It does not get extensive to notice that the driving aesthetic driving this freshly revamped 6,500-sq.-foot Beverly Hills residence is the dramatic sights of the Santa Monica Mountains, which surround it. It is obvious outside the house, as 1 passes by a vintage silver Porsche Carrera, as effectively as inside, in which flooring-to-ceiling home windows show up as frequently as head-turning performs of art.
“The shoppers are passionate collectors of art and style objects…so we understood their selection required to participate in a critical role,” David Lucas, inventive director at Seattle-centered inside architecture and style studio Lucas, says of his clients—a New York couple who moved to Los Angeles to be nearer to their grandchildren.
“The objective from the beginning was to create a genuine heat to the home’s measurement and scale,” adds Suzie Lucas, David’s sister, as properly as the firm’s cofounder and principal designer. (Their other sister, Rachel Lucas, joined the loved ones enterprise later and now serves as functions director.) “That’s constantly a challenge with a area like this, but notably when you have a shopper with this kind of an considerable variety of artwork and furniture.”
The dwelling is located in the Los Angeles neighborhood of Trousdale, a neighborhood of upscale dwellings perched at the highest point of Beverly Hills that is loaded in midcentury-modernist heritage. The unique growth, identified as Trousdale Estates, dates back again to the 1950s when stars, which includes Elvis Presley and Frank Sinatra, built tailor made homes there. —Troy J. McMullen
Following they moved from New York to Los Angeles in 2019, it took a whilst for Laure Heriard Dubreuil and Aaron Young to come across the sweeping midcentury present day property they now share with their children, Marcel and Marguerite, ages 8 and 3. The view “sealed the offer,” claims Youthful, detailing how the couple’s three-yr research halted on a dark winter season night time when they 1st viewed the home, located on just one of the verdant peaks higher than Beverly Hills, and encountered its impressive vista. With Los Angeles twinkling underneath as a result of the glass-walled terrific space, which now incorporates their eating, dwelling, and lounge parts, they realized they had found the perfect dwelling for their loved ones. “The overall city—from Extensive Beach to downtown—lights up for us each and every single evening,” adds Young, a California-born artist who emerged in the New York artwork scene in the early 2000s.
Retracing their very first actions across the herringbone-patterned redbrick ground, which flows indoors and out, the couple direct an expedition as a result of the dwelling, pausing poolside, nevertheless reveling in the amazing environment. “This shift was all my fault!” Young suggests of the change from East Coastline to West. The concept was to put down roots and create a residence base for the household. “I was born in San Francisco and grew up in Monterey and Carmel. Immediately after we experienced our 2nd child, I stated to Laure: ‘Let’s go to California and set a foundation for the children there.’”
For her residence, Heriard Dubreuil’s goal was to configure a place for their possess more youthful technology and also to seamlessly incorporate the modern art and midcentury furnishings with which she and her spouse have lived around the past 14 decades, to begin with in a SoHo loft and then in an East Village city residence (Advertisement, September 2016). Their collection combines individual keepsakes with museum-deserving sculptures and paintings by Youthful and his circle, including Dan Colen and Nate Lowman (Marcel’s godfather). “The intention was to make the artwork sense as even though it had generally lived right here,” she clarifies.
The advantages of a courtyard house are well known. In addition to bringing closer contact with the outside from the inside, it substantially improves comfort by providing more natural lighting and ventilation. This typology goes through time being reinvented from different ways of thinking not only its architecture, but also the landscaping of its external area. Therefore, we have gathered different ways of conceiving the garden and other elements that can make up that space.
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Integration With Furniture
In a design that seeks greater integration between the use of the area and the created garden, thinking about furniture that integrates with the plants and architecture is a way of making the landscaping even richer.
Courtyard House at the foot of the Great Wall / IAPA Design Consultants
Courtyard House at the foot of the Great Wall / IAPA Design Consultants. Image: Cortesia de IAPA Design Consultants
Less is More
The minimalist garden concept can be somewhat contradictory. To avoid it, we can imagine how much some elements can be selected so that they stand out. Whether they are a tree or even a small intervention in the topography, they create a focal point and keep the context of the environment more serene.
Garden maintenance is not always easy, so some people opt for native plants and create a naturalistic landscape that, in addition to having an easier adaptation to the climate and soil, can also be attractive to different animals and insects from the area for your patio.
