Meet Malta's most influential postmodernist architect

The new Phaidon monograph, "Aino + Alvar Aalto: A Life Together," authored by Heikki Aalto-Alanen, the grandson of the renowned Finnish architects, sheds light on the often-overlooked contributions of Aino Aalto to the celebrated work of her husband, Alvar Aalto. The book, drawing from private correspondence discovered in an old suitcase at their Riihitie House in Helsinki, aims to present a comprehensive visual biography of their shared life and professional partnership. Alvar Aalto is widely recognized for iconic designs such as the Savoy vase, Paimio chairs, and numerous modernist buildings. However, this new publication emphasizes that much of his pioneering work was a collaborative effort with Aino, a talented architect and designer in her own right. The monograph utilizes their own words, primarily through letters, to offer an intimate perspective into their romantic and commercial relationship. Their 25 years together were exceptionally productive, marked by the co-founding of the Finnish furniture brand Artek and their emergence as prominent figures in the international art and architecture community. They cultivated friendships with luminaries like Frank Lloyd Wright, Le Corbusier, and Paul Klee. Aalto-Alanen characterizes Alvar as "restless, exuberant, and unpredictable" and Aino as "intense, diligent, and restrained," suggesting that their contrasting personalities created a harmonious and productive partnership. The book highlights that their shared vision not only fueled their professional endeavors but also complemented their deep personal connection. The monograph illustrates their collaborative process through significant projects like the Viipuri Library and the Paimio Sanatorium, showcasing light studies, undulating ceiling illustrations, and Aino’s textile sketches. While Alvar often received primary credit for these achievements, the book underscores their collective nature. The narrative also delves into the challenges and complexities of their partnership. Aino frequently managed their household and children, affectionately referred to as "the urchins" in their letters, while Alvar traveled for business, attending European architecture congresses and networking with influential figures such as Bauhaus founder Walter Gropius and László Moholy-Nagy. The book suggests that Aino began to feel marginalized as Alvar garnered widespread acclaim, despite her equally significant contributions to their work. Furthermore, the monograph touches upon Alvar's early romantic dalliances within the marriage, leading to what appears to be an unconventional understanding within their relationship to safeguard their shared life and work. Their letters reveal a deeply affectionate and open dynamic, with Alvar often expressing profound love and admiration for Aino. He referred to her as "Aino, who kisses me in soft places" and lauded her as the "nicest person in the world." After World War II, while Alvar taught at MIT in the U.S., he penned lengthy letters to Aino, expressing his longing for family and envisioning a future where they could intensely focus on their design portfolio, similar to Frank Lloyd Wright’s Taliesin. This dream remained unrealized due to Aino's battle with breast cancer, which she initially concealed from Alvar. He returned to Finland in her final months, making deathbed sketches of her, signifying his profound grief. Aino's passing in 1949 marked the loss of not only a wife and work partner but also a significant figure in the design world. Friends like Lily and Eero Saarinen acknowledged her enduring legacy, emphasizing her contributions to architecture, home design, and her integrity, courage, and partnership. #AinoAalto #AlvarAalto #ModernistDesign #FinnishArchitecture #DesignHistory #ArchitecturalPartnership #PhaidonMonograph #Artek #DesignLegacy

