From Architect Matthew Barnett Howland website:
Cork House embodies a strong whole life approach to sustainability, from resource through to end-of-life. Expanded cork is a pure bio-material made with waste from cork forestry. The bark of the cork oak is harvested by hand every nine years without harming the tree or disturbing the forest. This gentle agro-industry sustains the Mediterranean cork oak landscapes, providing a rich biodiverse habitat that is widely recognised. This compelling ecological origin of expanded cork is mirrored at the opposite end of the building’s lifecycle. The construction system is dry-jointed, so that all 1,268 blocks of cork can be reclaimed at end-of-building-life for re-use, recycling, or returning to the biosphere.
Completed in 2019, Cork House was designed by Matthew Barnett Howland with Dido Milne and Oliver Wilton.
Cork House is a brand new and radically simple form of plant-based construction. Monolithic walls and corbelled roofs are made almost entirely from solid load-bearing cork. This highly innovative self-build construction kit is designed for disassembly, is carbon-negative at completion and has exceptionally low whole life carbon.
To read more: https://www.matthewbarnetthowland.com/
From a Country Life online article:
First published in 1897, Country Life is itself a late-Victorian institution. What could be more appropriate, therefore, than to celebrate this anniversary with a collector’s issue of articles and photographs from the magazine’s archives?
An opening timeline offers an overview of the Victorian Age, but the focus of what follows is exclusively architectural. The coverage of country houses has always been central to the magazine, but it can also claim to have been a pioneer in the study of Victorian architecture through the work of two former Architectural Editors, Mark Girouard and Michael Hall.
This year is the 200th anniversary of the birth of both Queen Victoria and Prince Albert, respectively in May and August, 1819. Their marriage 21 years later in 1840 was long arranged and, after a difficult beginning, grew to be unexpectedly happy. With perfect symmetry, it lasted 21 years, until Prince Albert’s early death in 1861.
During that time, the couple established a completely new mode of Royal Family life and redefined the role of Britain’s constitutional monarchy. All of this happened as Britain developed at an astonishing speed into the most powerful nation in the world. When the Queen died in 1901, there was no question that a remarkable age of British history had come to a close.
Read more at https://www.countrylife.co.uk/news/focus-greatest-victorian-houses-britain-featu:red-magnificent-one-off-magazine-207774#cLqLhWZ6ouDLuAM1.99
From a Dezeen.com online review:
Stilt Studios are small homes on stilts, which could be erected in a variety of different places without causing any damage to the landscape.
“This situation calls for us to tread lightly through prefab ‘PropTech’ structures that could be packed up and re-erected someplace else,” he told Dezeen. “Someone could also put this unit into their garden and possibly start a little side business for themselves.”
Bali-based architect Alexis Dornier has developed a concept for prefabricated homes that could easily be taken apart and reassembled in a new location.
The design follows the principles of the circular economy, which calls for products and materials to be kept in use as long as possible, for there to be no waste or pollution, and for natural environments to be restored.
To read more: https://www.dezeen.com/2019/11/09/stilt-studios-alexis-dornier-prefab-houses/?utm_medium=email&utm_campaign=Daily%20Dezeen&utm_content=Daily%20Dezeen+CID_4addbf275a17655a1d05980d3103681c&utm_source=Dezeen%20Mail&utm_term=Alexis%20Dornier%20designs%20prefab%20homes%20on%20stilts%20that%20could%20be%20moved%20from%20place%20to%20place
This year marks the 60th anniversary of Frank Lloyd Wright’s building for the Solomon R. Guggenheim Museum. Since opening its doors on October 21, 1959, the architectural icon has inspired countless visitors and is widely seen as Wright’s masterpiece.
From its opening to the present day, the Solomon R. Guggenheim Museum has been an unparalleled physical and cultural presence in the New York landscape.
Over the course of the sixteen-year period between the commissioning of the Solomon R. Guggenheim Museum in 1943 and its 1959 opening, the project underwent a series of revisions. The iconic spiral form remained primarily unchanged, but a close reading of documents in the Guggenheim Museum Archives sheds additional light on an array of obscure details that were designed out over time to accommodate budgetary, programmatic, and structural needs and constraints.
