Reinterpreting the Contemporary Dwelling by Titas Grikevicius

Reinterpreting the Contemporary Dwelling What are the spatial arrangements for homes of the future?

Titas Grikevicius

University of Strathclyde Department of Architecture BSc (Hons) Architectural Studies with International Exchange Dissertation â&#x20AC;&#x2DC;Reinterpreting the Contemporary Dwelling. What are the Spatial Arrangements for Homes of the Future?â&#x20AC;&#x2122; Titas Grikevicius Reg. No 201040557 Studies supervisor: Gordon Murray Mar 2015

Declaration AB 420 Dissertation 20014/15 BSc Honours Architectural Studies BSc Honours Architectural Studies With International Study Pg Diploma in Architectural Studies

Declaration â&#x20AC;&#x153;I hereby declare that this dissertation submission is my own work and has been composed by myself. It contains no unacknowledged text and has not been submitted in any previous context. All quotations have been distinguished by quotation marks and all sources of information, text, illustrations, tables, images etc. have been specifically acknowledged. I accept that if having signed this Declaration my work should be found at Examination to show evidence of academic dishonesty the work will fail and I will be liable to face the University Senate Discipline Committee.â&#x20AC;?

Name: Signed: Date:

Titas Grikevicius

Content 9

Abstract Introduction

Problem Definition

Personal Motivation

Research Questions and Objectives

Structure

Expected Outcomes

Chapter 1: Experiencing Domestic Space

The Idea of Dwelling and Home

Perception of Space

Body and Movement

Chapter 2: Spatial Narrative and the Historic Context

Enfilade and Corridors

Labyrinth of Rooms

Walls, Structure and Space

Chapter 3: A snapshot of Current Trends

Quality of Space and Policy

Changing Lifestyles

Future Arrangements: Flexible Dwelling, Live/Work

Chapter 4: Case studies of Contemporary Spatial Interpretations

Case Studies Selection 34 Studio House by Sergison Bates

House Casa A1 by Diener & Diener

Ninetree Village by David Chipperfield

House with one wall by Christian Kerez

Housing in Forster by EM2N

Leis House by Peter Zumthor

Chapter 5: Conclusion and Design Recommendations

Bibliography

Reinterpreting the Contemporary Dwelling

Abstract

The majority of dwellings built in the UK today are solely intended to satisfy the demands of housing shortages. As a result, the need for meeting the shortage is being placed above the importance of layout and considerations for ‘spatial experience’ that shape the quality of living. Although this is the case, spatial organisation has played a key part in the evolution of domestic space in the UK and the European context. From forming social boundaries epitomised by the appearance of the first corridors, to cultural acceptances of emphasised privacy, these variations evolved into a generic layout, the ‘dogma of living’, seen in many dwellings today. However, the study challenges this theme and argues for the importance of the spatial layout considerations to be placed as the prime architectural principal in designing for an uncertain future. “There is a seriousness and moral urgency about dwelling which architects intuitively understand. A grammar of architectural possibilities needs to be spoken about again: opportunities for accentuating human experience which can help a home be a place to dwell in well.”1 Layout arrangements, spatial quality and movement patterns need to be placed along with other design considerations. This study is an exploration of spatial arrangements for future dwellings. It will seek to discover ways to accentuate architectural experience within domestic layout and will contribute to the growing research concerned with spatial organisations of homes for the future.

1 Kelly, C. (2013). What makes a good home. [online] The Architectural Review. Available at: http://www.architectsjournal.co.uk/home/more-homes-better-homes/what-makes-a-good-home/8644189.article (Accessed 25 Oct 2014)

Reinterpreting the Contemporary Dwelling

Introduction

Problem Definition The way rooms and various clusters connect in the domestic space varied throughout the history. Formed by political, economic and social changes different domestic typologies were designed as a mirror of existent lifestyles and virtues.2 One of the difficulties contemporary architecture has to deal with is its necessity to adjust to changing needs and an uncertain future. One method of addressing this has been to functionalise space in an attempt to give it purpose. However, as Robin Evans claimed, the modern movement has rationalised the domestic space to the means of function and purpose, draining life out of the layout and its spatial potential.3 Domestic space need not be defined by purely functional means. It is this over-rationalisation that has led to the dissolution of domesticity and spatial narrative. Though domesticity is a rather subjective quality, this is particularly problematic in that it does not address the changing culture of domestic life. As a place for living and a place for personal comfort, the narrative of home is changing. The nomadic nature of present lifestyles together with the growing ‘digital era’ suggest a shift in the concept of home, becoming more adjustable to live, work or use it as desired. As with Aldo Rossi’s obserevations; the function of any building of plan will change over time, in his own words: “Form persists and comes to preside over a built work in a world where functions continually become modified”.4 By this idea of changing use, Rossi refers to any building and his own attitude towards any built form. However, this notion also becomes applicable for the future dwelling. The contemporary condition of changing cultural climate presents a challenge, but also an opportunity for the dwellings to become a place of articulated spatial quality that better responds to the need for flexible space. Rooms character , their relationship and use, once again should be at the top of architectural debate when designing future homes.

Personal Motivation Following the Erasmus exchange at the Technical University of Munich, studio Krucker Bates, that focused on Urbanism and housing, I was inspired by the potential of the spatial arrangements a plan has to offer. The project was set in Copenhagen; a city that presents history of large-scale housing that explored the ideas of social collectivism, the relationship between the individual and the group.5 The project was an exploration of the possibilities of collective living in Copenhagen (fig1, 2). Although the project specifically had a theme of living and working, I wanted to explore the notion of the domestic spatial arrangements further without setting constraints of one particular concept for living. With this study I investigate the spatial arrangements potential within conventual dwellings.

2 3 4 5

Kent, S. (1990). Domestic Architecture and the use of space. Cambridge: University Press. Evans, R. (1978). Figures, Doors and Passages. In: Translations from Drawing to Building and other Essays. London: AA. p88. Rossi, A. (1984) (cited in Alrock, Gunter, Hunning, Peters, 2006) A Scientific Autobiography. Massachusetts: MIT Press TUM Studio Krucker Bates. (2013). Territorial Density. Collective Living in Copenhagen. Munich: TUM University Press

Reinterpreting the Contemporary Dwelling

Research Questions and Objectives The research is based on the following questions. How does spatial arrangement affect our experience within home? How did the spatial organisation of rooms evolve? How should domestic space be arranged for the future? How does this apply to the context of a European city? The research will explore and aim to find correlations between the psychological aspects of experiencing space, historic spatial narrative and changing lifestyles in order to find design solutions for the future. The analysis will then inform the design recommendations and form a discussion.

Structure The study draws a parallel with the historic spatial narrative and its change in the contemporary conditions. It explores the possibilities and spatial organisation direction of domestic architecture in the twenty-first century. The methodology of this study is divided in four parts: Chapter one begins the dissertation with a general discussion about how spatial dynamics affect how space is experienced, such as the relationship between the human body and its movement within space. Through various theories of space perception, the chapter explores how this is relevant in the domestic contexts. Chapter two explores the changes undergone by the domestic layout through the course of history in the context of a European city. Chapter three reviews existent research and explores the themes of how changing lifestyles can inform the layout of the home. The fourth chapter consists of carefully selected contemporary case studies in which the layout becomes the protagonist of the architectural experience. The projects are analysed in a plan view, aided by photographs and hand drawn diagrams.

Expected outcome The expected outcome of this study is a set of design principles and a built argument for the type of dwelling plan that is best suited in the twenty-first century. The argument is intentionally expected to be relevant for any European dwelling, in the sense that no particular typology was chosen for this study.

Reinterpreting the Contemporary Dwelling

Fig. 1 Apartment for collective living, 1:20 model, Studio Krucker Bates, Erasmus exchange 2013

Fig. 2 Floorplan spatial relationship diagram, Studio Krucker Bates, Erasmus exchange 2013 Grey colour indicates individual studio spaces that join the main living space and bedroom units.

Reinterpreting the Contemporary Dwelling

Chapter 1: Experiencing Domestic Space

Reinterpreting the Contemporary Dwelling

The idea of dwelling and home Domesticity directly deals with the notion of home and dwelling, although, the two themselves can be interpreted rather broadly. Sociologist and economist Mary Douglas suggests that home is a place where households organise themselves over time, by practising the planning of resources and by developing household rituals. ”The home’s capability to allocate space and time and resources over the long term is a legitimate matter for wonder.”6 Consequently, how should architecture articulate this wonder? Perhaps architecture, within the idea of home, is this underlying background layer that sets the mood for it. Thus the mood is in the hands of architects and plays a big part in shaping the picture of home, in both literal and metaphoric way. According to Heidegger, dwelling is a phenomenon, the creation by the individual consciousness and its desire for attachment to culture, time and place. And in Heidegger’s own words: “the basic character of dwelling is to spare, to preserve… dwelling itself is always a staying with things. Dwelling, as preserving, keeps the fourfold in that with which mortals stay: in things.”7 In Heidegger’s view, the act of dwelling is related to feeling the sense of place. In many respects, the character of a place is largly defined by the way space is formed. Therefore the perception of dwellings directly relate to its spatial arrangement. Perception of Space The concept of space, as an architectural element, had rarely been discussed by architects before the twentieth century. From 1923 it merges with the idea of composition as a material that can be modelled in various ways.8 Rowe, in his essays The Mathematics of the Ideal Villa, begins questioning emphasis on space and the interaction between compositional ideas and spatial experience. By comparing Palladio’s Malcontenta and Lecorbusier’s Villa Stein, Rowe discusses the difference of what we see in a plan view and how we spatially experience the space. Arguing, that both can inform one another and that a plan layout presents certain aspects of propotion and spacing defining dwelling spatial qualities9 It could be argued that the perception of space is a highly subjective matter, however recent discoveries in science are starting to make it more concrete. Visual awareness and three dimensional experience of space can be analysed in a rather empiric manner. Space syntax is a method that assists in analysing the nuances of space. Previously used in understanding the urban fabric, in 1979 was applied for internal use of buildings. The method for analysing buildings is called the isovist method. Isovist is the volume of space visible from a given point in space, it is naturally three dimensional but can be used in analysing elevation or plan views.10(fig. 3) The further study is not intended to become empirical, however, the isovist theory supports the argument that a plan layout informs the quality of space and visual comfort which relates to domesticity. The way isovist pattern looks in different plan locations can inform how the space feels. For example, using the isovist method, Psarra discovers that Barcelona Pavilion by Mies van de Rohe visual richness or spatial quality is hidden within carefully positioned wall elements. Contrary to the view that the Pavilion is an example of decomposition, Psarra suggests that 6 7 8 9 Press. 10

Douglas, M. (1986). (cited in Lane, 2007)How Institutions Think, Syracuse, New York.: Syracuse University Press. Heidegger, M. (1975). Poetry, Language, Thought. Building Dwelling Thinking. New York: Perennial Classics. Tschumi, B.(1995). Questions of Space. London: Bernand Tschumi and the Architectural Association. Rowe. C, (1984). (cited in Lane, 2007) The Mathermatics of the Ideal Villa an Other Essays, 3rd prnting, Cambridge, Mass.: MIT Benedikt, M.L. (1979). To take hold of space: Isovist and Isovist fields. Texas, USA.