Totally free space would be ideal for those looking to use it in different ways. The important thing here is to think of ways to maintain the soil permeability, either by using permeable materials or creating an edge through which water can flow.
One way to make the courtyard design more playful is also to play with the rhythm given to the paving. Here, it is worth looking for different types of material or patterns, which mix textures and materials.
Implementing water as an element in the courtyard can make the space even more synesthetic by bringing new sensations to smell and hearing. In addition to the playful factor that it adds to the environment, it becomes an invitation for people to see your movement, refresh their feet or even feed fish.
In their introduction to the new book Queer Spaces, An Atlas of LGBTIQ+ Places, author Olivia Laing describes queer space: “It’s not just a physical building to hook up or hang out. Instead it’s an alternate universe, a secret network that runs right around the world.” The idea of a world where you’re allowed to write the rules and experiment is one that many creatives relate to.
In his art book The Council House, photographer Jack Young celebrates the estates that sprung up in London in the idealist post-war era. His contemporary photographs showcase the remarkable architecture of these homes, reminding you of the good intentions behind social planning.
Finally, if you want to find an alternate way to see the universe, sign the petition to get the vulva spaceship into development. A German feminist group is determined to replace the aerodynamically inferior phallic rocket with this new design. Because even in space, equality matters.
Definitely a space where no man has gone before.
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Artist Steven Campbell always loved clothes. During his studies at Glasgow School of Art in the late 70s, he’d buy a suit each week from Oxfam, wear it to paint, to the pub, to lectures, then throw it away and buy a new one the following Monday. He was fascinated by performance artists such as Gilbert & George and Bruce McLean.
Even when painting became his passion – winning him a Fulbright scholarship to New York’s Pratt Institute in 1982 – his vivid works teemed with clothes and sartorial persona. Over the years, his inspirations included film noir, Bram Stoker’s Dracula, PG Wodehouse, Pinocchio and film director David Lynch. His own appearance remained eye-catching, as his Glasgow art tutor Sandy Moffat once wrote of Campbell, he was “a flamboyant figure, often outlandishly attired, [who] looked as if he had arrived from the Paris or Vienna of the late 19th century”.
Campbell was a celebrated painter in 80s New York, where he lived with his wife, Carol – who worked for sculptor Isamu Noguchi – then part of the Scottish art renaissance (known as the New Glasgow Boys, which he hated) when he returned to his homeland. He died far too young, aged 54 of a ruptured appendix in 2007.
New exhibition Dressing Above Your Station looks at the importance of fashion and textiles in Campbell’s work, including his own wardrobe replete with his Comme des Garçons collection, accepted as payment for one of his paintings during his New York days.
This virtual exhibition is curated by fashion designer and co-founder of label Atelier EB Beca Lipscombe and art historian Mairi MacKenzie, two Scottish creatives who relate to Campbell’s desire to make a statement. “The exhibition looks at the role of clothing in Steven and his wife Carol’s life and aspirations,” says Lipscombe. “The importance of leaving and returning home to their sartorial biographies, and what it feels to stick out like a sore thumb in Scotland.”
It’s also a good chance to remember the work of a great painter.
Dressing Above Your Station, is a virtual exhibition which can also be seen as projections in the windows of Tramway Museum and shop windows in Sauchiehall Street, Glasgow, 31 March-26 June
Extraterrestrial equality
Vulva spaceship for WBF Aeronautics by Dr Lucia Hartmann Photograph: jasmin mittag
Jeff Bezos, Elon Musk and Richard Branson blasting into space may have been a giant step for white, middle-aged billionaires, but did little to make anyone feel good about equality. As only 12{6d6906d986cb38e604952ede6d65f3d49470e23f1a526661621333fa74363c48} of space travellers have been female and woman has yet to walk on the moon, last year’s space explorers felt depressingly par for the course. But a German feminist group has a plan to change this.
Wer braucht Feminismus? (translation: “who needs feminism?”) was started as an art-based feminism project in 2012 by artist Jasmin Mittag, but has developed into a networking and grass-roots campaigning organisation in Germany. This year, WBF has teamed up with aeronautics expert Dr Lucia Hartmann to form WBF Aeronautics – a space start-up. Hartmann’s main area of research is spacecraft efficiency and she’s created a vulva-shaped craft which is more aerodynamic than the typical phallic rocket.
