The two and half-storied ‘Vacation Villa’ in Himchori marine drive is a holiday destination amidst the natural setup of hills and sea. The existing topography inspired project is an alluring statement of contemporary architecture in Bangladesh. The purpose of the villa as a place of vacationing is well served as it ensemble two exquisite natural proponent of the site; sea and hills within its built premise. Knotting multiple forces of nature within a space to create and balance the desired psychological mood of relaxation for user was the challenge.
The composite structure of the project is well displayed to its true expression. The RCC structure of east and west wing have been adjoined centrally with steel structure. The sturdy sleek steel frame refurbished with glass is the central segment of the form. Recycled and vintage materials used in various spaces of the villa have added sophistication without making it much ornate.
Artist and socialite Gertrude Vanderbilt Whitney, who founded the Whitney Museum of American Art, had homes in New York, Paris, the Adirondacks, and Long Island. In 1912, she commissioned the Gilded Age architect William Adams Delano, of Delano & Aldrich, to build her a neoclassical studio on the grounds of the Whitney estate in Old Westbury.
After her death in 1942, the villa lay empty for 40 years until her granddaughter Pamela LeBoutillier decided to renovate it as a home for her family. Today, her son John LeBoutillier lives there, while keeping the family legacy alive.
When designer Richard Found discovered the dream plot on which to build his serene contemporary retreat overlooking a lake, he didn’t bet on what happened next. In the grounds stood a derelict 18th-century gamekeeper’s cottage, which was immediately spot-listed by Historic England. “It changed the whole dynamic of what I thought would be a straightforward new-build project, and became a far more arduous planning exercise.”…
House Proud is a series of videos created by the Telegraph which showcase some of Britain’s most idiosyncratic, quirky, unusual and unforgettable homes. A celebration of British eccentricity and imagination, in each film the owner gives us an intimate guided tour and tells us the story of their unique property.
The interior palette is simple, even stark: concrete floors, gypsum board walls and ceilings, and exposed laminated-veneer lumber joists in the corridors and other areas. Colorfully glazed Heath clay tile punctuates specific areas: blue for the kitchen, and blue, pink, and yellow for the bathrooms. The exterior is even simpler, with the roof and siding of the boldly geometric volumes sheathed in copper shingles that act as a rainscreen while protecting the wood-framed structure from fire like a protective armor.
Designed by Los Angeles–based TOLO Architecture, the Branch House brings a village of abstract domestic forms to a typical suburban enclave in Montecito, Calif. The 4,400-square-foot single-family residence sits on a 1-acre site on a cul de sac. A series of eight rectangular volumes, each with a skylight, enclose a living room and dining room, a kitchen, a two-car garage, an office, two bedrooms, a master bath, and a powder room, respectively, and are deployed in a nonorthogonal layout across the site. The positioning of each balances the desire for occupant privacy as well as views of the surrounding landscape. Meandering glass-lined hallways connect the volumes and act as galleries for the client’s art collection.
From the outside, London’s row houses have an eclectic variety of ornament, and they range in scale from palatial to boxy. But inside, they are pretty much all configured the same way. That’s because from the late 17th century up until the First World War, most residential buildings here cleaved very close to a model found across English cities: the terraced house, known in its most condensed, emblematic form as the “two-up, two-down.”
For a city that’s long been the repository of vast commercial, imperial, and industrial wealth, this might seem a very modest template. However, it is one that can be easily scaled up, points out Edward Denison, associate professor at the Bartlett School of Architecture and author of The Life of the British Home: An Architectural History.
“What’s extraordinary, in London in particular, is that you can find very grand houses in places such as Carlton House Terrace, with vast rooms and very high ceilings, that are still essentially two-up, two-downs with extra floors added,” says Denison. “Then you go to working-class terraced housing in places like Greenwich, and find a very different scale and quality of fittings, but essentially the same configuration.
After a varied life of traveling, writing, sketching, ranch labor, and significant service in army intelligence in World War II, Jackson moved to New Mexico and single-handedly created the magazine Landscape. As it grew under his direction throughout the 1950s and 1960s, Landscape attracted a wide range of contributors. Jackson became a man in demand as a lecturer and, beginning in the late 1960s, he established the field of landscape studies at Berkeley, Harvard, and elsewhere, mentoring many who later became important architects, planners, and scholars.
J. B. Jackson transformed forever how Americans understand their landscape, a concept he defined as land shaped by human presence. In the first major biography of the greatest pioneer in landscape studies, Helen Horowitz shares with us a man who focused on what he regarded as the essential American landscape, the everyday places of the countryside and city, exploring them as texts that reveal important truths about society and culture, present and past. In Jackson’s words, landscape is “history made visible.”
Horowitz brings this singular person to life, revealing how Jackson changed our perception of the landscape and, through friendship as well as his writings, profoundly influenced the lives of many, including her own.
Through brand-new photography, plans and drawings by Gaudí himself, historical photos, as well as an appendix detailing all his works—from buildings to furniture, decor to unfinished projects—this book presents Gaudí’s universe like never before. Like a personal tour through Barcelona, we discover how the “Dante of architecture” was a builder in the truest sense of the word, crafting extraordinary constructions out of minute and mesmerizing details, and transforming fantastical visions into realities on the city streets.
The life of Antoni Gaudí (1852–1926) was full of complexity and contradictions. As a young man he joined the Catalonian nationalist movement and was critical of the church; toward the end of his life he devoted himself completely to the construction of one single spectacular church, La Sagrada Familia. In his youth, he courted a glamorous social life and the demeanor of a dandy. By the time of his death in a tram accident on the streets of Barcelona his clothes were so shabby passersby assumed he was a beggar.
Gaudí’s incomparable architecture channels much of this multifaceted intricacy. From the shimmering textures and skeletal forms of Casa Batlló to the Hispano-Arabic matrix of Casa Vicens, his work merged the influences of Orientalism, natural forms, new materials, and religious faith into a unique Modernista aesthetic. Today, his unique aesthetic enjoys global popularity and acclaim. His magnum opus, the Sagrada Familia, is the most-visited monument in Spain, and seven of his works are UNESCO World Heritage Sites.
Rainer Zerbst studied modern languages at the University of Tübingen and in Wales from 1969 to 1975. From 1976 to 1982 he worked as a research assistant in the Department of English at the University of Tübingen. Since completing his doctorate in 1982, Zerbst has been active as a critic in the fields of art, literature, and theater.