The book "Ornament is Crime: Modernist Architecture" by Matt Gibberd and Albert Hill presents a visual compilation of Modernist homes, tracing the style from early 20th-century designs to contemporary structures. Inspired by Adolf Loos's 1908 essay "Ornament and Crime," which argued against excessive ornamentation in design, the book emphasizes the purity and heightening of other artistic elements achieved through its absence. Loos's assertion that "absence of ornament has brought the other arts to unsuspected heights" serves as a foundational concept for the collection. The book, published by Phaidon, broadly defines "modernist" design, encompassing works from Loos himself, iconic figures like Le Corbusier, Eileen Gray, and Mies van der Rohe, and contemporary architects such as Snøhetta, Tadao Ando, and David Adjaye. The photographs in the book are presented in black and white, deliberately blurring chronology and geographical distinctions to highlight overarching stylistic themes. Gibberd, in an essay within the book, describes the compilation as a "visual manifesto" demonstrating Modernism's enduring relevance across generations. Key aesthetic characteristics identified include flat roofs, cubic or cylindrical forms, extensive horizontal window bands, a commitment to material truth, and unadorned exterior surfaces. Gibberd and Hill, co-founders of the London-based Modern House estate agency, focus specifically on standalone modern homes. The book is not an academic treatise on Modernism; its essay component is concise. Similar to Peter Chadwick's "This Brutal World," another visual compendium by Phaidon, "Ornament is Crime" features brief quotes accompanying its images. These quotes, sometimes isolated on colored pages, are often more aesthetically aligned with the homes themselves rather than directly addressing architectural theory, including diverse sources from Oscar Wilde to Prince lyrics. While the book offers a compelling visual narrative, readers seeking in-depth discussions on Modernism's impact on 21st-century design may find the textual analysis limited. Nevertheless, the juxtaposition of historical structures like Le Corbusier and Pierre Jeanneret's 1925 Villa La Roche with contemporary designs such as Tidy Arquitectos's 2008 Schkolnick House, or Loos's 1910 Steiner House with Hans van Heeswijk's 2011 Rieteiland House, wordlessly communicates the enduring legacy of the Modernist heritage. The article notes the broader societal discussions surrounding Modernism, including its association with liberal elites in some alt-right media and its historical role in public housing, contrasting this with the niche appeal of Modernism in private homes, despite its utilitarian use of raw materials remaining highly contemporary. Gibberd states that the book's purpose is to delineate Modernism's core aesthetic features and illustrate its continued vitality in the 21st century. #ModernistArchitecture #ArchitecturalDesign #HomeDesign #AdolfLoos #Phaidon #DesignHistory #ContemporaryArchitecture #VisualCompendium #ModernHomes

The author reflects on the ubiquity of concrete in the built world, drawing a parallel between the echoing sound of rocks in the Swiss Alps and the lasting impact of concrete structures. Concrete, a mixture of gravel, cement, sand, and water, is a fundamental material whose form is determined by its negative space—the formwork. This essential characteristic distinguishes it from carved stone, highlighting the precision and craftsmanship required in its creation. Once the formwork is removed, the cured concrete stands as a silent testament to its intricate process, defying gravity through the embrace of its constituent elements. Le Corbusier significantly contributed to the modernist understanding of concrete, recognizing its sculptural potential and its ability to symbolize modernity through its malleability and strength. His use of board-formed concrete, known as *béton brut* or Brutalism, became a defining feature of his architectural style, imprinting the memory of wooden molds onto the concrete surface. Paul Rudolph, a daring practitioner of modernism, further developed this legacy by allowing concrete to express its inherent qualities. Unlike Le Corbusier, Rudolph designed custom formwork with trapezoidal fins that, once cast, were broken away to reveal rhythmic patterns and luminous textures. This technique created tactile, golden-hued surfaces that celebrated the raw beauty of the material. The exhibition *Materialized Space: The Architecture of Paul Rudolph* at the Met Museum showcases Rudolph's approach, emphasizing the interplay between material and craft. The exhibit features his intricate drawings and models, with a preserved section of the formwork used for Yale's Art and Architecture Building (1963) standing out. This artifact, framed in a custom case, highlights the estrangement of the tool from its original function, serving as a relic of a time when complex formwork and skilled carpentry were commonplace. Rudolph's architecture often appears in science fiction, symbolizing a world of unbridled experimentation and ambition, contrasting with contemporary trends prioritizing optimization and efficiency. The author's firm, SO–IL, has reinterpreted Rudolph's corrugated concrete façades in various projects. At the Manetti Shrem Museum at UC Davis, precast panels and wide silicon joints were used to meet seismic demands, integrating them into a vertical corrugated pattern to create the illusion of a continuous surface. At the Amant Foundation in Brooklyn, corrugation was employed to break up vast façades and absorb concrete imperfections, allowing depth to shape their expression through light and shadow rather than raw materiality. At 144 Vanderbilt, a residential building, SO–IL expanded concrete's tactile and aesthetic potential by incorporating red dye, carefully selected aggregates, and scalloped form liners for rhythmic depth. Bead blasting and acid etching were applied to impart texture and nuance, creating a façade that balances expressive massing with an embrace of its panelization. These projects recontextualize Rudolph's grooves, honoring his legacy while creating new echoes for contemporary architecture. #Architecture #PaulRudolph #Concrete #Modernism #MaterializedSpace #Formwork #Brutalism #ArchitecturalExhibition #SOILArchitecture

