessa Pavilions project exemplifies the ideal fusion of architecture and nature. Carefully nestled among the existing oaks, each pavilion was built with an environmental sensitivity in mind. The overall design evokes the existing vineyard with an industrial palette that takes on an old appearance and wears it elegantly.
A celebration of the place Mike McCabe, director of Walker Warner Architects, who accepted the award on behalf of the project team, said, “As with all our projects, the Quintessa Pavilions express our conviction in the essential connection of design with its context, particularly nature.” , “We are honored by this commission from our customers for a long time, the Huneeus family. Walker Warner worked with the founders of Quintessa, Valeria and Agustin Huneeus in the design of the original vineyard and we have continued this inspiring alliance with his son Agustin Francisco Huneeus and his wife, the interior designer Maca Huneeus, on the design of the pavilions. “
The pavilions are a series of independent structures of 23.2 m2, each designed to offer an immersive experience of private wine tasting in the landscape. As modest additions to the established vineyard estate covering 113.3 acres in Napa Valley, each pavilion reflects Quintessa’s desire for architecture in harmony with the natural surroundings of the property. Consequently, each pavilion has been carefully placed to protect visitors from the elements and at the same time preserve existing mature robes. The result is a unique wine tasting experience that can be used all year round despite
www.arquired.com.mx
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Interiore
Sunshine Canyon House by Renée del Gaudio Photography: © David Lauer | Source: blog.gessato.com , archdaily.com Back in 2010, a fierce fire known as the ‘Four Mile Canyon’ fire destroyed the dense pine and fir forests covering this hill in Boulder, Colorado, along with 169 homes. The recently purchased house and plot of land belonging to architect Renée del Gaudio and her husband were also damaged extensively, requiring a complete redesign and rebuild process.
The two cantilevered volumes have a distinctly modern design, but also feature plenty of references to vernacular architecture. Rusted steel cladding, large, barn-like doors, solid wood, exposed beams, and a gabled roof – all link the house to the rural context. The energy-efficient and sustainably built structure also features wood salvaged from the fire, a 3.6kW photovoltaic array that covers the home’s electrical needs, as well as rolling shutters to regulate temperature all year round. Facing the treeless hills and distant mountains, the Sunshine Canyon House now sits in a landscape which reminds of the region’s past, creating a poetic dialogue between heritage and modernity.
Named Sunshine Canyon, the home sits lightly on the land in a rocky canyon surrounded by spectacular views. It’s hard to believe that the bustling center of Boulder is only a few miles away. Designed as a family home, the structure offers its inhabitants the opportunity to live in a place that looks like a stylish mountain retreat filled with natural light, open spaces and comfort. The lower level houses the bedrooms to minimize the heat during the summer months. Upstairs, the kitchen, dining room and living room feature glazed walls and large windows which provide breathtaking views of the natural landscape, while the spacious terrace reinforces the link to nature.
Source: blog.gessato.com
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From the architect. The Sunshine Canyon house, designed for a family of four, is located on a high alpine hillside in a rocky canyon five miles above Boulder. A small cabin, surrounded by a dense forest of pine and fir trees, once occupied the site. In 2010, the Four Mile Canyon fire ravaged this property, burning the cabin and 4.5 acres of 100 year-old trees to the ground. When the ash had settled, what remained were granite outcrops, steep slopes, and newly revealed expansive vistas.
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The barren site eerily resembled the treeless landscape of Boulder at the turn of the century. Rediscovering the architectural language of that era―particularly the region’s mining and agricultural heritage―provided the necessary design inspiration. While the home’s gabled roof form and rustic materials recall the area’s early vernacular, the design seeks to establish a language of its own―reflective of and specific to its current context and geographic location.
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The art of life
Language of Flowers
A wordless tongue, understood around the world. Words: Asher Ross | Photography: Zoltan Tombor Arrangements: Marissa Competello | Set Design: Sam Jaspersohn | kinfolk.com
We rely on flowers, like music, to express emotions that seem too raw, sacred or risqueĚ for words. There is no lingua franca in the floral world; a lily would mean something quite different to a lady of the Tang court and a high-toned matron of Boston. Flowers accumulate meanings and then let them fall away. Take the rose. For Dante, it symbolized the multifoliate arrangement of divine love in heaven, yet for Gertrude Stein it was proof of plain being. George Orwell, railing at the decay of his beloved English language, decried the growing preference for scientific flower names (chrysanthemum, say) over the older, more descriptive forget-me-nots and snapdragons.
