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    © All Rights Reserved
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    20 views236 pages

    Architectural Design - Houses

    Uploaded by

    Toni Tanase

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    © All Rights Reserved
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    Autor Carles Broto Editor Arian Mostaedi & Josep M® Mingvet Director Editorial ‘Arian Mostaedi Asesor Edvard Broto, Doctor Arquitecto Equipo Editorial Coordinadora Editorial: Julie Romeo, Architect Coordinadora: Cristina Soler Fotografias ‘JeanMarie Monihiers, Dominique Henrie! (10-19), Tita Lumio (20-25), Rauno Taskelin / Pekka Helin (26°31), Juom Rodriguez (32:39, Sinichi Solow / Shuichi Kobar (40.47), Robert Reck / Barbi Benton / Bart Prince (48-53). Alon Weintraub (54-59), Eric Sierins (60-69), Nacdso & Pariners (70-78), Mitsuo Motsvoko (8089), Luis Fereic Aves {0-101}, Doniel Mayer (102:111], Behnisch & Portner, Christian Kandzta (112-121), Reiner Blunck (122-129) Pino Musi {130-135}, Marco D’Anna (136-141), Jordi Bernadé / Eduard Bru (142.151), Daniel Calotoyed (5. 161), Par line (162-171}, Akeson Lindman / Goran Westman SK Arkitekter (172-181), Yeonne Gauthier / Pe Cruz {182-193}, Elie Mouyal (194205), Lourdes legorrela (206-221), Andrea Marlradonna ond Cesar Sts (222.231), “Courtesy of Michoel Graves Architect” / Marek Bula (232239) © Copyright: Corles Brote i Comerma ‘Ausios Mare 20, 42 (08010 BARCELONA, Tek: 34 93 301 2199 Fax: 34.93 302 67 97 Todos los idiomas (excepto espa! {© Copyright: Insure Monso de Ediciones Groving, 43 (08930 Son Acid de Besés, BARCELONA Tel: 34.93 981 00.50 Fax: 34.93 381 00.93 Mioma espatel ISBN; 24.96426510 ISBN obra completo: 8486426537 Fotomecdnica: BCN Folomecénica Impreso por LGFOSA Pope! C. Burgo R-400 CHORUS BEILLO 2/e do 150 ors. Enevadernado por Tecnbinder st prohibida la raproduccin ttl o parcial de ae bro, sv recoplacion en un sistema informatico, sy onsmsion er acim forma o medida, ya wea electronica, mecanica, por folacopia, regio o bien por otros madios, sin el previo permsc » Bor es to de los iuores del Copyright [No port ofthis publication may be reproduced, stored inrtrieval system or transmitad in ony form or meoms. mmm mechanical, photocopying, recording of therwise, without the prot wrilen permission of the owner of he Each period in history inscribes in architecture, in its ‘own particular way, the nature of the relations between public and private life. These relations are ‘also expressed with great diversity according to the geography. Today, the collective utopias of the urbanism of the modern movement have beon ‘abandoned, leaving towers and apartment blocks os the blackest symbols of intensive development. And though there is a renewed interest in the city through the rehabilitation of historic town centres, the detached single-family house is still the most powerful emblem of society's ideal and of the hope for « happy life. The Kraan Lang house, located in a traditional rune zone of Switzerland that was destroyed by the speculation of the sixties, is an abrupt but significant illustration of this phenome- non, though its fragile and ephemeral appearance is in contradiction with the ultimate dream of the house: being inhabited by the traces of time and memory. For an architect, constructing the architectural framework of private space is a very peculiar pro- ‘gramme, an experience related to the labyrinths of Psychology. How are the respective identities of the client and the architect combined? Is the dwelling the reflection of the soul of its inhabitants? Or, as Vicente Verdo states, is it "by parts @ choice and a penitence. An exercise of power ond servitude. A face ‘ond a mask" What is important in o house: its ‘appearance, inhabiting it? The subject is so rich and complex, so vast that we have decided to approach it in two volumes. This first volume deals more with the compositive logic, the construction and the ut forgetting the interior spaces. The second volume focuses on exploring the intimacy of the place of daily life: its organisation and the interior design. Here we present many different points of