In the early nineteenth century, Indiana was at the intersection of ideas from the East and the frontier – resulting in a unique opportunity to express creative adaptions of residential architectural styles in America.
Industrialization later in the century created a new wealth to build extraordinary houses outside of cities; by the early twentieth century, Americans had created their own distinctive residential architecture with the Prairie Style.
This 288 page compendium includes over ninety houses in Indiana which are representative of the finest American residential architecture, from the Federal and Classical Revival style to Modern. The fascinating story of the evolution of residential architecture elaborates on the character defining features of each period, including the exterior form, massing, details as well as interiors – all beautifully illustrated in large format black and white photographs.
Authors: Craig Kuhner and Alan Ward
American Residential Architecture Oscar Riera Ojeda Publications Photographs of the Evolution of Indiana Houses
Design, Manufacturing & Installation by Boano Prismontas –
Are you working from home? Do you need a space where to focus on your hobbies, your crafts, or just find relaxation away from your busy life? We designed a modular customizable garden room that can be built in just 1 day and fit gardens or backyards of any size. –
Video and Editing by Dylan Drake – Sculptures by Liz Parr – Mycelium Light by Natura Studio – Metal works by Can of Gas
The holiday home located in the area of Agioi Apostoloi in Aegina is organized around a central patio. The dialogue with the natural terrain of the plot as well as the unobstructed visual views of the land were elements crucial to the design.
The visitor enters from the highest point of the patio from where the movements are distributed around the three living areas of the house – the master bedroom, the guest rooms and the lounge area – and the swimming pool. The morphology of the patio follows the outer sloping terrain and as it gradually descends through a path of terraces and outdoor seating areas leads the visitor to the view.
Its final level, in combination with the airy living room, constitutes an expanded covered balcony to the sea. Its transparent roof bears the pool-observatory. The patio functions as a vital living space of the residence and so does the rooftop swimming pool.
The bedrooms maintain their privacy while at the same time referring to the heart of the whole – the patio and the sea view. The section of the house levels creates an internal microcosm of spaces and movements, constituting a path that can bypass the enclosed spaces and end up outside the plot around the side of the daily activities volume.
The morphology of the complex expresses the function of each individual space housed under it while the selected rough materials set up a direct dialogue with the island’s topos. The individual volumes are embraced by a dynamic curved, unifying outer skin that holds the whole together and forms a characteristically acute, yet silent gesture of a human intervention on the natural landscape.
“We set out to design the perfect habitat for space explorers on the red planet as part of NASA’s international 3D Printed Habitat Challenge.“
Our team, in collaboration with structural engineers Eckersley O’Callaghan (EOC), was shortlisted to design the world’s first human home on Mars. In our design, an external shell made from local Martian regolith would be built in advance by autonomous robots before exploration teams arrived to construct the interior – a series of inflatable ‘pods’ containing everything for work and life on Mars.
Our aim was to bring a more human element to space design, typically all about maximum efficiency and performance. Our habitat goes far beyond just ticking the boxes for safety and survival. It’s a home away from home where astronauts can carry out the most important work in the history of space exploration.
Last year, architect Adam Richards revealed Nithurst Farm, his self-designed family home in the South Downs National Park. We’re pleased to share a new film exploring the far-reaching ideas and references that informed the convention-defying design of the house, as well as the intimate realities of daily life in the space, one year on.
Head of his namesake practice, based in Sussex and London, Richards oversees his studio’s work on residential and cultural projects that have most notably included the Ditchling Museum of Art + Craft and the Gardens Learning Centre and Café at Walmer Castle. The handling of such buildings by ARA is one they define as an approach that seeks ‘to transform the deeper themes within its projects into engaging critical, spatial, social and structural propositions.’ This often translates to an engagement with the historical context of a site, so that an extension to a neo-classical Georgian townhouse in Notting Hill takes the form of an abstracted Greek temple, or a refurb to Arundel Lido is informed by a nearby Roman villa.
When it came to designing his own home, Richards had the freedom of a blank page. The brief was to create a new-build home for him and his family on a site at the bottom of a valley, surrounded by the woodlands and farmland of West Sussex. With creative freedom came the incorporation of seemingly disparate sources of inspiration, everything from the cinematic tactility of Andrei Tarkovsky’s 1979 Soviet art house hit, Stalker, to the classical plan of Andrea Palladio’s Renaissance masterpiece, Villa Barbaro, and Robert Mangold’s 1970s minimalist work of geometric abstractions. The resulting building is one that plays with time, style and detail in surprising and unexpected ways, to appear as a “Roman ruin wrapped around a modern concrete house,” according to Richards.