Buddha found Nirvana atop a lotus bloom, and the ancient Norse believed the worlds were interwoven in the branches of Yggdrasil, the world tree. In the modern West, obsession with a complex and blushworthy language of flowers reached its zenith during the 19th century. Though most of us can no longer read the difference between melancholic longing and burning passion in a bouquet, certain events still send even the least poetic among us to the florist: birth, love and death. Perhaps it’s time to revive a subtler language of flowers, one that serves the quieter milestones of our emotional lives.
Corsage: The corsage, brought nervously by teenagers to doorsteps every year, is a talisman of purity given on a mission of desire. The name derives from the French word for the bodice of a dress, where flowers were pinned on formal occasions. One gives a corsage in full sight of someone’s family. It signifies
a promise to protect while hinting at more passionate motives. The calla is a flower with similarly parallel meanings. It has a long association with purity, even with the Virgin Mary. Yet in its unfurling there is unmistakable sexuality, a fact not lost on two of its most famous admirers, Sigmund Freud and Georgia O’Keeffe.
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Ceremony: Ceremonies, whether somber or wild, divine or secular, seek to temporarily elevate human action to a higher realm. In ancient Greece, the laurel wreath gave fleeting divinity to triumphant poets and athletes, and the thyrsus, a plant-spear topped with a pinecone, was hoisted amid the ecstatic revels of the Dionysian cult. A crown of flowers was given to high-born women during medieval festivals, raising them to a presiding role atop the hierarchy of courtly love. On the DiĚ a de Muertos, Mexicans haul out marigolds by the millions to welcome the returning dead.
Cherry blossoms draw Japanese to the Hanami, a countrywide meditation on transience. And the image of a single cherry blossom adorned the hulls of planes used on suicide missions by Japanese pilots in World War II. This simple arrangement of budding quince and heliconia speaks of a quieter, more peaceful ceremony. Also known as the “false bird of paradise,� the heliconia gives a glimpse of another world. The upright blooms of the quince show the promise of early spring and its sweet ceremony of renewal.
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Romance: We give flowers to the people we desire. It’s a way of saying “something has grown inside me, about you.” Flower-giving is a pan-cultural element of courtship and seduction, a metaphor that few can resist. The world’s poets, however, have long worried over the fact that these symbolic flowers have a habit of withering. Here we see love in crimson and black. The fruit-bearing Anthurium, or “tail-feather,” encloses male and female structures within each of its blooms, testifying to love without distinction of gender. It bares all—seducing with naked, blood-red biology. The Anthurium is a flower from the Americas, and is free of old-world associations. It is unfamiliar and undisguised, as new love should be. Housewarming: The housewarming ritual has two aims: to get on good terms with the spirits of a place and to ensure a safe and nourishing refuge. Romans would build shrines to their household deities, or lares, while medieval Europeans used bread and salt to bless a new home. Hindu culture includes the performance of Griha Pravesh, a purification ceremony in which husband and wife heft a copper pot into the house, and cause it to boil over with sweetened milk. Greeks like to give pomegranates at housewarming parties. Here we see other vegetables and fruits that
convey strength, plentitude and durability. The armored artichoke, the earthy rutabaga, the parsnip that grows sweeter despite winter frosts. The dragon fruit (like those Greek pomegranates) hides fertility beneath its tough exterior: strong walls protect love and growth. Yet a home needs beauty also. The musa, or banana flower, gives fruit and ornament in equal measure. Funeral: In the ancient world, the beloved dead were celebrated with both feasts and somber rites. Funeral games—athletic competitions held in honor of the deceased—interrupted action in both The Iliad and The Aeneid. Gifts were often sent down with the dead to aid them in the afterlife, a tradition that reached its apex in the elaborate preparations undertaken for the pharaohs. Not all have forgotten how to embrace death with gusto. Blending traditions from Africa, the Caribbean and Europe, the citizens of New Orleans hold jazz marches at funerals. The music is somber until the crowd “cuts the body loose,” exchanging grief for joy as the soul is freed to God. The Amaranthus, from the Greek word for unfading, has long signified respect for the dead, and hope for their immortality. Its grain was an Aztec staple and is still used to make sugar skulls on the Día de Muertos. The flower was said to grow next to the tree of life in paradise. And it was worn by mourners at the funeral of Achilles. For us mortals, this overflowing bowl of amaranth signifies the bounty of memory—and our refusal to let it fade.
The art of life
The Illustrated Motions and Emotions of Nicolò Canova’s Art Words: SARA PANAGIOTOPOULOU | Source: www.yatzer.com Photography: Nicolò Canova, Dancing by myself. © Nicolò Canova
At first glance, the sugary, pastel tones of Italian artist Nicolò Canova’s work might be what draw viewers’ attentions; but the motion, liquidity and emotions they depict are what encourage viewers to keep looking. “I discovered that mixing shades with desaturated colors was inspiring to me,” Nicolò tells Yatzer. “It provided a better reflection of myself.”