Reinterpreting the Contemporary Dwelling

it counteracts decompositions with a unified enclosure.11

Fig. 3 Isovist diagram (Authorâ&#x20AC;&#x2122;s Image)

Body and movement Movement in architecture has been extensively studied within the urban fabric of varied cities and specific buildings both theoretically and spatially architecturally. However there is little material on spatial exploration and its potential future in the domestic context. The domestic layout is often considered as a form of social, economic and political construct. This nevertheless limits the spatial design potential and the character of home. The contemporary dwelling layout is often a result of the pragmatic attitude towards a room, where its size and shape are seen as the only spatial experience. However, Frankl claimed, that to experience architecture means to bring together into a single mental image the series of images that are presented to us as we walk through a building.12 In this case, movement through dwelling plays a vital role in shaping its perception. Furthermore, Yi-Fu argues that this perception is made conscious by the experience of architecture itself. Which in the modern times, continue to respond to enclosure and exposure, verticality and horizontality, mass, volume, interior spaciousness and light.13

The notion of layout organisation is related to the movement between rooms and the option of choice. As without movement one cannot fully experience the quality of space and its nuances. Maurice Merleau-Ponty was a French phenomenological philosopher who stated that sensory experiences become integrated through the body, and the world and self-inform and redefine each other constantly. Architectural experience is not simply

11 12 13

Psarra, S (2009). Architecture and Narrative. The formation of Space and Cultural Meaning. Abingdon: Routledge. Frankl, P. (1979). Literary Architecture, Los Angeles: University of California Press Tuan, Y. (1977). Space and Place: The Perspective of Experience, Minneapolis: University of Minnesota Press

Reinterpreting the Contemporary Dwelling

rooted in retinal images, that is, vision and confrontations and collaborations.14 In the context of home this relates to different activities such as cooking, eating, socialising, reading and sleeping. Since these activities inform movement, the architectural experience becomes the moment of moving between each. The concept of body and movement in space was also explored by Rudolf von Laban, a Hungarian dance artist, theorist and architect. Laban was predominantly interested in harmony and the relationship between the movement dynamics and changes in spatial form of movement. He believed that certain spatial arrangements produced certain effort qualities with greater ease than others, and thought of these connections as the rule of harmony in movement.15 Although this notion deals directly with the space around human body, it could be said, that the harmony in architecture is also formed by the three-dimensional arrangement. The way one navigates and experiences light, shadow and glimpses of space, while moving from one to room to another, relate to the notion of comfort and familiarity. So summarise, domesticity is partly an experience of moving throughout the building. Therefore, its layout and organisation of rooms have a strong impact on the overall quality of a dwellings. Body and space define each other and the space provides background for body to experience it. The circulation of the home, therefore, becomes a â&#x20AC;&#x2DC;beating heartâ&#x20AC;&#x2122; and the protagonist in shaping its character.

Fig. 4 Space Modules of the Arms and Legs I (Kirstein et al. 1953:2)

14 15

Reza Shirazi, M. (2014). Towards an Articulated Phenomenological Interpretation of Architecture: Phenomenal Phenomenology. Foster, J. (1977). The Influence of Rudolph Laban. London: Lepus Books

Reinterpreting the Contemporary Dwelling

Chapter 2. Spatial Narrative and the Historic Context

The historic context of domestic spatial arrangement evolution is explored to set the background for the further study. The spatial domestic narrative can be interpreted rather broadly, however it is evident that concepts of spatial exploration evolved through a series of socially accepted norms and ideological means throughout the history.16 For instance, a typical modern flat layout presents a series of isolated rooms, connected with a central corridor to address privacy. However, this has become the norm only in the 15th century. As recent Venice Biennale, curated by Rem Koolhas, suggested; all architectural elements have their own story of evolution. Therefore, elements that shape space, its boundaries and order directly contribute to the evolution of spatial arrangements. The chapter overviews key changes in the conceptual design approach of the domestic spatial organisation in the European context.

Kent, S. (1990) Domestic Architecture and the use of space. Cambridge: University Press.

Reinterpreting the Contemporary Dwelling

Corridors and Enfilades One of the elements that radically transformed the notion of moving through domestic space, was the corridor. Mark Jarzombek traces the word corridor origins in the late 14th, in both Spanish and Italian contexts, a word corridor referred not to a space but to a courier, someone who could run fast.17 But how did this allegory of pace and transition transform into the domestic space? It is important to note that in the Evans examples (fig. 5, 6) of Coleshill, Berkshire by Sir Robert Pratt (1650) and Amesbury House by John Webb (1661), there is a clear appearance of secondary corridors and passages network for the servants. Enfilades* albeit remain the primary room arrangement dedicated for the burgesses to navigate through the main spaces. The house retains the formal composition from the Italian Renaissance, while the corridor was simply a device to restrict the interaction of lower ranks of society within the domain of the household, in the times of rising resentment between the poor and bourgeoisie.

Fig. 5, 6 First floor plans of house at Coleshill, Berkshire & Amesbury House at Wiltshire

It is important to mention, that the concept of the space linking rooms and in some sense being read as a corridor was not entirely new, but it was the use that had a different meaning. For example, the House of Olynthos, in Greece, Fourth century B.C. (fig. 7), presents a plan of a central rectangular space between. However, the Mediterranean climate allows the space to be open to the outside and it becomes regarded as a Courtyard. The rooms opening directly off the court, as most did, were extensions of the courtâ&#x20AC;&#x2122;s living area. Furthermore, the rooms were small and easily divided or combined as required.18 This indication traces the notion of flexibility apparent in the early Greek house plans. However, the question arise; how does this notion of relaxed definition for use transform into the modern times?

Fig. 7 Floorplan of House of Olynthos, in Greece, Fourth century B.C (from Kent, 1990, p. 98)

17 18 *

Jarzombek, M. (2010) Critical Enquiry. Vol. 36, No. 4. Corridor Spaces, p. 728-770 Kent, S. (1990) Domestic Architecture and the use of space. Cambridge: University Press. enfilade - â&#x20AC;&#x2DC;A suite of rooms with doorways in line with each other.â&#x20AC;&#x2122; (Oxford Dictionary)

Reinterpreting the Contemporary Dwelling

In 1928 Alexander Klein published a diagram, called Frictionless Living, suggesting bad as opposed to good example of a domestic layout (fig. 8). The diagram was praised by many modernist architects and soon became the cliché for a typical housing layout. Although the plans addressed some of the issues to do with privacy, it suggested that the domestic setting can be rationalised and turned into, what Evans called it: ‘a machine for living’. The central space of the ‘good example’ does not inhabit any other use but distribution to the more important spaces.

Fig. 8 Diagram showing frictionless living through improvement to circulation. By Alexander Klen 1928.

Robin Evans in his essay ‘Figures, Doors and Passages’ regards the appearance of the corridor in the domestic architecture as a destructive element.19 It could be argued that the corridor, as only means of moving to another space, becomes wasted space. Fundamental flaw of corridor spaces is that they are not places, they are vectors, hesitations, zones of passage, architectural prepositions.20 Thus, this element of movement has nothing to add to the domesticity of dwellings. It is also interesting to note, that in the late eighteenth century English-speaking countries the corridors were only built in prisons and not domestic arhcitecture.21 Narrow and intimidating, the corridor was regarded as a space for moving elsewhere but not the space for inhabiting. Roman Polanski’s film Repulsion accurately depicts the character and mood in domestic space created by the nature of the corridor space. The narrow and intimidating the corridor sets a perfect framework for a horror movie scene (fig. 9). As a contrast, a painting from the eighteenth century (fig. 10), of a women working in a room depicts the domestic character and spatial generosity of the room and the layers beyond forming an enfilade. The painting depicts how the room function is rather abstract; it could be a room for working or reading a book or sleeping. It is rather the occupancy and the use of space that suggest what the room is used for.

19 20 21

Evans, R. (1978). Figures, Doors and Passages. In: Translations from Drawing to Building and other Essays. London: AA. p88. Connor, S. (2004) Corridors. A ‘love letter to an unloved place’, broadcast in BBC3 Nightwaves. Jarzombek, M. (2010) Critical Enquiry. Vol. 36, No. 4. Corridor Spaces, p. 728-770

Reinterpreting the Contemporary Dwelling

Fig. 9 (bellow)The Corridor scene from the movie Repulsion by Roman Polanski (1965) Fig. 10 (above)The Lace Maker by Wybrand Hendriks (Dutch painter, 1744-1831)

Reinterpreting the Contemporary Dwelling

It could argued, that the corridor space becomes irrelevant, in the contemporary times where the concept of social classes dissolved. To address privacy remain its only purpose. However, can a plan be designed in a way that address issues of privacy but becomes a place for being and perhaps traces the speciousness of the enfilade? The atmospheric qualities of the domestic enfilade are rare in the contemporary architecture. Perhaps the difficulty lies in regulating it or to defining it within the constraints of housing spacing policies and regulations. However, the idea of a contemporary enfilade is explored further in the case studies chapter.