view on the relation to the environment. The wet and windy cli- mate of Norway serves as a pretext for recovering, in the singular style of the house in Bryne, the nostal- gia of the nest, the protective maternal shell. Some architects seek fusion, an identification with the landscape, os in the Baido house in Portugal. Others prefer to oppose themselves forcefully to the exter- nal world, either in order to put nature in order, as in the Daro house in Switzerland, or to mitigate the disorder of other men, as in the concrete shell of the Cade época hisérica escribe en ks pater manera, el corécier de las relociones ente io putin privado. Estas relociones se exprescm tomer y de paz. las llamativas realizaciones americana mass ran la alegria, la libertad, la opulencio. Un sirtin de a fos especiales acusa su carécler de piezo inicos, mat zados @ medida para un destinatario porscuce Es imposible pasar revista de las diversas postu ue expresan en estas paginas en materic de interac potsoje, pero hay que destacar que los costes amine les, hoy en dia, no se pueden ignorar. 6 cad i te drientacién y el aprovechamiento ménimo cl ha ae 5 un tema recurente en el libro; en alguns proyec voluntad ecolégica intoduce innovociones 2m = came treccién, como en fa casa Charlote. innova me siti borrar u ohidarse de! le, misma case nce nos recverda la solvcién que Loos, enfientodo o wme steer cién comparable, exporiments en la caso Steiner, ae Viena de 1913. la historia, el respeto por el pamimenic como en la casa Calalayud, que se despliega abedickor de una torre de delensa del siglo X. como si feese se este che, son protagonistas importantes en muchas peoyect El clasicismo de la Warehouse y de lo Vilazz: K> ies rocién de la orquitechira tradicional: mexicana = ies casas Valle Bravo y Alle, fnlandesa en la Nysim. gar citar algunas, cohabitan con proyectos racionalsies, com cobras en la radicién del movimiento moderna. Perleclomente.infegrados en sus respectivas contexts geoardlices y culurales, la Maison du Bougmesie (Bat gical y la Maison Defourcaul (Maruecos} dibujon. mes cll de su lenguoje arquitecténico, la intenciée de sae uores: contibuir a un vaste proyecto ambiental, social y econémico basado en la revalorizacién del sovxrtowe y de la especificidad de las trodiciones constuctivas de ‘una regién 0 de un pais. Hacer de esta publicacién una obra abient y de gro riqueza de opinién, y acercamnos « la complejicdod de realidad contemporénea, con su muliplicidod de exn= riencias, a veces incluso contradictorias, es lo que mas ha desperiodo nuesto entusiasmo, Jolie Roman Lucien Dominique The design of this single-family house dwelling in Nancy responds to a bosic factor: the adaptation of the building to the physical characteristics of the site, ‘and therefore to the landscape. Located in a resi- dential district, the plot has a steep slope of almost four metres that ensures privacy, and a trapezoidal shape. It is set between two streets, Rue de la Cate and Rue Marquette. The solution adopted was that of conceiving two volumes whose orientation was dictated by the situ- ation of the streets: a body aligned with Rue Mar- {quette in the direction south east to north west and «@ body aligned with Rue de la Céte with a north- south orientation. The project is defined by the inter- section of these two volumes and the solution of their facades. The first is @ porallelepiped that houses the entrance, which is on the south-east facade, giving access to the house by means of a service staircase. A white steel gate protects the Property and gives access to the underground gorage. The second is a cubic volume that has greater physical and visual relation to the exterior. The south east facade giving onto the street characterised by its hermetic appearance, featuring narrow glazed horizontal strip. However, the focades defined by the intersection between the two volumes have a more open design, which is suited to their relation to the more open spaces. This volu- metric arrangement serves to ensure privacy and to establish @ close relation between the interior pro- gramme and the swimming pool and garden fat fies. The south facade is protected by a brise-soleil in