Space v2 by Chakriya

space Photography by Wouter and Canon

CONTENTS 01

The Calm Waters of Photographer

Canal House

Maria Svarbova’s “In the Swimming Pool” Series

By The Ranch Mine Studio

Grace Farms

in New Canaan, United States

Quintessa Pavilions

By Walker Warner Architects

Sunshine Canyon House

by Renée del Gaudio

Language of Flowers

A wordless tongue, understood around the world.

The Illustrated Motions and Emotions

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.

Space editor-in-chief melissa giannini creative director molly butterfoss

features

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art

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Arcgency transforms former Copenhagen coal crane into private retreat

Words: Ali Morris | Photography: Rasmus Hjortshøj of COAST Studio. Source: www.dezeen.com, Source: www.opumo.com

In an effort to design and build sustainable architecture by using new construction methods, Danish architecture studio Arcgency’s latest project, The Krane, is an elegant oasis amidst the industrial landscape of Nordhavn – one of the last harbours under renovation in Denmark’s capital. The Krane sits on the waterfront of Nordhavn and can only be accessed by a drawbridge-like staircase. The multi-tiered structure emanates a soothing sense of serenity and it is comprised of a reception area on the ground floor, a meeting room called the ‘glass box’ on the first floor, a spa and terrace on the second floor and a retreat on the top called the ‘Krane Room’ that comes with a secluded lounge and terrace.

The project also features a 360-degree inside-out approach that was specifically designed to optimise the internal spaces and capture natural daylight to set the stage for water-side views. The concept builds on its dark past as a coal-loading crane by using black as the colour scheme throughout. In addition to the parallels to the past, the black detailed interior plays a vital role in muting and minimalizing visual distractions so visitors feel almost enveloped, and safe, in the interior. At the same time, the black touches exaggerate the changing light and views across the harbour. “It’s all part of the vision, where the focus has been the integration of sensations – sight, sound and stemming (the Danish word for atmosphere),” explains Arcgency Chief Architect, Mads Møller

Elsewhere, the spa below takes a lighter approach, as it is clad in hard-wearing stone from floor to ceiling. The relaxing space boasts an immense, glass-glazed wall as a window on one side, with a singular view of the harbour and the ocean. As Møller describes it, “it kicks starts your imagination and it’s the furthest thing from cold or corporate. Here you have a panoramic view at the edge of the water.” Although Nordhavn may still have a very strong industrial atmosphere, Møller and Arcgency encourages everyone to experience a day at The Krane.

Re-defines luxury in a hideaway for two where the art is the view. THEKRANE is an immersive, multi-sensory experience. Inside is exclusive Danish design in black in homage to its past as a coal crane. Outside is the sea, sky, harbour and panoramic views over Copenhagen. Source: www.opumo.com

2017

Arcgency transforms former Copenhagen coal crane into private retreat

Describing the retreat as “an immersive, multi-sensory experience”, Møller said the focus was on “the integration of sensations – sight, sound and stemning (the Danish word for atmosphere)”. The Krane Room benefits from wrap-around windows that frame views over Copenhagen, across the harbour and out to sea.

Architecture firm Arcgency has turned an industrial coal crane in a Copenhagen harbour into a luxury two-person retreat. Located on the edge of Nordhavn, one of the last harbours under renovation in Denmark’s capital, The Krane sits on the waterfront and accessed by a drawbridge-like staircase.

“Natural light directly affects how we feel in a space and our happiness overall,” said Møller. “So we optimised the inside to capture natural daylight and set the stage for the views of the water outside.”

The multi-tiered structure comprises a reception area on the ground floor and a glass-walled meeting room on the first floor. A spa and terrace is found on the second floor, and a hotel room/living space complete with a lounge and terrace make up the top floor. Each area is available for hire separately.

“The water is probably 80 per cent of The Krane experience,” he added. “In Denmark, during the summer we have longer days of sunlight from about 5am till 10pm. Along the coastline, the light is very soft and diffused. From inside The Krane, even stormy weather looks amazing.”