Labyrinth of Rooms This subchapter compares the room relationship in plan with a three dimensional approach, where rooms interlock both horizontally and vertically. In comparison to the explorations of a plan layout design, it truly becomes a part of domestic design consideration in the early 19th century. One architect that transformed this notion of designing in plan, was the Austrian modernist Adolf Loos. Loss was a theorist who was interested in the ideas of comfort and domesticity. The architect claimed that architecture arouses sentiments in man and it is the architect’s task therefore to make those sentiments more precise.22 Although this could be broadly interpreted and referred to Loos’s early ideas of materiality and ornament, architecture is partly about the three dimensional quality of space and its arrangement. It is thus vertically and horizontally expressed play of volumes that link to the notion of sentiment and relate to domesticity. One of his most well know works is Villa Muller located in Prague. Referring to the façade, the architect believed that the house should be silent on the outside and reveal all of its richness on the inside. This combination of spatial richnes Loos called the ‘raumplan’. As the architect himself claimed: “The only great revolution in the field of architecture is the freeing of the groundplan in space… Before Immanuel Kant, humanity could not think in space and architects were compelled to make the toilet as high as the hall. Only by dividing everything in two could they obtain lower rooms. As a man will one day succeed in playing chess on a three-dimensional board, so too other architects will solve the problem of the three dimensional plan.”23 In Muller’s house, one can see complex intersection of spaces that differentiate in height and size (fig. 11). Each room is different and it is difficult to find the ordinary room with one entrance and one view. Most rooms have several entrances celebrating movement through each. The living room is layered and almost theatrical, with a strong sense of visual connection to the rest of the house (fig. 12). The corridor space changes like tree branches and almost dissolves into the interior. The hallway becomes a central labyrinth with a sense of disorientation. Various glimpses through gaps in between the rooms and the open plan platforms generate real sense of place and memorable domestic atmosphere. It could be said, that Loos find a way to transform the corridor space into a ‘maze of wonder’; a constantly changing interactive object holding together the rooms around it. Although, the Muller’s house presents rather elaborate and brief specific spatial planning ideas, it marks a point in history, suggesting that a dwelling layout design should be reconsidered vertically as well as horisontally. Loos does not reduce the circulation space, but finds a way to celebrate it, giving it a three dimentional experience.

22 23

Duzer, L. (1994) Villa Muller. A work of Adolf Loos. The Subjects of the Raumplan. Loos, A. (1962) Das Prinzip der Bekleidung (1898), pp. 105-112.

Reinterpreting the Contemporary Dwelling

Fig. 11 (right) Living Space of Villa Muller House in Prague by Adolf Loos (1930) Fig. 12 (left): Axonometric of Looâ&#x20AC;&#x2122;s Muller House (Prague, 1929-30), illustrating the multiple planes; circulation as a theatre within the house.

Walls, Structure and Space When referring to walls and structure, the history presents its various interpretation. However, until modern times, walls were not only dividing the space but primarily carrying the weight of structure. For example, in the blackhouse (fig. 13, 14), traditional type of house which used to be common in the Scottish Highlands from 17th to 20th century, the stone walls separated the outside from inside, but also were a crucial element to the stability of the house and carried the weight of the roof. If internal walls appeared in the plan, they would be designed to support the roof load rather than divide space. It could be argued, that space did not have its narrative as a matter to consider because of the lack of technology at the time and the priority given to its fundamental function; to shelter.

Fig. 13 Blackhouse, traditional type of house which used to be common in the Scottish Highlands from 17th to 20th century Fig. 14 Plan of Black House C, built in the 1830s and lived in by the Gillies family

Reinterpreting the Contemporary Dwelling

Contrary to the structural ideology of the blackhouse, in the context of time almost parralel with Loos’s architecture, a German-American architect Ludwig Mies Van de Rohe changed the relationhip of structure and walls. The architect is associated with the expressionism, that developed in Europe during the first decades of the 20th century, along with the expressionist visual and performing arts. Unlike architects before, Mies believed in the modern idea of reduction and minimalism. Controversially, the notion of rooms was turned into a complex flow of space that in plan view could be characterised by perpendicular straight lines(fig. 15). One example of this ideology could be found in Brick Country house in 1924. Rooms interconnect with one another and there is no pragmatic division between each. The living room, dining space and other areas are defined by their hierarchy of size, shape and views. This line arrangement, however, was mainly achieved in individual houses with no contextual constrains. Although, in many ways, the house is a luxurious house typology, the ideas in planning and formation of space presented a rather new attitude towards formation of space for living.

Fig. 15 Diagramatic floorplan of Brick Country House by Ludwig Mies van der Rohe (1924)

A several years later, Mies designed the Barcelona pavilion. Although the pavilion was not a domestic building, it was the first building to fully exploit the ability of modern structural technology of steel and concrete to make walls optional elements. As they no longer had any role in holding up the roof, it meant that the interior space could be freely planned without formation of rooms and with as much openness as desired. These ideas later inspired the Vila Tugendhat (fig. 16), which had tremendous influence on modern interior design, emphasizing abstract arrangements of spatial elements with colour and texture replaces ornamentation. 24 As the owner of Villa Tugendhat himself later describes the building: “Though the connection between inside and outside is indeed important, the space is nonetheless entirely enclosed and self-sufficient; In this sense the glass wall functions completely as a boundary. If it were otherwise, I myself feel that one would have a sense of restlessness and exposure. Bus as it is, the space has - precisely because of its rhythm - a most uncommon restfulness such as a closed room cannot possibly have.”25

24 25

Pile, J. (2005) A History of Interior Design. London: Laurence King Publishing Ltd p.332-335 Tegethof, W. (1985) Mies van de Rohe: The Villas and Country Houses. Boston: The MIT Press p.97

Reinterpreting the Contemporary Dwelling

Fig. 16 Lounge area, Villa Tugendhat by Ludwig Mies van der Rohe (1930)

Decades later, Mies influence appeared on works of the architect and theorist Peter Eisenman. Eisenman’s earlier work present a series of rectilinear box-like houses in which he investigated and articulated a variety of theoretical ideas, including the notion of structural emphasis and a suggestion that there is a universal ordering device that is generating a design. Eisenman’s building are experienced as independent realms of spatial exploration and a debate of built and ideological architecture. As a theorist Eisenman explores the difference between drawn and built intentionally challenging human sensibilities of beauty and comfort.26 In these complex aesthetic exercises, the architect made structure the essence of the house (fig. 17), which was a new way of thinking at the time. Eisenman designed a series houses to investigate the nature of meaning of architectural form. Instead of basing the design on function with form to follow, the houses explored specific structural principles, with functions to fit in as best they can. This introduction of neglected function is typical in Eisenman’s work which is striving to produce displacement and provoke vagueness of use. These explorations added up another layer for rethinking the domestic space and the architectural role in shaping perception of space. Although this subchapter only briefly touches on the relationship of structure and space developed within the modern times, it suggests that the modern layout has a potential to be explored spatially, not depended upon technical possibilities. On the other hand, as Eisenman suggests, structure can be enhanced as an element of space formation and a synthesis of honesty and clarity in architecture.

Graafland A. (2006) Peter Eisenman: ‘The Formal Basis of Modern Architecture’. Nanjing Univeristy

Reinterpreting the Contemporary Dwelling

Fig. 17 Axonometric drawing of House I by Peter Eisenman

Reinterpreting the Contemporary Dwelling

Fig. 18 Timeline of important moments in the evolution of domestic space (Authorâ&#x20AC;&#x2122;s image)

Reinterpreting the Contemporary Dwelling

Chapter 3: A Snapshot of Current Trends

Reinterpreting the Contemporary Dwelling

Quality of Space and Policy The quality of dwellings is largely dependent on policies and space regulations. A recent RIBA report suggests that during the twentieth century, English housing appeared to be getting smaller, meaner and less fit for purpose. For instance, in the UK, the smallest room size is 15.8m2, which is the smallest number in the Western Europe.27 Smaller bedrooms mean less land being occupied and thus cities can be more compact. However, only around 8 per cent of land in the UK is urban, half the figure in the Netherlands, West Germany and Denmark.28 This suggests, that there is still enough land in the UK to build generously proportioned rooms. Therefore, perhaps the quality of living should be as important as the land itself. The marketing system plays a vital role too in shaping the quality of dwellings. There is a misconception in the UK marketing, unlike the rest of Europe. The UK sells property not by the dwelling size but by the number of bedrooms. This means developers are willing to build more tiny rooms for larger profits. This issue was highlighted in research by the Joseph Rowntree Foundation in 2003, in which consumers were interviewed to find out preferences for new dwellings. The study found that people were unsatisfied with small bedrooms, but would choose property with small bedrooms thinking it would be easier to sell it in the future.29 It could be said, the UK property marketing system does not serve those who are selling nor those who are buying. This also suggests, that the method of evaluating dwellings by the number of bedrooms does not in any way reflect on the spatial quality of dwellings. Quite the opposite, home with more bedrooms will often present a layout will long narrow corridors, that as previously discussed do not suggest any other use but circulation and thus becomes ‘wasted space’.

Changing Lifestyle If there is one thing sure about the future, it’s hard to know what it is. Thus how is it possible to predict for the lives of the future resident? One direction that this could be taken is looking at the lives of the youngest adult generation. A recent publication, in the Architect’s Journal, discusses the demographic means and the changing lifestyles that can attract developer interest, or suggest the potential design direction for architects. The statistics presented within the publication indicate a growing number of home workers in the UK from 1996 to 2013. (fig. 19). It is evident that the growing use of technology and appearance of flexible working hours shape the future model of working. Not only is the home now a digital centre, it is also increasingly becoming a workplace.30 The phenomena of these statistics suggest that dwelling should no longer be considered as a place for living solely. Perhaps, it could be said, that the lifestyle of our future generation is returning to a long forgotten idea of living and working within the same place. Another graph (fig. 20) suggests that employment flexibility, the lack of a family life and a decreased proportion of national wealth will lead to a significant increase in rental accommodation. This nomadic trend suggests, that the future dwelling should have more flexible space for working remotely.