This article explores the concept of 'iconic' homes and interiors, drawing insights from Dominic Bradbury's book 'The Iconic Interior' and the Vitra Design Museum's exhibition 'Home Stories: 100 Years, 20 Visionary Interiors.' The discussion begins by questioning the definition of 'iconic' in design, noting that true iconic status is often achieved organically over time, influencing design beyond a project's initial ambition. The book and exhibition collectively span 20th and 21st-century domestic interiors, featuring approximately 600 images of remarkable houses. The article highlights various notable designers and architectural styles. It introduces Brazilian architect Lina Bo Bardi's 1951 Casa de Vidro and Danish architect Finn Juhl's 1941 interior, both celebrated for their modern aesthetics. A significant aspect explored is the historical gender bias in design, where interior decoration was often relegated to women as an amateur pursuit, contrasting with architecture as a male-dominated profession. Figures like US interior designer Elsie de Wolfe, known for her uncluttered style, and British cousins Rhoda and Agnes Garrett, recognized for their elegant and utilitarian interiors, are presented as examples of influential women in the field. Beyond individual homes, the article examines the impact of social and technological changes on interior design. It discusses the 'New Frankfurt' social housing project from 1926, which addressed housing shortages through efficient design principles. Austrian architect Margarete Schütte-Lihotsky's contribution of the prototype for a built-in kitchen, based on Taylorist principles for labor efficiency, is particularly emphasized. This innovative design led to the installation of around 10,000 'Frankfurt kitchens' in working-class apartments. In parallel to functional and affordable designs, the article also delves into flamboyant and fantastical interiors. Cecil Beaton's Georgian manor house, Ashcombe, and Tony Duquette's Dawnridge in Los Angeles are cited as examples of highly individualistic spaces that blurred the lines between living areas and theatrical sets. The discussion extends to the rebellious spirit of the 1960s, exemplified by Andy Warhol's Silver Factory, a pioneer of loft-living that profoundly influenced industrial aesthetics. French architect Claude Parent's 'anti-rationalist' apartment, with its eccentric sloping floors challenging traditional Modernist cube-like interiors, is also featured. The role of publicity in achieving iconic status is noted, with examples such as Lina Bo Bardi's Casa de Vidro, Cecil Beaton's Ashcombe, and Alison and Peter Smithson's House of the Future benefiting from media exposure. The article also touches upon homes designed by high-profile architects for themselves or adventurous clients, and those inhabited by artists who treated their spaces as canvases for creative expression, such as the Bloomsbury Group's Charleston farmhouse. Early examples like Henry van de Velde's Art Nouveau Villa Esche and Adolf Loos's Modernist Steiner House illustrate interiors that were radically unorthodox and ahead of their time, challenging conventional ornamentation. The evolution of Modernism into a softer, more organic approach in the 1930s is represented by Berthold Lubetkin’s penthouse and Russell Wright's proto-eco house, Dragon Rock, which harmonized with its natural surroundings. The article concludes by discussing the emergence of Postmodernism in the 1960s and 1970s, spearheaded by architects Roberto Venturi and Denise Scott Brown, who questioned Modernist principles and embraced historicism and ornamentation. Their Venturi House exemplifies an eclectic, kitsch, and ironic interior that combined diverse artistic elements, contrasting with earlier minimalist trends. The ultimate impact of books like 'The Iconic Interior' in conferring and solidifying the iconic status of these homes is acknowledged, highlighting how even private spaces can attain mythical recognition through documentation and imagery. #InteriorDesign #Architecture #IconicHomes #Modernism #Postmodernism #DesignHistory #SocialHousing #ArtNouveau #GenderInDesign