white steel and natural wood. The interior programme is distributed between two floors according to the oblique encounter between the ‘two volumes. Rather than creating residual spaces, this perfectly structures the internal communications ‘ond makes full use of the natural light and views. Maison a Naney (Nancy, France) 1995 El proyecto de esta viviendo wn = concibe a partir de un factor basico: le ocomodtacicm cial edificio a las caracteristicas fisicas de! emplazamient> por tanto, al paisoje. Sitado en vn boro residenck ol ‘olor se caracteriza por presentor unc importante ar diente de casi cuatro metros y una forme encastada enire dos calles, la Rue de fo Cie y fo Rae ‘Marquette. Ademds, el tereno asequo sv primacidad {a olucién adaptada ha sido lo de concebir dos wal imenes cuya orientacién viene dictade por ka steacite ie dichos calles: un cuerpo hacia la Rue Marquet en ce cién sudestenordeste, y otro alineado © ve de ie ‘Céte orientado de norte a sur. Lo intersec de ese: os volimenes y su resolucién de fachoc bos que definen el proyecto. EI primero es un porolelepipedo que clberga la entrada, cuyo acceso se realize por da sudesie, a través de una escalera de Portén en acero blanco protege el acceso y pes ‘entiado ol goraje sublerréneo. El segundo es un volumen cébico que presenta una mayor relacién fisica y visu con el exterior. 1a fochada sudeste, abocada hacia lo cole, se comme feriza por su aspecto hermético, en el que se destoce une estecha franja horizontal acristlada. Sin embargo, fos clzados definides por la interseccién enke los dos vale ‘menes'presentan un dlseiio més abierlo, adecuade @ se relocién ente el programa interior y los insialaciones de piscina y jardio. En lo fachada sur destaca, ademas, fe disposicién de un bisesolell protector, realizado =r ‘acer0 blanco y madera natural. El programa doméstico se distibuye en dos plantas en funcién del encuentio oblicuo entte ambos volimenss que, lejos de crear espacios residvales, esmuctuo o pperleccién las comunicociones inernas y permite us ops vechamiento maximo de ka luz natural y los vistas wall that surrounds the property, Jos} and structural detail of the wall, win sees ane san serven om the south facade, 4e piedra que circunda la propiedad, proteccion y detalle estructural de la » proteceidn solar dela fachada sur. be soe Noor and several views that show the subtle capturing of natural light yess given to finish and details, » rerio y varias imgenes que reflejn la sul captacibn de luz natural y . cidado de acabados y detalles, (eft — fot — 84 mo iif aa Villa Mira (Kauniainen, Finland) 199 Villa Saga (Island Ersholmen, Finland) 199 These two houses by the Finnish studio Helin & Siitonen share two fundomental premises: the adap- tation of the building to the site, and an articulation of their volumes which facilitates the visual encom- passing of the landscape and, above all, the north- cern light. In this way a unique interaction is achieved between space ond variations in the light with the Passing of the hours and the seasons. A glance at the plans of Villa Mira shows these compositional parameters; the various volumes which make up the buildi determining axis -the stoircase- which exchanges its habitually subordinate stotus for one of paramount importance. This affects both the exterior and the interior image; the three main bodies are articulat- ed with oblique junctures allow full advantage to be taken of the outdoor views by means of windows ‘ond roof-lights providing ample light in the interior. As a result, none of the internal rooms follows a square or rectangular format, the predominant plan being trapezoidal. The volumetric complexity of Villa Saga is not os ‘great as in the project described obove, as the house hinges round two main axes corresponding to two paths, one leading down to @ small cove on the island of Ersholmen, where the house is located, the other providing access to the independent body housing the saunc. In this villa special attention has been paid to the relationship between the building cond its environment by means of the formers external features: steps, railings, controsting wall materials (wood, glass ond natural light), terraces