Hartmann says that the ship’s V-shape makes it surprisingly aerodynamic and also contributes to better fuel efficiency. “There’s less drag than on a conventional spacecraft.” She’s clear about her feminist message, too. In the promotional video for the vulva project, she wonders: “If space is for everyone, is a phallic-shaped rocket really the best way of getting there?”
WBF Aeronautics has launched a petition on change.org to get the European Space Agency to consider the vulva spaceship for development.
“With our mission, we prove that gender equality even has a place in space. We are not only inspiring space travel, but also rewriting the gender narrative,” says Mittag. “In space travel, all the problems that we have on earth are amplified. It’s time for equal opportunities in the entire universe.”
Making craft count
Designer Mac Collins, one of the artists taking part in the Harewood House Biennial, 2021 Photograph: Dawn Kelly
This month, Harewood House in Leeds opens its doors to artists seeking to answer the question Why Craft Matters. This is the theme of the second Harewood Biennial and, until August, the public can view these creatives’ attempts to address climate change or equality through craft. The Harewood Trust is trying to answer its own question about what makes a stately home relevant in the 21st century and the interesting range of artists involved in the biennial reflects how they’re trying to widen the house’s appeal.
Designer Mac Collins has designed a domino set, games table and stools, inspired by the Caribbean community’s domino-playing culture for Harewood’s Cinnamon Drawing Room. Collins describes their presence in a room full of Chippendale furniture and lined with portraits of the Lascelles family, as a combined act of material and socio-cultural representation.
Textiles artist Celia Pym has set up a “mending desk” and asked Harewood’s staff to bring a garment for her to repair, in exchange for a story of how these individuals care, repair and look after the estate.
Architectural reclamation company Retrouvius. replaces the eight leaves of the table in the State Dining Room with reclaimed materials that mirror the original Robert Adam ceiling (which was taken to the Sir John Soane’s Museum).
Smile Plastics, a Welsh company that recycles household plastic waste into building materials, as worked on a project to create a series of self-assembly, modular seating, which snakes its way around the north lawn of Harewood.
Hugo Macdonald, curator, says: “Radical Acts [Why Craft Matters] brings together an exciting group of creative activists, joined by their commitment to craft as a force for positive impact. The biennial is not so much an exhibition as a call to arms. These are stories and initiatives to inspire us all so that, as individuals, we can make conscious choices that have positive impacts. It is a radical act to take responsibility for our lifestyles and our livelihoods, and to discover that our future is in our hands.”
Dawson’s Heights in East Dulwich by architect Kate Macintosh Photograph: Jack Young
Jack Young fell in love with London’s council housing during his lunch break. He’d explore Chamberlin, Powell and Bon’sGolden Lane Estate and the Barbican, architectural delights situated near the office where he worked as a product designer. Before long he found himself setting out at weekends to photograph developments and blocks around the capital. An instagram account was born.
He’s devoted to the post-war era, when rebuilding society felt possible and civic planners had big dreams and architects, such as Kate Macintosh and Erno Goldfinger, had a vision of providing quality houses for all. It’s the estates from this era that fill the pages of his new book, The Council House.
Though many of these buildings are now in disrepair, their inhabitants and architects more jaded about utopian ideals, Young’s images capture the best of these estates. In his introduction, he recalls how he was sometimes invited in by residents who watched bemused as he took his photos or that they would laugh at him as he obsessed over a concrete staircase. “But their pride in these estates was joyfully clear,” he writes. “It is my hope that in showcasing and championing the beauty and intelligence in these buildings, I can help to restore some of the rightful pride that was once felt in them.”
The Council House by Jack Young (Hoxton Mini Press, £18.95) is out now
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Making art from Artforum
Simon Linke’s Lucio Fontana at Hauser & Wirth, 2021 Photograph: Darren Flook
Simon Linke has a new exhibition opening in London gallery Darren Flook this week. If you’re a fan of the conceptual artist, you know that his new show will be very like his others. Since the 1980s, when Linke first found fame as an artist and as an inspiration to the YBAs, he has only painted adverts from American art magazine Artforum. Few artists have been so faithful to an inspiration: for 35 years now, his canvases, thick with oil paint, have been ads for gallery and museum shows taken from Artforum. Though in the new show – his first for 10 years – he’s added unexpected texture to the graphic designs.