The article showcases a unique postmodern villa located at 31 Governors Road in Toronto, Canada, a landmark residential project completed in 1997 by the Italian architect brothers Francesco and Aldo Piccaluga. Known for their distinctive space-age style, the Piccalugas introduced color and geometry to Toronto's architectural landscape, notably with projects such as the CN Tower restaurant. This particular home, situated between the affluent neighborhoods of Leaside and Rosedale, stands out amidst its Victorian and Edwardian counterparts. Initially met with skepticism, the residence has since gained recognition as a celebrated landmark. The 5,906-square-foot home, featuring three bedrooms and four bathrooms, was recently listed for rent. For this occasion, it underwent a revival led by stylist Bentley Bryan of RAE Property Styling and was photographed by Raffi Tutundjian of Jagged Lens. Tutundjian initiated the project by collaborating with the property's agent, architectural historian Alex Mckinlay Corey, to de-stage the house and introduce new furniture. The aim was to create an aesthetic that complemented the home's unique character. Tutundjian secured a partnership with Porch Modern, a local vendor that provided high-end furniture pieces, which then facilitated collaborations with other Toronto vendors sharing a similar design sensibility. Bentley Bryan's approach to styling focused on highlighting the home's distinctive architecture. This involved carefully curating vintage pieces such as a Pierre Jeanneret Kangaroo chair, a restored Maralunga love seat, and a Mario Bellini Lamp chair. These selections were chosen to harmonize with the home's existing luxurious finishes, including Venetian plaster walls, marble staircases, herringbone floors, and geometric windows. The objective was to restore the house to the grandeur and innovative spirit envisioned by the Piccaluga brothers. The design also incorporated furniture and artwork from local Toronto vendors, celebrating the city's design scene. The styling process deliberately departed from traditional home staging practices, which typically prioritize creating a 'livable' appearance. Instead, the focus was on showcasing the house's architectural beauty and interior design as an art form. Key interior features include a saltwater pool housed in a tiled room with windows offering views to both the interior and exterior. The living room features a wall adorned with a cloud motif that stops short of the ceiling, allowing natural light from the staircase to permeate the space. The dining area is characterized by three long, wood-encased windows that provide treetop views. Throughout the living and dining areas, circular motifs are consistently incorporated, reinforcing the home's geometric design language. #PostmodernArchitecture #TorontoHomes #PiccalugaBrothers #HomeStyling #ArchitecturalDesign #MidCenturyModern #InteriorDesign #GeometricDesign #LuxuryRealEstate

Berlin, like many urban centers, predominantly features buildings in monochromatic shades of brown, gray, and white. Paul Eis, a Berlin-native photographer and architecture student, initiated a project to introduce color to the city's architectural landscape. His work involves digitally saturating photographs of both prominent and ordinary buildings with a diverse palette of pink, orange, blue, yellow, and other vibrant colors. This transformation turns otherwise mundane brown towers into lively, rainbow-splashed structures, and gray apartment complexes are reimagined with bright yellow balconies, rendering everyday architecture significantly more playful. Eis highlights that cities in Germany and Austria, where he sources most of his images, often showcase modern architecture primarily defined by its shape, lacking in color. He points out that this results in less engaging cityscapes due to a monotonous color scheme. His project implicitly questions whether contemporary architects overly prioritize form over color in their designs. He suggests that if a building's color were considered as significant as its shape, cities globally might display a much broader and more vibrant array of hues. While acknowledging that this perspective particularly resonates with those who appreciate color, he also recognizes that minimalists might find colorless modern buildings appealing for their understated quality rather than deeming them drab. Beyond just high-end or famous architectural works, Eis's project also aims to critique the design apathy in housing developments. He expresses concern over the proliferation of often dull housing estates in cities where developers show minimal interest in architectural aesthetics, particularly in terms of color. Through his work, Eis seeks to draw attention to these overlooked aspects of urban design. The article encourages readers who have an affinity for color to view more of Eis's reimagined photos, suggesting that these vibrant images could offer a fresh perspective, making a stark contrast to what might otherwise feel like a black and white existence. #ArchitecturePhotography #ColorInArchitecture #UrbanDesign #ModernArchitecture #BerlinArt #PaulEis #ArchitecturalCritique #VibrantCities #DigitalArt