and bol- conies, though which the house adapts fo the uneven ground. Estas dos viviendos del estudio fnlondés Helin & tonen comparten dos premisas fund tacién del edificio al terreno y una artic menes que fovorezco la coptacién sobre todo, de la luz del norte. Con una singular inieraccién entre el espe nes luminicos, tanto en el tanscurso del do co estacional Una simple ojeada o los planos de la V ‘len opreciar estos parametros de compos tints volimenes que conforman el edi je determinanie, el de la escalera, habitual estatus de subordinacién tonto en ‘ior como en la interior: asi, los oblicuos mmiten un mejor aprovechamiento de las vistas exteriomes que son enfatizades mediante acrstalamientos y clams yas que favorecen fa iluminacién del interior; en conse ‘cuencia, ninguna de Jas dependencias inlemas obec al formato cuadrado © rectangular, sino que dom: pplonia tropezoidol. Por lo que respecta o la Villa Sago, la complejice volumética no es tan acusada como en el pues la vivienda se onicula en tomo a de es que se comresponden con dos caminas: el que com nica con una pequetia cala de la isla Ersholmen y da acceso af cuerpo independiente de lo souna caso de esta vilo, se ha prestado especial atenciéa relacién del ediicio con el entorno a través de los ale menios exteriores: escaleras y barandillas, cox o materiales murales (madera, cristal y lz nakwal. teas balcones, gracias « los cuales la vivienda se adage a i caccidentada topogralia del tereno 20 4 roe | / a Vj -- \ ' Bee. rT pay solved with a ghized see tion which protects. the central core formed by the stairwell, rfcleo central de la esclera First floor plan —_ Planta det primer piso & LORS i Wbbttiny yyy Hh Alvaro Casa Figueiredo (Valbom-Gondomar, Portugal) 1994 Figueiredo House, in Valbom-Gondomar, is an excellent example of Alvaro Siza's mastery in com- posing volumes and geometries of great simplicity. The architects skill lies in the way that he fits them together, creating new forms and physical relations that enhance the quality of the interior spaces and the development of the visual perspectives of the exterior. This dwelling is located on a small level plot on cone side of the volley where the river Douro crosses the plain on arriving at the city of Oporto. It is arranged on two levels in a symmetric composition based on the intersection of two simple figures: 0 rectangle where the greater part of the layout is developed, and on octagon which establishes a basic structural difference between the two storeys. The ground floor is ordered by the axis of the cor- ridor, around which various rooms are distributed. Here, the upper level octagon can only be discerned by the support columns, The building extends in the form of a ship's prow, opened to the landscape through ample windows. The octagon plays @ dominant role on the upper level. The bedrooms gravitate toward it and the vol- umetric imbalance that if creates between the levels collowed for a terrace facing the gentle landscape of the valley. ‘The difference in volumes is also reflected in the facades in the complimentary contrast between the curvature on the lower level ond the more severe geometry of the upper level. Nevertheless, the uni- form white and the modulation of openings unifies the building. Finolly, a porch extends from the body ‘of the annex to the entrance of the house. 32 la casa Figuereido, en ValbonGondomar, constivye un magnifico ejemplo de la maestria de Alar Siza en la composicion de volimenes y geometias de gran simp cidad, La habilidad del orquitecto portugues reside en el modo de marcarles, creando nuevas formas y relaciones fisieas que favorecen tanto la calidad de los espacios inferiores como el aprovechamiento de las perspectivas visuales del exterior. sid vivienda se sitia en un pequerio terreno plano, ‘emplazado en uno de los mérgenes dei valle por donde al ro Duero cruza el aliplano al legar a Ja ciudad de pot. El programa se estructura en dos plantas, en una ‘composician simética basada en la interseccién de dos figuras simples: el recténgulo, en el que se desarrala lo mayor parte del programa doméstico, y el octégono. Sin embaigo, este titimo establece una diferencia bésica