On YouTube you can still find an excellent segment on Linke from revered 90s British culture TV programme The Late Show. In his interview with critic Matthew Collings Linke first gives monosyllabic answers, then interviews Collings, before finally admitting that in his work “I’ve found something that helps me negotiate the anxiety about what we can do and how we stay relevant”. And, although, looking at his work, there are good points to be made about art, repetition, commerce, history, and the influence of Freud and Warhol, this hard-won quote is still relevant all these years later.
As gallerist Darren Flook, says: “Art and commerce are now so profoundly linked, auction prices are in newspapers and pop stars show off the art they’ve bought on their instagram feeds. It’s incredible to me that in the 80s a British painter really beautifully and quietly pointed it all out. It was so conceptually tight and visually pleasurable – and now – 35 years later, he’s still making them. Like art and money or power, the dance is the same.”
Simon Linke is at Darren Flook, London, until 15 May
A history of LGBTQI+ places
Charlotte and Fin Duffy-Scott outside thir shop Category Is Books in Glasgow, a queer space chosen by Andy Summers for new book Queer Spaces Photograph: Category Is Books
“The idea that queerness requires an ecosystem to flourish helps clarify the fundamental importance of queer space,” writes Olivia Laing in the foreword to the new book Queer Spaces, An Atlas of LGBTIQ+ Places and Stories. “It’s not just a physical building to hook up or hang out. Instead it’s an alternate universe, a secret network that runs right around the world.”
It’s a great introduction to this new book by designer Adam Nathaniel Furman and architectural historian Joshua Mardell which shares the stories and philosophy of the different, ingenious places which have served as havens for LGBTIQ+ people throughout time. Though some of these essays celebrate well established institutions which identify as queer (such as bookshops and community centres), there’s also a looking-glass world here, full of Havanan ice-cream shops, Sheffield terrace houses and Spanish train journeys, inventive and secret places created by the queer community.
Designer Adam Nathaniel Furman says he hopes the book will become the resource he felt he missed as a student. “During a lonely and homophobic architectural education, there were no resources where I could find accessible histories and case-studies that showed how I was not alone, how what I was doing had a deep and rich history, full of proud individuals and incredible groups, spaces and communities creating radical spaces and ways of living.”
It’s not uncommon to see housing complexes integrate commercial spaces at the ground level, but the challenge of mediating between the private and public realm on a smaller scale, especially with the rise of the home office, has forced architects to explore all aspects of the structure, from the topography it sits on, to the direction of light and wind, to the design and organization the domestic space. This interior focus explores different design solutions that show how architects and interior designers transformed their projects from a living space into a mixed-use typology, taking into account privacy, flexibility, functionality, and predefined spatial requirements.
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Towards the end of 2021, the global workforce experienced what is now known as the Great Resignation, which saw millions of employees aged between 30-45 dropping out of their jobs, a 20{6d6906d986cb38e604952ede6d65f3d49470e23f1a526661621333fa74363c48} increase compared to last year. The rate comes as no surprise though, since evident changes in traditional work environments have been observed all throughout the past decade, and were greatly accelerated following two years of confinement and remote work. The pandemic highly influenced the way employees value their physical, mental, and emotional wellbeing, and inspired them to look into environments that promote “open communication and free-flowing creativity”.
With that, the world saw the emergence of the “startup culture”. Regardless of their age group or experience, people no longer relied exclusively on their 9-to-5 jobs to be secured financially, especially if medical, academic, and time-off benefits were limited. Instead, they monetized their hobbies and passions, and transformed parts of their houses into private workspaces. In other cases, business owners found it more adequate to “move into” their workplace, dedicating a specific area in their office/shop for housing. Depending on the type of work and its spatial requirements, architects and interior designers introduced different configurations, separating the workspace from the rest of the house, yet providing facilitated circulation for its residents and visitors.
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Read on to explore 15 projects that show how architects reimagined their residential quarters as coffee shops, libraries, ateliers, and design studios, to name a few.