The 50-metre-square Krane Room living space that sits at the top of the structure features a minimal all-black interior – a reference to the coal that the crane used to carry. The black space is furnished with built-in furniture, as well as custom-made pieces in leather, wood, stone and steel.

Below the womb-like Krane Room, the spa is clad in grey stone from floor to ceiling. An immense glass wall provides an expansive view of the harbour and the sea, which guests can admire while relaxing in one of the spa’s two bath tubs.

“Black plays a pivotal role in muting and minimising visual distractions so people feel almost enveloped in the interior,” said lead architect Mads Møller of Arcgency. “There are hundreds of different shades of black. Depending on the time of day, you can see so many subtle nuances.”

The Krane’s owner, Klaus Kastbjerg, is the developer behind numerous other waterfront projects in the city including an apartment building in a former grain silo.

2017

“The harbour came with two cranes,” said Kastbjerg. “When [furniture brand and restaurant] Paustian first opened its doors, they were having a big reception and the architect Jørn Utzon, who also designed the Sydney Opera House, asked if we could please move the crane to a more beautiful position.”

“As Jørn stood on the quay directing us, we lifted the crane right there and then and moved it to the perfect spot,” he continued. When Kastbjerg started building the Harbour House with Jørn and his sons, the project was designed around the crane – which was eventually transformed into a meeting room. “Through it all [the harbour’s development], the second crane on the harbour remained standing with an uncertain future,” Kastbjerg said. “With its history and such incredible views of the water... I decided to have it reincarnated into something contemporary but with soul.” Source: www.dezeen.com

Architecture

Jean Verville tricks the eye with black and white Montreal apartment Words: Jenna McKnight | Photography © Maxime Brouillet | Source: www.dezeen.com

The whimsical monochrome interior of this Montreal residence, overhauled by Canadian architect Jean Verville, creates optical illusions for its residents to enjoy as they move through the space. Called IN 2, the 100-squaremetre project entailed transforming the interiors of a 1950s urban cottage in the city’s Villeray neighbourhood. It was commissioned by a couple who loves

contemporary art, theatre, music and dance, along with digital art and video installations. Called IN 2, the 100-squaremetre project entailed transforming the interiors of a 1950s urban cottage in the city’s Villeray neighbourhood. It was commissioned by a couple who loves contemporary art, theatre, music and dance, along with digital art and video installations.

The architect transformed conventional rooms into a series of austere spaces rendered in black and white, which “produces optical effects oscillating between reality and abstraction”. At times, two-dimensional surfaces appear to be three-dimensional due to the monochromatic scheme.

Photography Â© Maxime Brouillet

Architecture

Jean Verville tricks the eye with black and white Throughout the dwelling, boundaries and scale are intended to be abstracted and blurred. “The architectural intervention blurs the reading of spaces with volumetric assemblages and visual breakthroughs, contrasts and tensions, scale games and trompe-l’oeil,” the architect said. A pristine, snow-white hallway stretches through the residence. Sitting at one end is an all-white coat rack shaped like a tree – one of the home’s only pieces of decor. In the kitchen, the architect installed all-black cabinetry, countertops and appliances, and LED micro strips. The exposed ceiling, walls and flooring were also painted black. Black-framed windows bring natural light into the space while also offering views of the leafy yard. In the dining room, the architect placed a wooden table and chair, all painted white. A window is concealed by a floor-to-ceiling white curtain. A black sculpture by Canadian artist France Goneau, suspended within a plexiglass box, hangs on one wall. A bathroom is completely covered in black, square ceramic tiles, which are contrasted with bright metal fixtures and a white bathtub, toilet and sink. Similar to the kitchen, the architect stretched LED micro strips across the ceiling. Mirrors visually enlarge the space and create an illusionary effect. Overall, the home’s atmosphere is intended to feel playful. “This architectural journey, animated by whimsical touches that unload the intervention of the coldness and seriousness often associated with contemporary architecture, calls for an experience completely altered by illusion, and this, for the delight of its owners,” the studio said. “By addressing the pleasure conveyed by architecture, Verville offers a daily participatory experience to the occupants of this graphic environment. The project is second in a three-part series by Jean Verville Architecte that combines art, architecture and domesticity. The first entailed the conversion of a storage shed in the architect’s backyard into a minimalist studio lined with oriented strand board. Source: www.dezeen.com