27 Neale.,J. (2009). Improving Housing Quality. Unlocking the Market. London: RIBA 28 Evans, W.,Hartwitch, O. (2005). Unaffordable Housing. Fables and Myths. [online]. Available at: http://www.policyexchange.org. uk/images/publications/unaffordable%20housing%20-%20jun%2005.pdf (Accessed 03 Mar 2015] 29 Leishman, C., Aspinall, P., Munro, M., Warren, J. (2004). Preferences, quality and choice in new-build housing. York: York Publishing Services Ltd 30 Adam, R. (2014). Tomorrow’s home. Changing dynamics of population, lifestyle and work present new opportunities for architects. The Architect’s Journal. November p46-49.

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There is another trend, that adds up to the changing realm of life style. It is the so called living model of the ‘sharing economy’. It is a socio-economic system built around the sharing of human and physical resource.31 In the context of dwellings, this refers to a possibility of renting one’s property or ‘share’ it with others. A recent article in the Architectural Review discusses how the technology giant Airbnb is shaping our perception of home. Airbnb is an accommodation website with an on-line market place where anyone can rent a place.32 The article sets a quite negative tone towards the future definition of home and the image of neglected values. Although, this could be looked at many perspectives, there is one clear message: tourism and the nomadic nature of human endeavour is shaping the built environment. People are naturally moving from one location to another. It could be suggested that the future dwelling should offer more generous spaces that are adjustable in the sense of room functions. Perhaps it is an opportunity for architects to think out of the box, and think of home in the broader sense, as Alan de Botton, reflects on future dwellings: “Our homes do not have to offer us permanent occupancy or store our clothes to merit the name. To speak of home in relation to a building is simply to recognise its harmony with our own prized internal song. Home can be an airport or a library, a garden or a motorway diner.”33 Thus, the spatial arrangements depend on architects who can challenge the boundary between building typologies and suggest new living environments.

Fig. 19 (left) Homeworkers as percentage of All workers. Source: Office for National Statistics. Fig. 20 (right) Projected number of 18-30 year old in private rentals and owner occupation. Source: Clapham et al 2012

31 Benita, M. (2014). What is the Sharing Economy? [online] Available at: http://www.thepeoplewhoshare.com/blog/what-is-thesharing-economy. (Accessed 25 Dec 2014) 32 Govela, L.,O. (2014). How tech giant Airbnb is rewriting the rulebook on domestic architecture and fueling a housing crisis. The Architectural Review. September 33 Botton, A. de (2008). The Architecture of Happiness. London: Vintage.

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Future Arrangements: Flexible Dwelling, Live/Work Although living and working within one building was only the norm in the middle ages, current lifestyle and the digital era is allowing more people to work from home. The theme of live/work environments could be explored in a dissertation itself, however, it is important to point out the findings carried out within existent research. This summary will assist in selecting the case studies which will reflect on spatial arrangement narrative for the current times and future. Francis Holiss is the director of a project called ‘workhome’, and senior researcher at the London Metropolitan University. Workhome is an ongoing project which researches the possibility of merging living and working activities within a new building typology. Holiss research suggests that home-based work can largely contribute to social sustainability in many ways. By providing more space within dwellings, people have more control over their lives, which increases their happiness and sense of freedom. As for architects, the research suggests, that flexibility of space is the core issue that is not explored enough.34 Similarly to the ideas of Evans, in his essay ‘Figures Doors and Passages’, Holliss argues that the room functions should be explicit in the sense of maximum flexibility; where it’s use is defined by the occupiers. In other words, more rooms with no set function should appear within dwellings allowing freedom of its use. The research also suggests, that the model of work-home has a great impact on disabled, older and sick to remain of become economically active. Furthermore, by linking working with living a strong sense of community is generated, which encourages collaboration and partnership in the growth of local social networks.35 This proposes, that the future of residential areas does not have to be solely designed for living, but can challenge this notion introducing other activities, and strengthening the sense of neighbourhood. In the individual dwelling designs, this could be reflected by introducing more space for undefined use. The theme of flexible living was widely researched by Professors Jeremy Till & Sarah Wigglesworth and Dr Tatjana Schneider at the Sheffield School of Architecture. In 2007 the projects was awarded the RIBA silver medal for research. The study argues that flexible dwelling can socially, demographically and economically improve the current model of dwellings. 175 case studies were presented and categorised ‘soft’ and ‘hard’, by its flexibility. Although ‘hard’ projects wold present a layout with fixed elements, they could still be categorised as flexible if the rooms and its organisation present flexible use.36 This suggests, that the conventional dwellings with solid walls and other elements within, designed with the consideration for flexible use, can improve the quality of living.

34 35 36

Holliss, F. (2007). The workhome... a new building type? London Metropolitan University. PhD. Holliss, F. (2015). Beyond live/work. Planning in London. First issue 67 Oct-Dec 2008. New York: Routledge. Schneider, T. & J. Till (2007). Flexible Housing. London: Architectural Press.

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Chapter 4: Case Studies of Contemporary Interpretations

Case studies selection The selected contemporary projects challenge the conventions of a typical layout. Regardless of contextual settings, each example reflects different spatial organisation ideas, relevant for the twenty-first century. While some examples address flow, spatial richness and flexible use, others challenge a typical â&#x20AC;&#x2DC;homeâ&#x20AC;&#x2122; concept, integrating it with other activities, such as working. Several projects present how the visually rich historic enfilade arrangement is being used in the twenty first century domestic architecture planning. It is important to mention, that the selected projects take conventional architectural principals as opposed to proposing new radical design solutions. In particular, the selected projects are focused to present economically reasonable solutions to achieve certain spatial qualities. These examples will guide in drawing conclusions of layout planning and design recommendations.

Reinterpreting the Contemporary Dwelling

Fig. 21 FaĂ§ade perspective, 34 Studio house, Sergison Bates ÂŠ Ioana Marinescu

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34 Studio House by Sergison Bates

Year: 2004 Client: private Contract value: ÂŁ270 000 Gross internal area: 208m2 Location: London, United Kingdom

The project is located in a previously semi-industrial area of East London. The site takes place on a plot of derelict land on a street of industrial buildings and pre-war housing blocks. The brief for the project was divided in four programmes; two apartments, a space for a joint therapy practice and a studio. The external appearance of the block can be read as an urban house or a small industrial building (fig. 21). One of the most interesting aspect about the house is its surprising site footprint of 4.5m wide and 20m long. Internally, the client wished to create a labyrinth. A series of interconnected rooms and level changes that would reflect the qualities of the Kettleâ&#x20AC;&#x2122;s Yard project in Cambridge; where the spatial qualities and a relaxed definition of use form the spontaneous character of the house interior.37 The house is carefully designed and challenges many conventions of the architectural principals; unusual mass for its footprint, sophisticated and precise detailing and unconventional brick cladding system. Most interestingly, however, the house addresses the spatial organisation of rooms and their use (fig. 23). Who would build two staircases in a building of such a compact footprint? The underlying idea of this, as the architect suggested, was to free the plan, reinforce flow and enhance the possibility of getting lost within home; in the sense of free navigation and enhanced unprompted journeys throughout the building.38 Generous rooms do no reveal its use immedeatly. Almost every room could become a bedroom, living room or a space to work (fig. 24, 25). The project does not only suggest an intriguing living experience of articulated movement and choice of direction, but also proposes a model that could be regarded a new typology. Phenomenally, the scheme possesses the possibility of being arrayed and yet retain its balance of value and richness. As the layout diagrams illustrate, the outdoor space plays a big part in forming the spatial quality within this tight scheme. (fig. 22)

37 Sergison, J., Bates, S. (2005). 34 Studio House, London. Available: http://www.sergisonbates.co.uk/Pages/3.34%20Coate%20 street.htm. (Accessed 22 Dec 2014). 38 Sergison, J., Bates, S. (2014). On Continuity. Harvard Architecture Department Lecture series. [online] Available at: http://www.gsd. harvard.edu/#/events/lecture-jonathan-sergison-and-stephen-bates.html (Accessed: 10 October 2014).

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Fig. 22 Floor plan diagram showing movement directions and spatial layout (hatched area indicate outdoor space), 34 Studio house (Authorâ&#x20AC;&#x2122;s image).

Fig. 23 Floor plans, 34 Studio house (Edited by Author)

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26 Fig. 24 Ground floor view looking towards the loggia space, 34 Studio house. Fig. 25 Top floor view, 34 Studio house. Fig. 26 Ground floor view, looking towards the outdoor space, 34 Studio house

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Fig. 27 House Casa A1 by Diener & Diener, 2006.

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House Casa A1 by Diener & Diener

Year: 2003-2006 Client: Agenzia Torino 2006 Gross internal area: 1,660 mÂ˛ Location: Torino, Italy

Diener & Diener is an architectural firm based in Basel, Switzerland. Diener & Dienerâ&#x20AC;&#x2122;s architecture diverts a formal approach; it takes its meaning from reference to the town, the use, and the state of the techniques and materials. Their projects do not seek the exceptional and the sublime, but instead are rediscovered in the banal.39 This is demonstrated by their extraordinary housing project House Casa A1 in Torino, Italy.