To read more: https://www.guggenheim.org/the-frank-lloyd-wright-building
From a The Modern House online article:
Away from the city, Roger escapes to his home near Poole, Dorset for what he calls an ‘analogue retreat’. To hear Roger talk about the inspirations behind the building, which resembles an up-turned boat and which is both eccentric and serene, fun and functional…
For the final instalment in this batch of our Masters of Design series, we’re paying a visit to architect Roger Zogolovitch’s boat-inspired house near Poole, Dorset – the recipient of two RIBA awards and a paragon in split-level living. Watch the film here.
Roger is the founder and creative director of Solidspace, an independent developer focused on unearthing the potential of backland gap sites rarely noticed by mainstream housebuilders. By skillfully utilising overlooked sites in the urban environment – adjacent to railroads or between and above office buildings, for instance – Roger proposes intelligent design solutions to the challenges of providing enough homes for a growing population.
To read more: https://www.themodernhouse.com/journal/boat-inspired-house-roger-zogolovitch/?prm_name=homepage_featured_link&prm_id=journal_article&prm_position=1&prm_creative=cta_button
From a Wall Street Journal online review:
Whereas most Wright biographies build from one structure to the next, this one caroms from one digression to the next. Mr. Hendrickson spins miniature biographies of the people who commissioned Wright to build their homes and office buildings. An array of midcentury figures appears: e.g., Glenway Wescott, the novelist and poet who rubbed shoulders with Gertrude Stein in Paris and whose sister commissioned one of Wright’s homes; and Clarence Darrow, the renowned lawyer, who waded into the murk of Wright’s personal life when a disgruntled housekeeper attempted to use the Mann Act to have Wright arrested. We also meet the little-known residents of various structures. Seth Peterson, for instance, dreamed of living in a Wright home so powerfully that he camped out in the one he commissioned as it was being built.
Even when you grant how exposed to the elements an architect’s work may be, Frank Lloyd Wright appears to have been an insurer’s nightmare. If a building could shake, burn or flood, time and again Wright’s structures did. Like the exquisite Rose Pauson House in Phoenix, which lasted a mere year before succumbing to fire. Or the Imperial Hotel in Tokyo, with its gorgeous H-shaped guest wing, rocked by an earthquake on the day it opened. The Johnson Wax building in Racine, Wis., was so porous that office staff were known to keep buckets by their desk on rainy days.
To read more: https://www.wsj.com/articles/plagued-by-fire-review-the-spirit-in-the-form-11570806240?mod=ig_booksoctober12
The office engages in a hybrid design process that is directed by analog forms of representation and digital production techniques. Each project is explored using a matrix of different media lenses, including painting, hand drawing, physical models and mock-ups as well as cad, hyper-photorealistic renderings and 3D computer models, wherein application and implication are prioritized. We believe this fusing of media provides a larger, more creative palette from which to work. Travel drawing also serves as a platform of inspiration and a fundamental aspect of research and development.
This approach stems from my own formal education and the unique 10-year period in contemporary history in which I studied architecture. Occupying both “paper” and virtual / digital environments, I learned the fundamentals at Tulane University using purely traditional architectural methods of representation. By the time I earned my Masters from Columbia University, the pedagogy had radically changed, wherein the old, analog systems of production were abandoned for a purely paperless studio that solely engaged digital technologies such as Maya, Max and Photoshop. Working within both territories, I learned that each medium has a profound effect on the way in which we draw, design and understand architectural space and form.
Meanwhile, after leaving Columbia, I set out to rediscover the practice of drawing on the road and have since made over 800 paintings, sketches and notes of architectural details, buildings, cityscapes, art and culture. These personal “drawings on the road” have evoked an intensive physical and living architectural investigation of how I process and perceive information. In the authentic and active experience of drawing — of physically recording what we see — I believe we develop a new way of seeing. We bring back sketchbooks that are full of information and analysis as well as a better understanding of architectural persistencies that make what we see matter. This level of engagement furthers the architect’s artistic intuition and enables him or her to see anew.