A Bl ac k & W hite Hom e By J ean Vervil Words: Brit Seaton | Source: www.ignant.com

In a project aiming to intervene with the coldness often associated with contemporary architecture, Canadian architect Jean Verville presents ‘IN 2′ –an interior renovation that offers a playful use of a monochrome palette. Built in the 1950s, the 100 meter square residence is located in Villeray, Montreal. The original interior and furnishings were stripped to create a blank canvas for Verville and his team, who then transformed the home into a black and white architectural masterpiece of optical effects and illusions. ‘IN 2’ was commissioned by a couple with a love for contemporary art and theatre, and the project was designed

with a number of ‘interactive’ contrasting spaces that confuse the boundaries of two and three dimension. The studio explain, “This architectural journey, animated by whimsical touches that unload the intervention of the coldness and seriousness often associated with contemporary architecture, calls for an experience completely altered by illusion, and this, for the delight of its owners.” The residence’s sense of illusion and trickery is captured in a series of images shot by Maxime Brouillet, some of which include shots of a model’s performative interaction with the space. Source: www.ignant.com

“This architectural journey calls for an experience completely altered by illusion”

The architect : Winner of numerous prizes, and enjoying significant international diffusion, architect Jean Verville presents a diversified production of architecture, installation and scenography. The architect’s interest lies in the possibilities of hybridization between arts and architecture and their impact on the architectural creation process. A series of research stays in Japan, focusing on “Art House Projects”, led him to a reflection on the artistic experience within architecture, which he pursued as part of his PhD in Arts Studies and Practice, at University of Quebec in Montreal. In 2016, Verville joined university teaching in addition to his architectural practice and researches.

â&#x20AC;&#x153;This architectural journey calls for an experience completely altered by illusionâ&#x20AC;?

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Breaking a Sweat at Krush-it Boutique Fitness Club by Estúdio AMATAM in Braga, Portugal Words: SARA PANAGIOTOPOULOU | Photography: Photo by Invisible Gentleman.

Krush-it, the Boutique Fitness Club located in Braga, Portugal, was designed by Estúdio AMATAM to pack a mighty punch for their clients, Seasonreturn S.A. Completed in September 2016, the dual concept fitness studio, which is located in a relatively small retail space of 291m² and was realized with a tight budget in mind, has more than enough attitude on display.

Aiming to “amaze and incite the audience of the gym,” the designers took a very different approach. For starters, the decor is more night club than fitness club, sporting (excuse the pun) a mainly gray and black color scheme with textures and graphic elements that allude to “street cred” throughout, including to the reception, training and locker rooms. A juxtaposition between black, glossy tiles and untreated, concrete blocks or poured polished concrete sheathes the walls and floors respectively of the reception and lounge, leading towards and into the locker rooms, while the vertical light fixtures at the upermost of the reception room’s high ceiling are covered by metal mesh panels and shed an industrial, illumination tone.

Both of Krush-it’s dedicated studios continue this night club-y vibe, reflected first and foremost in the graphic titles in each: the Panic Room, which contains several different training stations within its space; and the Stress Room, which is an amphitheatrical, spinning studio. As in the reception areas, black and gray concrete prevail (the gym equipment is also all black) offering no frills but plenty of motivation for gymgoers “who train in an extreme and intense way,” as the designers say.

Most notably, the Stress Room is designed to channel a party-like mood, with its all-black painted concrete block walls, ceiling and poured concrete floor. RGB led tape not only highlights the space’s amphetheatrical shape but also allows for a mood change depending on the changing color scheme - we imagine that the tape’s flashing colors coupled with the images playing out on the large screens above the spinners’ heads go hand-in-hand with offering them a hard-core but very fulfilling sweat session.

Meanwhile, an innovative use of recycled, rubber tyres covers the floors of the Panic Room, providing noise reduction from the loud music as well as a non-skid surface and impact absorbtion. All excersize equipment is arranged in type groupings, making it easy for gym-goers to organize their training ses-

sions. All in all, this is a unique fitness club that is intent on catering to a very specific clientelle; one who wishes to get the job done, but to do so without breaking a sweat .... at least, design wise.