The client of this 1850’s 45 sqm apartment wanted to generate a new space that contains at least one bedroom, a bathroom, a kitchen, storage space, and a workspace, without subdivisions and walls to make the most of the south orientation of the balcony. Seeking to multiply the possibilities in a reduced spatial area, the architects used “adaptability and flexibility” to define the different functions of the space through the installation of mobile partitions. The partitions reconfigure the original spatial division, leaving only the structural envelope as a base, and allowing the bedroom to be transformed into a work area whenever needed.
The project was designed for a designer couple who wanted their workplace to be an integral part of their daily routine. Catering to the two functions, a home office is located on the ground and semi‐basement floor, whereas the residential area is placed on the level above it. In the residential part of the volume, the building is further divided into 2 large areas: a semi‐private area which includes a living room and dining room placed at the front side of the house, and more private area which includes the bedrooms placed at the back side of the building. These two building masses are separated by a dry garden that offers ventilation, natural lighting, and tranquility to all interior spaces.
Hae-mut-je House and Office / Architecture Studio YEIN
Hae-mut-je, which translates to a small house on a seaside land in Korean, began with the purpose of building a guesthouse for the architect’s interns who visit from overseas, as well as a base for cultural activists that can revive the neighboring village. To be able to accommodate both, the volume is divided into two parts: the residential part and the office for cultural activists, divided by a small open courtyard and rainwater pool. The office is placed facing the corner of the road to create a dynamic atmosphere with the narrow alley, and ensure that the residential area is protected from the noise and passersby.
Design Studio
House and Design Studio in Kortrijk / Devolder Architecten
The house is conceptualized as a “closed wooden box” in a landscape of large trees. Structurally, the building was designed to serve double functions: living and working, which forced the architects to define the spaces through two staircases. This duality offered the residents the benefit of being able to circulate easily within the house in a loop-like circulation, as well as reconfigure the office space into a “kangaroo house”, a debated typology in Belgium and the Netherlands.
The studio was designed for an artist who wanted a living and working space with no visual or physical interruptions to ensure total concentration. Since the height of the ceiling was at 5 meters, the architects added a second level for the bedroom, dedicating the first level for the main working space, as well as a mini-kitchen, a bathroom, and storage. Following the client’s request of no visual interruptions, the entire space was painted white with minimal black interventions, and housed minimum amount of furniture to allow the owner to have maximum free space to carry out his creative work.
For the Sonastério music studio, Joao Diniz Arquitetura combined geography, sound, architecture, and creative conviviality in one geometric structure. The architects wanted to ensure a dialogue between the spatial requirements of an acoustic studio and Morro do Chapéu’s unique architectural context, so they created a floating concrete structure with interlocking volumes and floor-to-ceiling glass facades that integrate with the surrounding landscape and offer a private performing and recording studio. The sound insulation qualities of concrete and scenic views allow for a secluded and calm residential environment.
Atelier / Workshop
Lara Rios House & Atelier / F451 Arquitectura
Lara Rios House & Atelier / F451 Arquitectura. Image Courtesy of F451 ArquitecturaLara Rios House & Atelier / F451 Arquitectura. Image Courtesy of F451 Arquitectura
The project merges two typologies: the modern house and the industrial shed through a program of 4 autonomous but interrelated units – house, guest apartment, atelier, and garage. In this particular project, landscape integration was heavily influential on how the space was designed. The architects took the slope from the surrounding terrain to define where they wanted to integrate both types into a single volume: the house mimics the topography and changes functions as the plan progresses. The volume emerges from the land in one of the extremes, aligns the structure with the garden in the central area, and then detaches itself in the western side. An open hallway is placed in the central area where the house and the atelier merge, then becomes a roofed exterior transitional space that serves as a focal point and climatic regulator. The merging of both functions gives every space a double orientation and sufficient lighting and ventilation.
10M4D combines a house and two workshops for an embroider mother and her ceramist daughter. The architects represented the “multiplicity of life” by merging three different spaces: a spacious ‘Madang’ (an outdoor space that has specific programmatic and climatic functions), a naturally-ventilated workspace, and a comfortable residential space. The programs were organized around an elevated Madang, which is enclosed by a long portico that functions as the front façade of the building. This portico serves as a buffer zone between the studios and the streets, ensuring the privacy of the clients while they’re working. The embroidery studio sits in a timber structure with plywood walls that set a warm atmosphere, and the ceramic studio is housed in a concrete structure that sets a quiet and cool atmosphere. The residential quarters were placed on the upper floor for optimum privacy, but with direct access to the Madang as well, creating a fluid circulation across different programs.