The project was commissioned as part of the Olympic Village housing proposal for the Olympic Village together with Steidle + Partner architects, Torino, Italy, 2003â&#x20AC;&#x201C;2006. The housing block, placed on the edge of a new masterplan, dominates as a sculpturally contemporary solid block (fig. 27). Despite its formality as a geometric form, the project reveals its rich spatial character once experienced internally. The volume contains seven floors of two units per floor. One can immediately notice that the staircase position in plan does not have an immediate rational explanation; it is positioned closer to one of the sides, instead of being in the middle (fig. 29). However, this subtle move generates tension in plan and and visually intriguing perspective of interconnected spaces (fig. 28) The architecture challenges the convention of a typical layout, where the movement is defined by a central corridor and a clear purpose of rooms. The use becomes defined by the occupier, much like in the arrangement of the enfilade, or Villa Malmarana by Palladio (fig. 30). A series of rooms connect to each other, rationally forming a coherent rectangular of the overall building form. A connection of four rooms forming a visually rich expression of space is evident in both plans. Glimpses and the spatial arrangements are defined by generous loggias and sanitary unites that anchor and define the entrance points.

Diener, Diener. (1992) From City to Dwellings, Selected Buildings. Berlin. Ernst & Sohn

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Fig. 28 Floorplan layout diagram showing visual richness and referencing the historic enfilade. (hatches areas indicate outdoor space) Diener & Diener Architecten. (Authorâ&#x20AC;&#x2122;s image)

Fig. 29 First floor plans of the House in the Olympic Village. Diener & Diener Architecten. (Edited by Author)

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Fig. 30 Villa Malmarana by Palladio 1540

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Fig. 31 Arial view of Ninetree Village housing, 2008, Davind Chipperfield Architects

Reinterpreting the Contemporary Dwelling

Ninetree Village by David Chipperfield

Year: 2004-2008 Client: Zhejiang Joyon Real Estate Co. Ltd. Gross internal area: 23,500 m² (450 m² for individual flats) Location: Hanghzou, China

David Chipperfield Architects are amongst the leading global practices with a particular expertise in restoration, cultural buildings and housing. This particular projects sets an exemplar for its simplicity and clarity of space defined by volumes. The project is located in East Asia, however, it shares ideologies and spatial organisation relevant to the domestic principals for the European context. The concept of space within a space is not new, as Francis D.K.Ching explores it, drawing conclusion related to one object position within another.40 Nonetheless a space conceptually defined by a series of smaller spaces is something that rise a new architectural debate in the domestic spatial organisation. A small valley, forms the site, for this luxury housing development. Situated near the Qiangtang River in Hangzhou, south-east China, the project reflects on the qualities of villas scattered around the landscape. Although this study explores the internal organisation, it is interesting to mention that the external arrangement responds to the landscape and by gently changing the angle between each block, creating a new organic flow and forming the outdoor spatial quality (fig.31). The development consists of six types of building, each slightly varies in size and floor plan depending on the location (fig. 32). Each block encompasses unique view and light conditions. The individual flats accommodate a luxuriously sized floor area of approximately 450 square meters. The design of the floor plan creates a flowing internal space that is defined by solid elements accommodating secondary use (fig. 33).41 A loggia becomes an element of importance in this domestic interpretation (fig. 34). While bringing fresh air into the depths of a plan, it provides a transition area between the inside and the surrounding nature. A concept of each room, becomes an interpretation of the owner. While the horizontal expression of each flat is rather formal and uninteresting, the floor plan plays the main role in shaping the atmospheric richness of interconnected clusters (fig. 36) While this precedent does not fit the economic and experientially balanced criteria, it well represents the idea of articulated flow and visual comfort achieved within domestic architecture. Although some rooms offer more privacy and suggest its occupation, it could be argued, that the space between solid elements becomes of universal use, not predefined by any room function. This flexibility, link to the ideas of the previous chapter, where a need for a more universal space is evident in the twenty first century.

40 Ching, F. D. K. (1996). Architecture Form Space and Order. Organisations of form and space. Van Nostrand Reinhold, New York, 2nd edition. P194 41 David Chipperfield Architects. (2008). Ninetree Village, Hangzhou. Available: http://www.davidchipperfield.co.uk/downloads/ projects/15/ninetreevillage dca.pdf. (Accessed 18 Feb 2015).

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Fig. 32 Floor plan diagram showing domestic space and its flow defined by solid elements. (hatched areas indicate less significant rooms: servises and storage) Ninetree Village housing, 2008, Davind Chipperfield Architects (Authorâ&#x20AC;&#x2122;s image)

Fig. 33 Floor plan of Ninetree Village housing, 2008, Davind Chipperfield Architects (Edited by Author)

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Fig. 34 Outdoor loggia space, Ninetree Village housing Fig. 35 Lounge space, Ninetree Village housing Fig. 36 Architectural floorplan model, Ninetree Village housing

Reinterpreting the Contemporary Dwelling

Fig. 37 Exterior perspective, House with One Wall, Christian Kerez ÂŠ Walter Mair

Reinterpreting the Contemporary Dwelling

House with one wall by Christian Kerez

Year: 2004-2007 Client: private Gross internal area: Location Witikon, Zurich, Switzerland

Christian Kerez is known inventing rules and constrains for activities in architecture. His projects share the idea of conceptual simplicity and surprise once experienced in full scale. Even varied in the programmatic sense Kerez’s buildings share visual integrity and can easily be recognised. Perhaps the reason lies behind the importance of structural expression in his work. This exemplar house is no exception. Seemingly simple, this project is, in fact, rather sophisticated, both structurally and spatially. Located on a small and narrow plot, in the southwest of Zurich, the architect has built a structure containing two houses (fig. 37). The mass has been split vertically so that each apartment could benefit most of the surrounding views. The wall between follows a different line on each of the three floors, providing structural stability and maximising the variety of spaces, which flow from floor to floor via open stair flights (fig. 38). The wall is formed in reinforced concrete as is each floor plate, which is cantilevered from it, so that there are no columns or additional support to obstruct the views. The above ground external walls are completely glazed; some sections can be slid open for ventilation. External roller blinds located along the edge of the floor slabs can be lowered to control solar gain and help with privacy (fig. 39). 42 Spatially important instrument within design becomes the staircase and the navigation experience between floors. Being a rather monumental gesture, for a building of such scale, it provides spatial richness and a strong sense of place (fig. 40).43 Another reason this projects stands out amongst many other contemporary houses is its ability to control space to its full potential; the house feels smaller from the outside than inside. Despite limited floor space, the elongated rooms seem spacious and are expansive in an extremely economic way (fig. 41). The only elements and fixed furniture that define the use become the bathroom and the kitchen. Perhaps this fundamental quality arise from the subtle angles and unconventional geometry, glimpses between rooms and connected spatial flow.

42 Poveda, P. (2009). Christian Kerez. Nr 145. El Croquis. Madrid: Idea Books 43 Kerez, C. (2012). ‘The Rule of the Game’. Kenzo Tange Lecture. [online] Available at: http://www.gsd.harvard.edu/#/media/therule-of-the-game-christian-kerez-2012-kenzo-tange-lecture.html. (Accessed: 20 February 2016).

Reinterpreting the Contemporary Dwelling

Fig. 38. Floorplans, House with One Wall, Christian Kerez (Edited by Author)

Reinterpreting the Contemporary Dwelling

Fig. 39 Lounge space, House with one wall by Christian Kerez Fig. 40 Staircase view towards top floor, House with one wall by Christian Kerez ÂŠ Walter Mair photosgraphy Fig. 41 Space for multiple use, House with one wall by Christian Kerez ÂŠ Walter Mair photosgraphy Fig. 42 Concrete mode showing structure, House with one wall by Christian Kerez

Reinterpreting the Contemporary Dwelling

Fig. 43 Housing In Forster by EM2N Architecten 2011, ÂŠ Roger Frei photography

Reinterpreting the Contemporary Dwelling

Housing in Forster by EM2N

Year: 2011 Client: private Gross internal area: 5,925 m² Location: Zürichbergstrasse, Zürich, Switzerland

EM2N is an award winning architectural practice that firmly positions itself as a contemporary exemplar with both conceptual and contextually sensitive approach. The firm’s particular interest is a concern regarding the interplay of a European city and dwelling. In writings about the relationship between city and living space, Mathias Muller and Daniel Niggle explore ideas how policies and economic factors shape the domestic space; by readjusting room sizes, minimum spacing regulations and responding to density requirements.47 In the current situation of Europe, where the population is not increasing, but migration is prospering, the architects draw conclusions how contemporary dwelling should respond to the policies and create environment, that is responsive to the city fabric and density, but not too different from the desired rural dwelling. As a response to these ideas, EM2N presents their spatial organisation interpretation with the housing scheme in Forster (fig 43.). Situated in Forster, Zurich, the housing block is a part of a large master plan. Together with a stripe of greenery that forms a filter to the former tennis court where a spatially introverted atmospheric woodland is created. The L-shaped building plan creates a generous entrance area on the road side and a garden space on the park side. The apartments are positioned to gain maximum breadth and openness to the internal area of the park complex.48 A series of diverse flats are presented within the block, all sharing similar conceptual ideology of planning, but with slight variations in its spatial organisation. (fig 45.)The element, which stands out from each of the flats, becomes the loggia space (fig 44.). This outdoor space is hieararchically treated just as one of the individual rooms, with the same the same size and proportions. Rooms surrounding the loggia space become of no predefined use. Any room could become a space to work, sleep or dine. This notion of flexible space, also traces the Enfilade arrangement, where one moves from one room to another with no passages, and the circulation becomes spontaneous and optional rather than directional. Although in this case, the room between is and outdoor space, drawing an interesting analogy with the Tadao Ando’s Row House in Sumiyoshi, where each room of the house is connected via outdoor courtyard. The notion of a narrow corridor space is replaced with a series of volumes that form the living space and become the central fragmented hallway for accessing other more private rooms (fig. 47). The visual connection to other room generate real sense of place.