The colors may be a constant but the materiality of his work ranges from acrylics - used on their own, as well as painted over vintage photos for his Masquerade series - colored paper collages, oil paints, props - such as flora and even concrete. “I love experimenting,” he shares. “Using [various] and unusual mediums gives a higher aesthetic. As if the artwork can’t be confined inside the canvas.”
Nicolò Canova, Dancing by myself. © Nicolò Canova.
Nicolò studied illustration at the International Academy of Comics in Turin - hence the bold, seemingly continuous movement featured in his work - and he always has a sketchbook and pencils with him in case something catches his eye.
The art of life
His design process usually ends in his studio where he “re-elaborates” these sketches and moves on to “the color test,” of watercolors, pastels or his favorite medium to use at this stage, crayons. “For the final piece I try to follow the lines and ‘color decisions’ I made,” he says. “But I almost always give way to my eyes and hand and paint instinctively.”
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The art of life
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This has a way of “involving” viewers with the final pieces of art. Since they are created based on the artists’ instincts, it stands to reason that viewers are “free to give [the art] meanings which maybe I hadn’t even thought of; free to feel emotions that I didn’t feel while I was painting,” as Nicolò says. “At school, teachers always told me that an artist should have a precise, recognizable style for all their work,” he says. “And I spent a lot of time looking for [mine] until I realized that being capable to fit into many styles wasn’t a weakness but a strength.” Staring at his emotion and motion filled works, we believe that even his teachers would now agree that his mission has probably been accomplished.
Canal H
By The Ranch
Words: Dan Howarth | Pho
Source: www.dezeen.c
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House
h Mine Studio
otography: Š Roehner + Ryan.
com, blog.gessato.com
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2017
Interiore
Canal House By The Ranch Mine Studio Words: Dan Howarth | Photography: © Roehner + Ryan. Source: www.dezeen.com, blog.gessato.com
Around 181 miles of canals bring water to Phoenix, Arizona, helping the city thrive. Until recently, they have largely remained unnoticed. The Ranch Mine Studio’s Canal House not only celebrates the lifeblood of the state’s most populous city, but also takes inspiration from the form of former missions, effectively linking the home to its local context. The structure sits on an irregularly shaped plot of land alongside the Arizona Canal, drawing attention to this natural resource
with a rusted, corrugated metal roofs, exposed brick architecture, and bright white walls. Inner courtyards provide sheltered outdoor living spaces while also creating a dialogue with the interior through glass sliding doors. The central courtyard features an outdoor fireplace that acts as a border between the living areas and the sleeping wing. The open-plan living room, dining room, and kitchen feature a striking,
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vaulted tongue and groove hemlock ceiling. Handmade white ceramic tiles with a herringbone pattern complement the kitchen’s rusted steel clad hood and copper farmhouse sink. Throughout the house, there’s a play between various textures: exposed concrete floors, wooden furniture, marble, aluminum clad doors, rusted metal, and smooth white walls. Outside, exposed brick architecture complements the typical house form as well as the orange color of the roof.
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Inside the living area, the gabled ceiling is lined with hemlock wood. A symmetrical layout carries through from the kitchen at one end, to the dining area and finally the sitting room. Marbled counters match between the kitchen and bathroom surfaces, and the rooms are united by an aggregated concrete floor. Wooden door and window frames also help to warm the white walls.
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“This reimagining of the local mission architecture deftly uses simple, durable materials and a unique courtyard focused plan to create a home well-suited for its desert environment,” said the studio, “while drawing attention back to the lifeblood of Phoenix, the canals.” Source: www.dezeen.com
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AR CH ITECTURE
Two Shed House By Birdseye Design Words: James Brillon | Photography: Š Jim Westphalen | blog.gessato.com, www.dezeen.com
The owners of this beautifully situated plot of land in rural Vermont wanted to bring their ideal home to life. An open-plan space filled with natural light. A bright home for an extensive art collection. A dwelling connected to nature. To make their plans a reality, they hired design-build studio Birdseye Design. The result fulfills all of the points mentioned in the brief, but in a creative and distinctive way. The Two Shed house consists of two parallel shed structures clad in repurposed snow fencing, with western red cedar shingles covering the roofs. One volume faces the north, while the larger facade faces south to maximize
the amount of natural light reaching the interior throughout the day. A wall connects the two structures and also protects the interior courtyard from the noise of the nearby highway. Mirroring the bright exterior, the living spaces feature immaculate white walls. Along with the large windows, this design decision helps to create an airy interior which, incidentally, also allows the owners to display their art collection in an almost gallery-like setting. Striking views over to the mountainous landscape connect the house to its environment, enhancing the feeling of serenity. Source: blog.gessato.com
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