Gallery
Ketelhuis Apartment, Gallery Space and Artist Studio / Studio Modijefsky
Originally a monumental industrial site, the space has been transformed into a home, studio, and art gallery of an artist couple. The volume is divided into two levels: an office and a workshop on the ground floor, and a gallery space and home on the first floor, connected by two sculptural staircases. The ground floor is carefully designed to include all required functions without relying on the upper floor. Access to the residential area upstairs takes place through the kitchen, which is used as a common serving area whenever an exhibition is taking place at the gallery. Going through the hallway, sliding doors to the guest room, walk-in closet, bathroom and toilets are camouflaged with the white walls and drop beams to avoid public access.
Coffee Shop
Tiam Coffee Shop & Home / Nguyen Khai Architects & Associates
With a gross built area of only 35 sqm, the 18-year old building was functioning as a living space for a three-generation family of seven members. Having so many family members of different age groups in such a small space, the architects focused on privacy and flexibility in their design. The first floor is dedicated to the café, while the rest for living. Vertical louvers and glass walls were implemented as partitions between public and private zones, creating a continuous visual and physical access, but still being able to give every member their private spaces when necessary. The building’s old and ineffective spiral staircase was replaced by a new straight one that goes all across the building, helping to optimize space and provide better circulation.
Baan Priggang, which translates to Curry Paste Home in Thai, was originally a two and a half storey wooden house with a building on the side. The owner wanted to renovate the space into a curry paste factory, but the deteriorating structural conditions did not allow for the space to be used as both residential and commercial. Upon evaluating the details of the site, the old building, light, ventilation, and the spatial requirements of a curry paste factory, the architects broke the familiarity of home design by placing the factory in front of the house as a welcome zone (and in proximity to the road which offers the best airflow), followed by the dining area, and the Thai kitchen at the back as the backbone of the structure that connects the house to the factory.
In addition to a residence, the clients wanted to add a hair salon and a storage space for their several motorcycles. Since the project required 3 well defined functional spaces, the architects designed each with unique characteristics on a deformed L-shaped plan. The ground floor, which houses the two commercial functions, is differentiated by floor leveling and material selection. Going upwards, the residential unit is placed with bedrooms at the back so that the privacy gradually increases from the entrance towards the bedroom, responding to the circulation of visitors and residents.
Library
House with a Small Library / Hiroshi Kinoshita and Associates
The small house was created for a client that had a vast library and wanted an easily accessible space to store her collection of books. The architects saw potential in her collection, and transformed her house into a private library that could be opened to the city whenever the owner wanted. Six glass doors were placed at the entrance along with circular benches, allowing the ground floor to be used as a public open space. Since the client preferred a more quiet and private life, the single room upstairs was transformed into her private residential space.
With the intention of having a residential and retail space, the 3-storey building is divided into 2 sub-buildings: the street-facing part as a pharmacy and the back part as a residential area. Due to the site limitations and building type, the layout is trapped between adjacent buildings, so the architects integrated a courtyard with skylight in between both volumes to provide daylight access and completely separate the commercial area. However, the clients felt that the commercial scale is too large and that both functions are not homogenous. With that, the architects created a small house in the back of the site that serves as a family living area and a common space that connects all spaces together. The final design is a 2-storey detached house, a courtyard balcony, which disguises the fact that the third floor is the pharmacy warehouse, and a double space in common area which is rarely seen in this type of building in the neighborhood.
The clients of this project were adamant on one feature, “the garage terrace should bean extension of the living room, and the house should have a personality”. Here, the clients’ passion of cars was the driving force behind the spatial organization of the architecture. The house sits in a newly developed residential site facing the main road, which has a wide visual access to passing cars and pedestrians. Since the couple intend to set up carports in the future, the architects took advantage of the 5 meter area in front of the house and implemented a built-in parking lot that serves as an active semi-outdoor terrace connected to the living room.
This article is part of an ArchDaily series that explores features of interior architecture, from our own database of projects. Every month, we will highlight how architects and designers are utilizing new elements, new characteristics and new signatures in interior spaces around the world. As always, at ArchDaily, we highly appreciate the input of our readers. If you think we should mention specific ideas, please submit your suggestions.