47 Müller, M. and Niggli D. (2012) Learning from Tokyo. [online] Available at: http://www.em2n.ch/press/textsbyem2n/learningfromtokyo (Accessed 01 Mar 2015) 48 EM2N Architecten (2011) Housing Im Forster, Zurich, Switzerland. [online] Available at: http://www.em2n.ch/projects/imforster (Accessed 01 Mar 2015

Reinterpreting the Contemporary Dwelling

1. Fig. 44 Corner flat diagram showing generous living space and the connection to bedrooms (hatched area indicates loggia space). Housing In Forster by EM2N Architecten 2011 (Authors image)

1. Fig. 45 Part of first floor housing In Forster by EM2N Architecten 2011 (Edited by Author)

Reinterpreting the Contemporary Dwelling

2. Fig. 46 Loggia space, Housing In Forster by EM2N Architecten 2011, ÂŠ Roger Frei photography

1. Fig. 47 Corner flat, Housing In Forster by EM2N Architecten 2011, ÂŠ Roger Frei photography

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Fig. 48 Luzi house, Peter Zumthor 2002 ÂŠ Walter Mair photosgraphy

Reinterpreting the Contemporary Dwelling

Luzi House by Peter Zumthor

Year: 2002 Client: Confidential (A local family) Location: Jenaz, Graubünden, Switzerland

The project presents the most controversial house layout planning of the selected case studies. It sets a new set of rules for the evolution of domestic space. The architecture is intentionally forming a way of life and opens up an architectural debate; is architecture just the background for living, or is it a way of living? Christopher Day argues that architecture should only set the background for everyday life without unnecessary noise and visual attention. 44In a modern dwelling layout, however, this is often translated as a collection of rooms that do not have ‘it’s say’ of what the spaces are about. Nevertheless, Zumthor demonstrates how layout becomes something more, a place of wonder and a way of living. Located in the centre of Jenaz, Switzerland, the Luzi House is a private residence designed for a couple with six small children and an integrated flat for a grandmother. The client wanted a spatially rich house with large windows and balconies full of greenery.45 Made in solid panels of wood, the house shares the vernacular form of a typical house in Jenaz. Rich detailing and careful proportions constitute an intriguing object within the landscape (fig. 48). However, the house fully reveals its character once experienced internally. In comparison to the previous example, a house by Sergison Bates, where two staircases occupy the dwelling, Luzi House is equipped with four staircases (fig. 49). The concept idea was that one could go directly to his/ her room from the living/dining room. As the architect commented: “This results in a unique flight of stairs and entrance for each one, for each room (fig. 50). It is a kind of ‘sense of living’, a sort of intimacy that perhaps I have learnt in the mountains. Perhaps they also remind me of the open stairs that once lead directly from the living room to the bedrooms, hot from the contact with the living room’s fireplace”.46 The main living space is defined by the staircase cores, and connect in a way that does not create any unnecessary circulation space. It is a space of 4 connected volumes, in a way that entrances flow into one another (fig. 51). Each bedroom is treated as a direct connection to the living space. In fact, the only link between the bedrooms on the upper floor becomes the bathroom. With this arrangement, the children are encouraged the use the main living space. Despite the visual richness and atmospheric play of solid and void, shadows and light (fig. x), the organisation of spaces forms a connection. It’s an assembly of spaces that articulate spontaneity and freedom of movement referencing to what Robin Evans praised as missing in the modern layout. Although, achieved in an elaborate manner, for a specific client, the house presents a phenomenal spatial experience. A sophisticated spatial synthesis between the living space and more private rooms generate potential future dwelling arrangement.

44 Day, C. (1990). Places of the Soul. Architecture and Environment Design as a Healing Art. 2nd ed. London: The Aquarian Press. p71-80. 45 Craven, J. (2010). Buildings and Projects by Peter Zumthor. [online] Available at: http://architecture.about.com/od/greatbuildings/ig/Peter-Zumthor-/Luzi-House.htm#step-heading (Accessed 20 Feb 2015) 46 Fabach, R. (2006) Zum Haus Liliane und Valentin Luzi von Peter Zumthor. [online] Ausfahrten. Available at: http://www.ausfahrten.com/ausfahrten/stand21.htm (Accessed 15 Jan 2015)

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Fig. 49 (left) First and second floor plans (from bot. to top.). Luzi House. Peter Zumthor (Edited by Author) Fig. 50 (right) Floor plans diagram showing movement and living space relationship with bedrooms (top diagram) Luzi House. Peter Zumthor (Authorâ&#x20AC;&#x2122;s image)

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Fig. 51 Interior View. Luzi House Peter Zumthor. 2006 © Walter Mair photography. Fig. 52 Dinning Space. Luzi House Peter Zumthor. 2006 © Walter Mair photography. Fig. 53 Facade fragment. Luzi House Peter Zumthor. 2006 © Walter Mair photography

Reinterpreting the Contemporary Dwelling

Chapter 5: Conclusion and Design Recommendations

Reinterpreting the Contemporary Dwelling

Design Recommendations These design principles and recommendations were formed as part of the expected study outcome. Having explored the historic context of spatial organisation and selected contemporary case studies, it becomes evident that some spatial arrangement elements indicate recurrence and can be depicted in a diagrammatic manner. The diagrams of these spatial organisation principles arise in response to the contemporary lifestyles and architectural potential when designing a plan. The diagrams present a series of rectangular forms, however, the geometry was chosen only for the clarity of presentation.

Hallway The overwhelming rationalisation of modernism has let to creation of mean corridor spaces. The erosion of the corridor should be one of the contemporary dwelling design ambitions. If the hall is treated with the same dignity as other rooms, it gains a quality of multiple uses and no longer is wasted space, or a passage to other more â&#x20AC;&#x2DC;important spacesâ&#x20AC;&#x2122;.

Movement and circulation The uncertain future, discussed in the previous chapter suggests a possibility for dwelling to have more flexible spaces that connect with each other, forming a more dynamic navigation and spatial experience. This spontaneity and movement, possible through connections between rooms, form the character of space and therefore define the spatial quality of dwellings. By no means, this implies that every room should form a connection. However, if more rooms of no predefined function appear within the plan layout, the possibility of enhancing movement is apparent.

Reinterpreting the Contemporary Dwelling

Entrance The entrance, by many modernist architects, is positioned within the middle room, the hallway. However, as Diener & Diener presents in their project, the position of the entrance can create tension in a plan view and enhance visual richness of the interconnected rooms.

Loggia One of the key aspects of successful dwellings is their ability to connect nature with the synthetic man-made built environment. Outdoors space is a rather elaborate element, but can play a vital role in shaping the plan and addressing the previous design recommendations. If it is treated as any other rooms it traces the qualities of the historic enfilade, where the movement flow is apparent in every direction.

Staircase A staircase is a costly element which tends to be implement in to the layout as a crucial connection between floors. However, its relationship and position within the floor plan can largely affect the layout. For example, 34 House by Sergison Bates presents how two staircases enhance the quality of spontaneous movement within the house. This does not apply to every brief, but typologies that challenge the conventional living should consider this as an opportunity to express the spatial potential and user experience.

Reinterpreting the Contemporary Dwelling

Conclusion: This part will summarise and review the dissertation findings that were carried out in five phases. Chapter one explored the philosophical and psychological aspects of experiencing domestic space and movement. The second chapter set the historic backdrop of the domestic space evolution. Chapter three presented a snapshot of current trends in policy and changing lifestyle that will inform future dwellings. Chapter four analysed carefully selected case studies that explore the notion of varied spatial configurations. The last chapter summarises the findings and suggests a set of design principles of spatial arrangements. The study suggests that the spatial organisation within the domestic buildings affect user experience and directly inform its quality. It is evident, that the notion of home is formed by the perception of space. Since space is created by the elements that define it, the layout of dwelling plays a key role in shaping its character. The historic backdrop suggests that domestic space and its spatial narrative has varied through the course of time. However, certain elements evolved into a pragmatic simplification of modernist functionalism. For example, the corridor, or otherwise wasted space for movement, appears in dwelling as a social construct but remains until current times as a misconception to rationalise layout. Although, particularly challenged by Mies van de Rohe and Adolf Loos, the spatial narrative only varies when the brief is challenged or clients have particular request for a certain domestic experience. The current issue in the UK appears to be dwelling size regulations. For example, the UK planning policy presents the most compact rooms size in the West Europe, even though only eight percent of the land is being occupied. Furthermore, the marketing strategy of selling property by the number of bedrooms does not help in designing spatially pleasant dwellings. However, changing lifestyle presents opportunity for creating new typologies with more intriguing spatial arrangements. It could be argued that the future layout has the potential to retrace the richness of the historic enfilade. The selected examples and their analysis show how certain elements and relaxed definition of use help forming the spatial qualities and articulate flow and movement that has been lost. For instance, Dienner & Diennerâ&#x20AC;&#x2122;s project in Turino presents a contemporary plan layout that reflects on spatial organisation ideas to Villa Malmarana by Palladio, where rooms interconnect with one another. Albeit, the â&#x20AC;&#x2DC;contemporary enfiladeâ&#x20AC;&#x2122; uses the outdoor loggia space as a room between. Furthermore, the movement can be brought back to dwellings by mixing its use. As House 34 by Sergison Bates suggests, a mix of living and working can bring architectural curiosity to dwellings within tight economic constraints. To conclude, the study suggests, that the way rooms and other spaces are arranged affect the overall character of home. The contemporary spatial arrangement is moving towards the concept of providing more generous spaces which do not have a set function. The uncertain future requires more space within dwellings that can be used for various needs. The corridor, as an element of social acceptance but little use, dissolves or evolves into a place of being. It could be argued, that functionality and predefined use do not serve the contemporary occupier, in the times of nomadic lifestyles and changing work environments that are becoming digitalised. However, changing lifestyles and the need for more flexible space generate opportunity for architects to design spatially. The future dwelling is a place of accentuated architectural principals where the spatial organisation drives its character. 62