DETAILED INFORMATION Project Name

KRUSH IT

Posted in

INTERIOR DESIGN

Design Studio

ESTĂ&#x161;DIO AMATAM

Source: www.yatzer.com

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At Six Hotel in Stockholm

by Universal Design Studio Words: DANA TOMIĆ HUGHES | Photography: Andy Liffner and Andrew Meredith

London-based interior architects Universal Design Studio has recently completed Stockholm’s new lifestyle luxury hotel At Six. The hotel is located in a forgotten part of the city centre on Brunkebergstorg square, which was once a flourishing playground for Stockholm’s belle monde with grand hotels and private residences, restaurants and elegant shops.

Located in a brutalist former bank headquarters in Stockholm, Universal Design Studio’s latest project, the At Six hotel, is home to one of Europe’s most ambitious contemporary art collections within a hotel. The London-based studio carried out a complete interior renovation to create the 343-room luxury hotel in the Swedish capital’s Brunkebergstorg Square. The brief was to create a desirable, fashionable destination that would appeal to both locals as well as international guests, and become the premier luxury hotel in Stockholm. Working on the immediate architectural landscape of the square through to the extensive interior renovation and new façade, the scheme includes ten floors of guest rooms, comprising 343 rooms, 38 suites, a ’Masterpiece suite’ with a private rooftop terrace and panoramic windows in three directions, a 100 cover restaurant, a wine bar, cocktail bar and a 2000 sqm events and flexible work space.

The Listening Lounge is the hotel’s social living room with focus on sound and music quality, featuring world-class collectors, local and international DJs, lectures and album sessions.

Swedish architects Boijsen & Efervgren originally designed the building, a brutalist high-rise structure, in the 1970s. Moving away from the uncompromising and unforgiving aesthetic often associated with brutalism – Universal’s brief was to create a desirable destination. The design is focused on humanising the architecture, bringing a sense of desirability and luxury and turning it into a contemporary version of a metropolitan grand hotel.

A palette of sawn stone, blackened steel, fine timber and polished granite is combined with warm greys, natural materials, soft furnishings and classic furniture editions. Light against dark, fineness against mass. Guest rooms feature custom furniture and bespoke lighting, a dark oak clad window bay with tinted mirrors and marble credenzas that run the full length of each room.

The selection of contemporary and classic furniture pieces are complemented by bespoke pieces from local makers and established Scandinavian designers Universal commissioned directly for the project. Custom lighting by Rubn feature in each room, local glassmaker Carina Seth Anderson was commissioned to create handmade glass pieces for the public areas, while a local saddle maker hand-wrapped the Swedish leather handrail for the white granite grand staircase in the lobby. In the wine bar sits a communal table carved from a single Swedish Elm trunk by local artist Lies-Marie Hoffmann.

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The art collection is curated by Sune Nordgren, formerly of the BALTIC Centre for Contemporary Art. Works by Jaume Plensa, Olafur Eliasson, Julian Opie, Sol Le Witt, Tacita Dean, Richard Long and Marijke van Warmerdam are displayed within the public spaces, while individual artworks by Kristina Matousch are showcased in the guest rooms. Works by Swedish photographer Dawid complete the hotel art collection. The hotel’s lobby, reception and restaurant are built around a grand central staircase, clad in white granite, featuring a 2.5meter tall marble sculpture commissioned especially for the project. Made by Catalan sculptor Jaume Plensa and titled ‘Mar Whispering’, the arresting sculpture creates a dramatic entry statement, signalling a world class art experience throughout the rest of the property.

Images courtesy of Maccarone, New York, Gió Marconi, Milan and David Risley Gallery, Copenhagen. Photo by Hotel At Six Photo by Sophie Thun Photo by Andy Liffner. Photo by Andrew Meredith.