enite los dos niveles de viviendo, En la planta inferior, ordenada por el eje del corredor entomo al cual se disbuyen las dstntas dependencias, ef octégono sélo se adivina estuctiralmente, gracias 0 las columnas de soporte: el edifcio se prolonga en una especie de proa de barco, abierta hacia el paisoje mediante sugestivos ventanales En el nivel superior, el actbgono ejerce un papel dom: rnante, En tomo al mismo gravitan los distntos dmitoris ubicados en esta planta. Ademas, el desfase voluméitico ent fos dos niveles permite la creacién de una pequefia ferraza enfentade ol suave poisoje del valle Esta diferenciacién de volimenes también se reflja en fa composicién de los alzados, con suaves requiebros, y el contrasie entre fa curvatura del nivel inferior y la geo meio més severa del superior. Sin embargo, el croma tismo blanco y la modulacién de aberturas unifica el con- junio. Finalmente, una marquesine se extiende desde las Ccuerpos de los anexos a ala enlvada de lo casa. the building evokes the prow of a ship being steered toward the River Douro from the law Ground floor ranta baja Rob Shuichi Sasaki-Tei (Tsul In the design of this project, Sasaki House, it was essential to strike the right note with the large car park for the Kurihara Auditorium, located alongside the western edge of the site, and to create a dialogue between 2 volume yet to be built and the bamboo grove which grows on the southern side, where the ‘ascending slope of the site finishes. On the one hand, the large car park would lend a certain monumental quality to its surroundings, but on the other, it was likely to bring with it a number of disadvantages: it would channel the strong wind that blows from Kurikoma Peak and leave the house exposed to the strong summer sun. Furthermore, it would open the hou- se up to the public gaze when concerts are held at the Auditorium. An extended volume was therefore plared on a north-south axis alongside the car park. This cuts off the strong wind, noise and the public eye ‘and enables the creation of a calm, private space: the living room. The western facade of the house is defined by two layers of skin; the inner one, designed in accordance with the function the space demands of it, is stag- gered to avoid glare from the setting sun, whereas ‘the outer one, built in rustproof metal mesh, is more uniform and prevents leaves and snow transported by the wind from forming drifts, as well as blocking the view from the car park. The southern edge of the plot is delimited by a grove of tall bamboo which provides a pleasant view but has the negative affect of blocking the light in the ‘winter, when the sun is lower in the sky. To combat this, a horizontal opening was created at the top of the buil- ing. For its solidity, concrete was chosen as the building material for the ground floor, to communi- cate the image of continuity with the ground. This contrasts with the volume of the first floor, which incorporates two diagonal cuts and is buit in a lighter material, wood, to express the relationship with the bamboo and its whimsical, fake growth pattern late, Japan) 1995 Para disefar este proyecto, la casa Sasaki, era muy importante e! tratamiento del gran aparcamiento de! Kurihara Auditorium, situado junto al lado oeste de! terreno, y mantener un didlogo entre un futuro volumen y el bosque de bambi, que crece al lado sur donde ter ‘mina la pendiente ascendente del terreno. Por un lado, este gran aparcamiento dejaré a la obra una maravillosa vista y una cierta monumentalidad del edificio con e! entorno. Pero, por otro lado, implica algunos inconve- nientes; conduce el fuerte viento que proviene de la ‘montafia Kurikoma y deja paso al fuerte sol del verano, Ademés, permite la intrusién de los ojos del publico ‘cuando hay concierto en el auditorium. Asi pues, se tubicé un volumen expandido de sur a norte justo al lado del aparcamiento: corta el fuerte viento, los ruidos y las miradas ajenas y provoca la creacién de un espa- Gio intimo y tranquilo: la sala de estar. La fachada oeste est definida por dos capas de piel: la interior, disefiada segtin la funcién que pide el espa-

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