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Bibliography Adam, R. (2014). Tomorrow’s home. Changing dynamics of population, lifestyle and work present new opportunities for architects. The Architect’s Journal. November p46-49. Benedikt, M.L. (1979). To take hold of space: Isovist and Isovist fields. Texas, USA. Benita, M. (2014). What is the Sharing Economy? [online] Available at: http://www.thepeoplewhoshare.com/ blog/what-is-the-sharing-economy. (Accessed 25 Dec 2014). Botton, A. de (2008). The Architecture of Happiness. London: Vintage. Ching, F. D. K. (1996). Architecture Form Space and Order. Organisations of form and space. Van Nostrand Reinhold, New York, 2nd edition. p194. Connor, S. (2004). Corridors. A ‘love letter to an unloved place’, broadcast in BBC3 Nightwaves. Craven, J. (2010). Buildings and Projects by Peter Zumthor. [online] Available at: http://architecture.about.com/ od/greatbuildings/ig/Peter-Zumthor-/Luzi-House.htm#step-heading (Accessed 20 Feb 2015). Day, C. (1990). Places of the Soul. Architecture and Environment Design as a Healing Art. 2nd ed. London: The Aquarian Press. p71-80. Diener, Diener. (1992). From City to Dwellings, Selected Buildings. Berlin: Ernst & Sohn. Douglas, M. (1986). (cited in Lane, 2007)How Institutions Think, Syracuse, New York.: Syracuse University Press. Duzer, L. (1994) Villa Muller. A work of Adolf Loos. The Subjects of the Raumplan. Evans, R. (1978). Figures, Doors and Passages. In: Translations from Drawing to Building and other Essays. London: AA. p88. Evans, W.,Hartwitch, O. (2005). Unaffordable Housing. Fables and Myths. [online]. Available at: http://www. policyexchange.org.uk/images/publications/unaffordable%20housing%20-%20jun%2005.pdf (Accessed 03 Mar 2015]. Fabach, R. (2006) Zum Haus Liliane und Valentin Luzi von Peter Zumthor. [online] Ausfahrten. Available at: http://www.ausfahrten.com/ausfahrten/stand21.htm (Accessed 15 Jan 2015). Foster, J. (1977). The Influence of Rudolph Laban. London: Lepus Books. Frankl, P. (1979). Literary Architecture, Los Angeles: University of California Press.

Reinterpreting the Contemporary Dwelling

Govela, L.,O. (2014). How tech giant Airbnb is rewriting the rulebook on domestic architecture and fueling a housing crisis. The Architectural Review. September. Heidegger, M. (1975). Poetry, Language, Thought. Building Dwelling Thinking. New York: Perennial Classics. Holliss, F. (2015). Beyond live/work. Planning in London. First issue 67 Oct-Dec 2008. New York: Routledge. Holliss, F. (2007). The workhome... a new building type? London Metropolitan University. PhD. Jarzombek, M. (2010). Critical Enquiry. Vol. 36, No. 4. Corridor Spaces, p. 728-770. Kelly, C. (2013). What makes a good home. [online] The Architectural Review. Available at: http://www.architectsjournal.co.uk/home/more-homes-better-homes/what-makes-a-good-home/8644189.article (Accessed 25 Oct 2014). Kent, S. (1990). Domestic Architecture and the use of space. Cambridge: University Press. Lane, B.,M. (2007). Housing and Dwelling. Perspectives on Modern Domestic Architecture. New York: Routledge. Leishman, C., Aspinall, P., Munro, M., Warren, J. (2004). Preferences, quality and choice in new-build housing. York: York Publishing Services Ltd. Loos, A. (1962) Das Prinzip der Bekleidung (1898), pp. 105-112. M端ller, M. and Niggli D. (2012) Learning from Tokyo. [online] Available at: http://www.em2n.ch/press/textsbyem2n/learningfromtokyo (Accessed 01 Mar 2015). Neale.,J. (2009). Improving Housing Quality. Unlocking the Market. London: RIBA. Pile, J. (2005) A History of Interior Design. London: Laurence King Publishing Ltd p.332-335. Poveda, P. (2009). Christian Kerez. Nr 145. El Croquis. Madrid: Idea Books. Psarra, S (2009). Architecture and Narrative. The formation of Space and Cultural Meaning. Abingdon: Routledge. Reza Shirazi, M. (2014). Towards an Articulated Phenomenological Interpretation of Architecture: Phenomenal Phenomenology. New York: Routledge. Rossi, A. (1984) (cited in Alrock, Gunter, Hunning, Peters, 2006) A Scientific Autobiography. Massachusetts: MIT Press. Rowe. C, (1984). (cited in Lane, 2007) The Mathermatics of the Ideal Villa an Other Essays, 3rd prnting, Cambridge, Mass.: MIT Press.

Reinterpreting the Contemporary Dwelling

Schneider, T. & J. Till (2007). Flexible Housing. London: Architectural Press. Tegethof, W. (1985). Mies van de Rohe: The Villas and Country Houses. Boston: The MIT Press p.97 TUM Studio Krucker Bates. (2013). Territorial Density. Collective Living in Copenhagen. Munich: TUM University Press. Tuan, Y. (1977). Space and Place: The Perspective of Experience, Minneapolis: University of Minnesota Press. Tschumi, B.(1995). Questions of Space. London: Bernand Tschumi and the Architectural Association.

Lectures: Sergison, J., Bates, S. (2014). On Continuity. Harvard Architecture Department Lecture series. [online] Available at: http://www.gsd.harvard.edu/#/events/lecture-jonathan-sergison-and-stephen-bates.html (Accessed: 10 October 2014). Kerez, C. (2012). ‘The Rule of the Game’. Kenzo Tange Lecture. [online] Available at: http://www.gsd.harvard. edu/#/media/the-rule-of-the-game-christian-kerez-2012-kenzo-tange-lecture.html. (Accessed: 20 February 2016).

Websites: David Chipperfield Architects. (2008). Ninetree Village, Hangzhou. Available: http://www.davidchipperfield. co.uk/downloads/projects/15/ninetreevillage dca.pdf. (Accessed 18 Feb 2015). EM2N Architecten. (2011) Housing Im Forster, Zurich, Switzerland. [online] Available at: http://www.em2n.ch/ projects/imforster (Accessed 01 Mar 2015) Sergison Bates Architects. (2005). 34 Studio House, London. Available: http://www.sergisonbates.co.uk/Pages/3.34%20Coate%20street.htm. (Accessed 22 Dec 2014).

Book Reviews: Graafland A. (2006) Peter Eisenman: ‘The Formal Basis of Modern Architecture’. Nanjing Univeristy

Reinterpreting the Contemporary Dwelling

List of Figures Figure 1 Apartment for collective living, 1:20 model, Studio Krucker Bates, Erasmus exchange 2013 (Author’s image) Figure 2 Floorplan spatial relationship diagram, Studio Krucker Bates, Erasmus exchange 2013 (Author’s image) Figure 3 Isovist diagram (Author’s image) Figure 4 Space Modules of the Arms and Legs I (Kirstein et al. 1953:2). Available: <http://people.brunel.ac.uk/bst/vol1002/stanwijnans/stanwijnans1.jpg> [11/10/2014] Figure 5 Coleshill, Berkshire plan by Sir Robert Pratt (1650). Available: <http://wallpanelling.co.uk/images/history/history-oak-wall-panelling-62-architectural-periods-plan-coleshillberkshire.jpg> [10/12/2014] Figure 6 Amesbury House plan by John Webb (1661). Available: <http://file.scirp.org/Html/4-1260017%5C84d67adc-96f3-49a9-90b5-505f79adbec1.jpg> [10/12/2014] Figure 7 Floorplan of House of Olynthos, in Greece, Fourth century B.C.(from Kent, 1990, p. 98) Figure 8 Diagram showing frictionless living through improvement to circulation. By Alexander Klen 1928. Available: <http://isabellazulli.files.wordpress.com/2014/05/screen-shot-2014-05-04-at-9-37-36-pm.png> [15/11/2014] Figure 9 The Corridor scene from the movie Repulsion by Roman Polanski 1965. Available: <http://nickyarborough.com/wp-content/uploads/2014/12/Wall-hands.jpg> [16/11/2014] Figure 10 The Lace Maker by Wybrand Hendriks (Dutch painter, 1744-1831). Available: <http://ichef.bbci.co.uk/arts/yourpaintings/images/paintings/brhm/large/es_brhm_bns_027_008a_large.jpg> [12/10/2014] Figure 11 Living Space of Villa Muller House in Prague by Adolf Loos (1930). Available: <https://rosswolfe.files.wordpress.com/2014/03/po-dostavbc49b-stavba-1928e280931930-2. jpg?w=1000&h=&crop=1> [07/02/2015] Figure 12 Axonometric of Loo’s Muller House (Prague, 1929-30). Available: <https://architecturality.files.wordpress.com/2011/02/01modern-architecture_colquhoun_82_80_01.jpg> [07/02/2015] Figure 13 Blackhouse, traditional type of house which used to be common in the Scottish Highlands from 17th to 20th century. Available: <http://www.cindyvallar.com/blackhouse.jpg> [01/02/2015] Figure 14 Plan of Black House C, built in the 1830s and lived in by the Gillies family. Available: <http://www.kilda.org.uk/images/large/rcahms-416646.gif> [01/02/2015] Figure 15 Brick Country house by Ludwig Mies van der Rohe (1924). Available: <http://places.designobserver.com/media/images/heymann-folk-art-2-zoom.jpg> [03/01/2015] Figure 16 Lounge area, Villa Tugendhat by Ludwig Mies van der Rohe (1930). Available: <http://www.architectural-review.com/Journals/2012/06/20/x/a/m/PLANS.jpg> [02/02/2015] 67