2017

Location : Stockholm Client: Nordic Property Management Size: 3,280.sqm Status: Completed Mar 2017 Budget: Undisclosed Design Team: Hannah Carter Owers, Alexey Kostikov, Ieva Kristapaviciute, Stuart Mauger, Richard McConkey, Sonia Tomic Photography: Andy Liffner

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Black Canvas HEIKE Concept Store Words: SARA PANAGIOTOPOULOU | Photography: ÂŠ Jianzhou Wang via v2com | Source: www.yatzer.com A surprise awaits the patrons of a furniture store in Hangzhou, China, once they walk up the concealed, narrow staircase in the center of the space, to the second floor: namely, the concept store HEIKE which was designed and realized by Shanwei Weng and Jiadie Yuan of AN Interior Design for the fashion designer, Laohei.

Entirely appointed in shades of black and dark gray and constructed out of a variety of industrial materials such as concrete, steel and aluminum, the concept store bends the idea of what a fashion boutique can actually be and appeals to customers who want to experience the designer’s intentions behind the designs of their clothing.

As such, project manager, Junjie He, created the Black Cant, a sculptural system that appears to have been assembled by painstakingly balancing a series of large scale, geometrically shaped sculptures in the middle of the room. The result is engaging and encourages interactions between the Black Cant and the concept store’s customers, as well as between the Black Cant and the space itself. In fact, the space is wholly defined by it. The “main character” of this striking assemblage is an enormous black wedge coated with a finishing of black marble dust which is seemingly precariously balanced on a selection of cones - think enormous ice cream cones with the tips cut off. This black wedge is also the space’s life-force, concealing within it not just the staircase that leads up to the store, but also its fitting room and stock areas, thereby masquerading the commercial elements of running a boutique behind artistry. The store space surrounding the Black Cant

also reflects the industrial, pared back elements as well as the play between matte and gloss that define Laohei’s aesthetic - the rough cement walls and ceiling are juxtaposed by the polished floor, the shiny steel window frames and the mirrors placed throughout to lead to the feeling that their role is a supporting one to the central figure. Even the garments hanging from polished, aluminum racks around the circumference of the space seem to have been placed there in order to enhance the importance of the Black Cant and not the other way around. Fittingly, AN Design describes HEIKE as “a poetic conceptual and spatial experiment to create an innovative example of interior design for an independent fashion brand,” and they seem to have succeeded in creating the perfect black, blank canvas through which to convey the aesthetic simplicity and constructive complexity hidden within the garments themselves. Source: www.yatzer.com

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The TriBeCa Penthouse Words: Ruth Ainsworth | Photography: Rich Stapleton At Greenwichhotel | readcereal.com

The aged patina of one New Yorkâ&#x20AC;&#x2122;s most desirable districts, Tribeca, finds a quiet counterpart in the penthouse of the Greenwich Hotel. Art dealer and designer Axel Vervoordt, and often-time collaborator, architect Tatsuro Mikiâ&#x20AC;&#x2122;s rigorously pure aesthetic vision withstood two and half years of construction time above the existing hotel, co-owned by Ira Drukier and Robert De Niro.

The two design traditions running through the project are the ancient Japanese philosophy of Wabi, and the closely related but more recently defined Artempo. Stemming from a 2007 exhibition of the same name co curated by Vervoordt, Artempo could be characterised as an inclination to find beauty and value in the changes time has wrought on all manner of objects, while making no time based distinctions between them. The effect feels profoundly natural, almost as though the space were hewn directly from the stones and wood inhabiting it, often in large, unworked slabs, boasting elegance in their coarse forms. Natural light is softened and muted, absorbed into matt finishes. The stories of unrestored surfaces and repurposed objects filter through the sparse, open plan spaces, frequently evoking far humbler dwellings. thegreenwichhotel.com/penthouse readcereal.com

fashion

10 designers to watch from the London College of

Fashion’s BA Fashion show Words: Alice Morby | Source: www.dezeen.com

Continuing our graduate coverage, design reporter Alice Morby picks 10 of the best collections from the London College of Fashion’s BA Fashion show, including garments made entirely from antique fabrics and dresses composed of concrete and iron rods. The London College of Fashion (LCF), part of the University of the Arts London, put on its 2017 show at the Old Spitalfields Market. Unlike previous years, which favoured a more traditional catwalk approach, the show’s format