A linear red-brick wall obscures the textured interiors and art-filled courtyard hidden inside McLean Quinlan’s low-rise Passivhaus home in Devon, UK. The energy-efficient dwelling, aptly named Devon Passivhaus, nestles into a sloped walled garden that was once owned by an old English country house that fell into a state of disrepair.
The overall design is simple and clean. An elegant brick front complements the brickwork of the old garden wall and a discrete front door opening references the gate in the garden wall. Further down, an oriel window breaks through, hinting at what is behind. Elsewhere, external surfaces are dark render, designed to recede visually in deference to the surrounding garden.
Tucked within, the house has a glass roofed courtyard at its centre, a winter garden flooding light into the interior. Spaces are arranged around this central core so the building functions both as a home and a gallery for our clients, great collectors of pottery and art, with spaces to display and curate.
Comfortable and serene interior spaces are punctuated with tactile and textured materials: reclaimed terracotta, rough sawn oak and clay plaster, to ensure that internally the building feels connected to the garden that inspired it.
It was ruin to the bone. All that was left of the original house was a brick envelope with a roof. Together with the building owners, we asked ourselves whether the house had a place to return to. Any attempt at a traditional repair would mean losing the original character of the ruin. Relatively soon, therefore, we rejected a speculative reconstruction of the original state, as well as any other imitations. We proposed to fix the current state of the romantic ruins and enter the house anew. House to house, house inside a ruin.
We proposed to tear down the inner parts of the building and return its original layout with two floors instead of three, as well as the original scale. Related to this is a return to the original division of the facade. Without sentiment and depending on the needs of the layout, we opened other large openings where needed. We have built a new, insulated house into the existing staged ruin, a one that can meet all current energy standards. We reused the structurally sound wooden beams as elements of ceilings and truss replacements. Most of the material remained in place, just rearranged.
The first residential units on Roatán Próspera are a case study in local sustainability and global integration. Combining the most advanced modular construction techniques with sustainably-sourced local materials, the design and planning for the first dwellings in Próspera is a tangible example of the dramatic shift in development methodologies taking place around the world.
The people of neighboring settlements will take part in construction and management and part of the purchase of each residence goes toward the construction of a sister residence in the neighboring community.
Roatán Próspera rethinks the whole design and conventional delivery approach to development, starting from understanding the local supply chain, logistics, energy and economical aspects as a basis to engage technologically-curious, ecologically-minded, entrepreneurial building contractors. Local labor and methods are engaged for construction methodologies and logistics of supply, procurement, and assembly in Roatán.
The brief: A bed amidst the trees; a shower amongst the rocks, the site sits in a nature conservation in rural South Africa; where trees and shrubs and rocks create the architectural backdrop for any home.
A bedroom that opens itself out into the treescape; that invites in the smells, and wind, and rustle; a bathroom that grounds itself against the landscape; that speaks of earth, and rock, and shrub.
The idea: The originating idea was to root the bathroom into the rockscape, whilst allowing the bedroom to float amongst the trees. The building is organised as a long thin building which allows it to fit snugly between the forest trees. The two chimneys are not only essential to the structure of the building, but also naturally ventilate the bedroom (the building was designed in such a manner as to not disturb any tree during construction).
Zaha Hadid was a revolutionary architect. For years, she was widely acclaimed and won numerous prizes despite building practically nothing. Some even said her work was simply impossible to build. Yet, during the latter years of her life, Hadid’s daring visions became a reality, bringing a new and unique architectural language to cities and structures such as the Port House in Antwerp, the Al Janoub Stadium near Doha, Qatar, and the spectacular new airport terminal in Beijing.
By her untimely death in 2016, Hadid was firmly established among architecture’s finest elite, working on projects in Europe, China, the Middle East, and the United States. She was the first female architect to win both the Pritzker Prize for architecture and the prestigious RIBA Royal Gold Medal, with her long-time Partner Patrik Schumacher now the leader of Zaha Hadid Architects and in charge of many new projects.
Based on the massive TASCHEN monograph, this book is now available in an extensivelyupdated and accessible edition covering Hadid’s complete works, including ongoing projects. With abundant photographs, in-depth sketches, and Hadid’s own drawings, the volume traces the evolution of her career, spanning not only her most pioneering buildings but also the furniture and interior designs that were integrated into her unique, and distinctly 21st-century, universe.
Philip Jodidio studied art history and economics at Harvard, and edited Connaissance des Arts for over 20 years. His TASCHEN books include the Architecture Now! series and monographs on Tadao Ando, Santiago Calatrava, Renzo Piano, Jean Nouvel, Shigeru Ban, Richard Meier, and Zaha Hadid.