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Figure 17 Axonometric drawing of House I by Peter Eisenman. Available: <http://www.remixtheschoolhouse.com/sites/default/files/eisenman%20house%20i%201.jpg> [08/01/2015] Figure 18 Timeline of important moments in the evolution of domestic space (Author’s image) Figure x. Interior space of 34 Studio House, London. Available: <http://s3.amazonaws.com/europaconcorsi/project_images/4521680/34-IM-06_full.jpg> [18/01/2015] Figure 1. Homeworkers as percentage of all workers, England 2014. Available: <http://www.architectsjournal.co.uk/pictures/606x422fitpad%5B0%5D/2/8/3/1399283_4.jpg> [02/01/2015] Figure x. 18-30 year olds in private rentals and owner occupation. Available: <http://www.architectsjournal.co.uk/Pictures/web/x/j/v/_380.jpg> [02/01/2015 Figure 17. Interior space of the House with One Wall 2012. Available: <http://1.bp.blogspot.com/-d2ZVEZB8T-o/Tpw9b_jtq8I/AAAAAAAAAPk/zFRsKCIQyh4/s1600/img023.jpg> [10/02/2015] Figure 18. Fig. 18 Timeline of important moments in the evolution of domestic space (Author’s image) Figure 19 Homeworkers as percentage of All workers. Source: Office for National Statistics. Figure 20 Projected number of 18-30 year old in private rentals and owner occupation. Source: Clapham et al 2012 Figure 21 Façade perspective, 34 Studio house, Sergison Bates © Ioana Marinescu. Available: <http://4.bp.blogspot.com/-f8Nx9k2Kt44/VCR28lmrDjI/AAAAAAABblg/MHFAjST2ytA/s1600/Sergison%2BBa tes%2BArchitects%2B.%2BStudio%2Bhouse%2B.%2BHackney%2B%2B(1).jpg> [13/10/2014]

Figure 22 Floor plan diagram showing movement directions and spatial layout,34 Studio house (Author’s image). Figure 23 Floor plans, 34 Studio house (Edited by Author). Available: <http://2.bp.blogspot.com/-RI90Lwk35Js/VCR29ZN5CNI/AAAAAAABbls/dNesjLAVN8k/s1600/Sergison%2BB ates%2BArchitects%2B.%2BStudio%2Bhouse%2B.%2BHackney%2B%2B(14).jpg> [13/10/2014] Figure 24 Ground floor view looking towards the loggia space, 34 Studio house. Available: <http://4.bp.blogspot.com/-BNDG-MnVPYo/VCR3BYq-0dI/AAAAAAABbm0/98l9FAHzlTU/s1600/Sergison%2B Bates%2BArchitects%2B.%2BStudio%2Bhouse%2B.%2BHackney%2B%2B(7).jpg> [13/10/2014] Figure 25 Top floor view, 34 Studio house. Available: <http://4.bp.blogspot.com/-5qqgalnj2Bo/VCR3CV-iDfI/AAAAAAABbnA/CNOsG3OfBDM/s1600/Sergison%2BB ates%2BArchitects%2B.%2BStudio%2Bhouse%2B.%2BHackney%2B%2B(9).jpg> [13/10/2014]

Figure 26 Ground floor view, looking towards the outdoor space, 34 Studio house. Available: <http://2.bp.blogspot.com/-QZlWuUxzRAk/VCR3Bvrq2DI/AAAAAAABbmw/MdHDGlyYjZ8/s1600/Sergison%2 BBates%2BArchitects%2B.%2BStudio%2Bhouse%2B.%2BHackney%2B%2B(8).jpg> [13/10/2014]

Reinterpreting the Contemporary Dwelling

Figure 27 House Casa A1 by Diener & Diener, 2006. Available: <https://s-media-cache-ak0.pinimg.com/236x/8f/41/0a/8f410af9bab6aa91f25350bf8ac07233.jpg> [15/12/2014] Figure 28 Floorplan layout diagram showing visual richness and referencing the historic enfilade. (hatches areas idicate outdoor space) Diener & Diener Architecten. (Author’s image) Figure 29 First floor plans of the House in the Olympic Village. Diener & Diener Architecten. (Edited by Author) Available: <https://s-media-cache-ak0.pinimg.com/736x/8f/05/fe/8f05fe261327519ec0f292681d8f1e1d.jpg> [13/01/2015] Figure 30 Villa Malmarana by Palladio 1540. Available: <http://media.archinform.net/m/00000441.jpg> [13/01/2015] Figure 31 Arial view of Ninetree Village housing, 2008, Davind Chipperfield Architects. Available: <http://www.davidchipperfield.co.uk/img/projects/311/b/682_08_d_tys_n2.jpg> [12/02/2015] Figure 32 Floor plan diagram showing domestic space and its flow defined by solid elements. Ninetree Village housing, 2008, Davind Chipperfield Architects (Author’s image) Figure 33 Floor plan of Ninetree Village housing, 2008, Davind Chipperfield Architects (Edited by Author). Available: <http://www.davidchipperfield.co.uk/img/projects/667/b/682_ninetreetyp_n3.jpg> [12/02/2015] Figure 34 Outdoor loggia space, Ninetree Village housing, David Chipperfield Architects. Available: <http://www.davidchipperfield.co.uk/img/projects/309/b/682_09_cr_080529_n34.jpg> [12/02/2015] Figure 35 Lounge space, Ninetree Village housing. Available: <https://encrypted-tbn2.gstatic.com/images?q=tbn:ANd9GcT_7NC2O9yrLtJPP7KV9u17Ylkh3TATXy2v5hMMS MukOQQBc5Fn> [13/01/2015] Figure 36 Architectural floorplan model, Ninetree Village housing. Available: <http://s3.amazonaws.com/europaconcorsi/project_images/589518/994683407_large.jpg> [08/01/2015] Figure 37 Exterior perspective, House with One Wall, Christian Kerez © Walter Mair. Available: <http://ad009cdnb.archdaily.net/wp-content/uploads/2015/02/54f14ee7e58ece7e10000232_house-withone-wall-christian-kerez_01_exterior_-walter_mair-530x404.jpg> [12/02/2015] Figure 38 Floorplans, House with One Wall, Christian Kerez (Edited by Author). Available: <http://ad009cdnb.archdaily.net.s3.amazonaws.com/wp-content/uploads/2015/02/54f14da6e58ecea943000 1e4_house-with-one-wall-christian-kerez_concept_100-125x125.png> [12/02/2015] Figure 39 Lounge space, House with one wall by Christian Kerez. Available: <http://ad009cdnb.archdaily.net/wp-content/uploads/2015/02/54f14c0be58ece8925000200_house-withone-wall-christian-kerez_07_l02_north_-walter_mair-530x406.jpg [12/02/2015] Figure 40 Staircase view towards top floor, House with one wall by Christian Kerez © Walter Mair photosgraphy. Available: <http://ad009cdnb.archdaily.net/wp-content/uploads/2015/02/54f14bd6e58ece89250001ff_house-with-onewall-christian-kerez_03_staircase_north_-walter_mair_-walter_mair-530x691.jpg> [12/02/2015] 69

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Figure 41 Space for multiple use, House with one wall by Christian Kerez © Walter Mair photosgraphy . Available: <http://www.archdaily.com/wp-content/uploads/2015/02/54f14c23e58ece7e1000022f_house-with-one-wall-christian-kerez_portada_06_l02_south_-walter_mair.jpg> [12/02/2015] Figure 42 Concrete mode showing structure, House with one wall by Christian Kerez. Available: <https://archiscapes.files.wordpress.com/2014/10/christian-kerez-house-with-one-wall-zurich-7.jpg?w=320> [12/02/2015] Figure 43 Housing In Forster by EM2N Architecten 2011, © Roger Frei photography. Available: <http://ad009cdnb.archdaily.net/wp-content/uploads/2013/06/51aea420b3fc4b225b0000f8_housing-im-forsterem2n_063_fot_frei_obj_ar_112677-528x396.jpg> [01/02/2015] Figure 44 Corner flat diagram showing generous living space and the connection to bedrooms (hatched area indicates loggia space). Housing In Forster by EM2N Architecten 2011 (Authors image) Figure 45 Part of first floor housing In Forster by EM2N Architecten 2011 (Edited by Author). Available: <http://www.archdaily.com/wp-content/uploads/2013/06/51aea4adb3fc4b225b0000fb_housing-im-forster-em2n_ floor_plans_-5-.png> [01/02/2015] Figure 46 Loggia space, Housing In Forster by EM2N Architecten 2011, © Roger Frei photography <http://www.archdaily.com/wp-content/uploads/2013/06/51aea453b3fc4bf3fc0000c4_housing-im-forsterem2n_063_fot_frei_obj_ir_081412.jpg> [01/02/2015] Figure 47 Corner flat, Housing In Forster by EM2N Architecten 2011, © Roger Frei photography. Available: <http://www.archdaily.com/wp-content/uploads/2013/06/51aea45ab3fc4bbb7a0000e9_housing-im-forsterem2n_063_fot_frei_obj_ir_083229.jpg> [01/02/2015] Figure 48 Luzi house, Peter Zumthor 2002 © Walter Mair photosgraphy. Available: <http://41.media.tumblr.com/e12f53e09cd85b4402e2492c05df7c98/tumblr_n6kfv5ekW31qat99uo5_1280.jpg> [05/03/2015] Figure 49 First and second floor plans. Luzi House. Peter Zumthor (Edited by Author). Available: <https://encrypted-tbn2.gstatic.com/images?q=tbn:ANd9GcQEvp7vnibwNoo7e-xnE8Bav8RXZDByzOf1lhaIJsZCE6l_ cpka> [05/03/2015] Figure 50 Floor plans diagram showing movement and living space relationship with bedrooms. Luzi House. Peter Zumthor (Author’s image) Figure 51 Interior View. Luzi House Peter Zumthor. 2006 © Walter Mair photography.Available: <http://40.media.tumblr.com/0f7a440fc0c92568b9eb1c15a0ec2d6c/tumblr_n6kfv5ekW31qat99uo2_500.jpg> [05/03/2015] Figure 52 Dinning Space. Luzi House Peter Zumthor. 2006 © Walter Mair photography.Available: <http://41.media.tumblr.com/956f2b7ff041a01dd7fb10bf84f51647/tumblr_n6kfv5ekW31qat99uo3_500.jpg> [05/03/2015] Figure 53 Facade fragment. Luzi House Peter Zumthor. 2006 © Walter Mair photography. Available: <http://41.media.tumblr.com/21d8c20edb95021fb91a4e321303aae2/tumblr_n6kfv5ekW31qat99uo1_500.jpg> [06/03/2015]

*Diagrams drawn in the design recomendations afterwards are author’s images.

Reinterpreting the Contemporary Dwelling