was broken into six acts – none of which showed an entire collection but rather a “story” made up of different students’ work. As with the Central Saint Martins and Royal College of Art shows, the LCF class of 2017 was inspired by the current political climate – something head of college Frances Corner noted in her statement ahead of the presentation. “At London College of Fashion, we know that fashion shapes lives and has the power to change the way we perceive the world,” said Corner. “In an era of radical

change, both socially and politically, fashion has never been so relevant.” “We are dedicated to providing world-class borderless education, ensuring that the UK remains at the forefront of the creative industries as well as investing and nurturing creative talent to ensure we safeguard the fashion industry, a vital component of the UK economy, for future generations.” Here are our picks of the designers to watch from the 2017 cohort.

Jack Goode Tailoring graduate Jack Goode looked to gender fluidity and the way that the body is often binarised in relation to sexuality â&#x20AC;&#x201C; particularly in the tailing and luxury fashion industries.

Feben Vemmenby For her graduate collection, Feben Vemmenby looked to the ageing process of the female form â&#x20AC;&#x201C; drawing upon the works of artists Nobuyoshi Araki, Louise Bourgeois, Henry Moore and Yayoi Kusama.

Ingrid Kraftchenko Ingrid Kraftchenkoâ&#x20AC;&#x2122;s collection was heavily based around the use of leather and silicones. Hoping to subvert the male gaze, the Archetypes of Women collection was made up of a series of characters: La Matriarch, La Femme Fatale, La Riot Grrrl, La Bio Queen, La Lesbian Goddess, La Boss Bitch and La Girl Next Door.

Melanie Weiai Mao Melanie Weiai Maoâ&#x20AC;&#x2122;s collection featured wedding garments made from appliqued tulle, and was inspired by annual so-called bride markets by Roma people that take place in Bulgaria and Romania.

Naruhiro Iizawa Naruhiro Iizawa, a womenswear designer, incorporated industrial materials into her final collection, which was based on buildings that are under construction or in the process of being demolished. “In London, I see construction sites cluttered with materials of concrete, plastic and metal, covered or wrapped, or exposed revealing a previous life before redevelopment,” she said. “My womenswear collection reflects the interiors and exteriors of buildings and their revealing, concealing and changing natures.”

Seah Shao Fen Seah Shao Fen was inspired by Erwin Wurm’s One Minute Sculptures – a collection of works where the viewers are instructed to experience and interact with artworks instead of just looking at them. Materials used included laminated oil cloth, while edges were left square and panels remained open.

Shanice Palmer Shanice Palmer’s collection – perhaps the strongest of the night – was based on the “mental and physical battles” experienced by young people growing up in London. The performance was an integral part of her presentation, which saw models do spoken-word performances as they walked around the catwalk.

Will Morgan Will Morgan made most of his collection – which he based on fishermen – from antique and second-hand fabrics, such as French linen tablecloths and 19th-century indigo Japanese futon covers.

Zhiqing Zhang In one of the evening’s boldest collections, Zhiqing Zhang applied geometric patterns inspired by children’s books to oversized interpretations of kids clothing and nightwear.

Ali Eckmecki Young Turkish designer Ali Ekmekci’s sportswear collection was inspired by the current mainstream media. Named Fake News, the garments were printed with newspaper covers and logos, with accessories in the form of kettlebell-shaped bags and THAT blue IKEA bag.

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Tactual sensation formed by Norm Architects and Maj-Brit Würtz Words: Thisispaper | Photography: Courtesy of Norm Architects | Source: thisispaper.com

The Copenhagen-based Norm Architects deals with industrial design, residential architecture, commercial interiors, photography and art direction as to bring the beauty in design at every scale. Recently they joined their forces with artisan Maj-Brit Würtz to create exclusive collection of pottery for Nærvær. With holistic approach to each commission, the designers of Norm Architects create in their own unrepeatable style, every time fully adjusted to the new design circumstances. While working on the interior of Nærvær, a new gourmet restaurant and wine bar in the capital of Denmark, it couldn’t be any different.

To enable to the clients of this newly opened space on the gastronomy map of Copenhagen to scent sensual consuming and perceive the experience pleasant for all senses, the designers created complex ceramics dedicated exclusively to the place. This one and only collection of handmade pottery was designed in close collaboration with Head Chef of Nærvær. We invite you to bring your eyes to these beauties below, and visit Nærvær personally as to examine the objects with you own hands. Source: thisispaper.com

Forest House Modern Rustic Architecture By Fearon Hay Architects Set at the foot Aucklandâ&#x20AC;&#x2122;s Waitakere Ranges in a cllection of timber clad, gabled strucures. They slip past each other, opening spaces for coutryasds, cooking and fire. Words: blog.gessato.com Photo: ÂŠ Simon Wilson and Amelia Holmes

The owners were seeking a home that enabled family to engage with the lifestyle of the farm, embraced their love of working with timber and provided many spaces for entertaining and accommodating groups of guests and friends. Exterior shells of native timber boards and shingle roof are founded over cast in-situ concrete masses, bracketing the interior spaces within and adding a weight and strength to the voluminous interiors. Dark timber floors flow onto timber verandahs, grassed lawns and concrete paved courtyards. Sliding shutters of solid timber staves enclose the verandah spaces, allowing flexibility of enclosure and exposure to the elements.

A blend of rural and contemporary design, Forest House is a great example of modern rustic design. The owners hired Fearon Hay Architects to create their ideal home; a house that not only celebrates their love of woodworking, but also allows them to engage with the rural lifestyle and provides plenty of socializing space for family and

friends. Built at the foot of the Waitakere Ranges in Auckland, the house provides great views, connecting the interior with nature. The timber cladding and the gabled roofs with shingles reinforce the rural aesthetic, while concrete walls give the interior a contemporary look and feel.

Similarly to the studio’s previously completed Storm Cottage, this dwelling features plenty of natural materials and complementing textures. These include dark wood floors that reach deck areas as well as natural fiber carpets and rusted steel accents. Sliding wood shutters open or close the rooms as needed. Outside, grass areas alternate with concrete courtyards and timber verandahs. Rustic and

modern, brought together in perfect harmony. Completed in 2106, Forest House has received a Gold ‘Best Award’ at the DINZ Best Awards 2016 and a NZIA Architecture Award in 2017. Recognition: Winner of an NZIA Architecture Award (NZIA Auckland Awards 2017) Winner of Gold ‘Best Award’ (DINZ Best Awards 2016)

Brutalist Love: ‘Raw Hill’ Series by Photographer Marietta Varga

Brutalist architecture usually brings to mind a dystopian aesthetic of lifeless monstrosities of massive scale and monochrome sterility. Yet it’s also a source of sculptural beauty and nuanced complexity, oftentimes overlooked or forgotten, something Hungarian, London-based photographer Marietta Varga would like to remind us with her new series, “Raw Hill”, in the most lyrical of fashions. Although quite distinct in subject matter and location from her previous project, “My Town - Siófok II”, which depicted her suburban home town of Siófok, Hungary, as an exploration of memory and forgetfulness, the images in her new series—taken in London at the National Theatre, Barbican Estate, and the Alexandra Road Estate—nevertheless share the same dream-like, cinematic quality. Featuring a boy and a girl in a series of poses against a brutalist canvas of varying angles and textures, Varga’s photographs resemble stills from an art-house movie wherein the couple enact their story not with words but with their bodies.

Dressed in pink and green pastel hues, which were also prominent in her previous series, albeit, in a poetic reversal, not on people but on buildings, they seem to be engaged in a modern dance-like performance that draws its inspiration from its surroundings. In each image, their posture reflects, responds or complements the buildingâ&#x20AC;&#x2122;s geometry and configuration. In this sense, the brutalist settings are not just a stage for the unfolding story but the story itself, as envisaged by the two performers who are captured reacting rather than acting.

Considering that it was Stanley Kubrick’s Clockwork Orange which was pivotal in associating brutalism with violence, the cinematic sensibility of Varga’s photographs is quite fitting in her attempt to reclaim brutalism’s softer side. Source: www.yatzer.com

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