This article details the latest project by Open Studio, an emerging Australian architectural practice, focusing on an artist's studio located in Flemington, a suburb of Melbourne. Established in 2005, Open Studio specializes in designing combined and separate live and work environments. The firm is recognized for its innovative and clear approach to architecture, which was crucial for the success of this particular commission. The project originated from two relatives owning adjacent properties in Flemington who decided to remove the dividing fence between their backyards. This action freed up an unusually wide and largely unused garden area, creating the necessary space for the new artist studio. The unconventional placement of the studio, situated between two existing properties, posed a significant challenge for the architects due to Melbourne's strict planning regulations. To navigate these regulatory hurdles, Open Studio devised a solution that involved designing the building as two distinct structures, which were then combined into a single volume. Heribert Alucha, a partner at Open Studio, explained that this approach aimed to reinforce the concept of shared backyard space. The specific positioning of the new building and its angular design elements were intentionally aligned with the actual title boundaries of the properties. The careful placement of the studio within the site resulted in the creation of three distinct landscaped areas: a playground, a vegetable patch, and a seating area. The studio's unique, distorted box-shape, characterized by its angular resections and curves, plays a functional role in defining these separate outdoor zones, contributing to a harmonious integration with the surrounding landscape. The interior of the Artist Studio is meticulously designed, featuring a brightly lit painting studio, a substantial storage and workshop area, a garden shed, and a garage. The internal spaces are characterized by their clean and neutral aesthetic. Although the indoor and outdoor areas maintain their distinct identities, they are aesthetically unified through the generous openings incorporated into the painting studio space, fostering a sense of continuity and connection. Flexibility and clarity are core principles of Open Studio's design philosophy, and these are evident in the Artist Studio project. The Melbourne-based architects have successfully delivered a compact yet beautifully conceived studio on a site that might initially seem challenging. This project exemplifies how thoughtful design can overcome site-specific constraints to create functional, aesthetically pleasing, and well-integrated architectural solutions. #ArtistStudio #ArchitectureDesign #MelbourneArchitecture #OpenStudio #ArchitecturalInnovation #UrbanPlanning #ResidentialArchitecture #AustralianDesign

Mid-century Modernism has profoundly influenced Australian residential architecture, becoming a highly embraced architectural movement. This style, characterized by flat or raked roof lines, expansive floor-to-ceiling windows, seamless interior flow, and strong indoor-outdoor connections, gained significant traction during the post-World War II building boom. Thousands of Modernist-style homes were constructed across Australia, shaping the way Australians live and interact with their domestic spaces. The enduring appeal of this style is evident in its continued influence on contemporary design and the recent resurgence of interest in its principles. Prominent figures like comedian Tim Ross have championed Modernism, further popularizing the style through media such as his ABC design documentary series, 'Streets of Your Town'. Modernist homes are frequently featured in design publications and academic works, underscoring their cultural and architectural significance. Homes designed by leading Australian Modernist architects, including Harry Seidler, Robin Boyd, and Hugh Buhrich, often hold heritage-list status, reflecting their historical and aesthetic value. Specialized real estate platforms have emerged to facilitate the sale of these properties to buyers committed to their preservation rather than demolition. Sydney architect Madeleine Blanchfield highlights that Modernist homes from the 1940s to the 1960s offered more than just visual appeal; they introduced innovative design elements that revolutionized Australian living. These residences were perceived as optimistic, embracing new building materials and re-evaluating the arrangement and connectivity of rooms. They were designed to be 'outward-looking and joyful,' fostering a strong connection with the surrounding environment. Blanchfield admires the 'calmness, simplicity and exploratory approach to design' inherent in mid-century Modernism, which has consistently inspired her own architectural practice. Blanchfield's winning concept in the H&G;'s My Ideal House design competition, while not strictly Modernist, clearly demonstrates the ongoing influence of the style. Her design features a flat roof, a flexible floor plan adaptable to various sites, and a living 'pavilion' constructed from floor-to-ceiling glass, emphasizing a harmonious relationship with the landscaped garden. She values the clarity in planning, the visual permeability between spaces, and the integration with the garden found in Modernist homes. Blanchfield also strives for honesty in her designs, pushing building materials to their limits, which results in features like large spans, visible structural systems, and extensive glass panels, all present in her My Ideal House design. The My Ideal House competition aimed to develop a blueprint for a new type of family home that was adaptable, affordable, and sustainable. Blanchfield's design reflects this by allowing for optimal north orientation on any site for maximum efficiency. Her plan divides the home into two 'modules' that can be configured in various ways. Blanchfield notes that many achievements of Modernist homes continue to set the standard for new residences in Australia, acknowledging that while building materials haven't dramatically changed, the understanding of passive-design principles and orientation has evolved. This evolution is leading to a new Australian architectural vernacular that respects the climate and culture, building upon, rather than merely replicating, the foundational principles of the Modernist movement. #MidCenturyModernism #AustralianArchitecture #HomeDesign #ArchitecturalMovement #InteriorDesign #ModernistHomes #SustainableDesign #PassiveDesign #MadeleineBlanchfield

Architect Mariam Issoufou discusses her design philosophy and recent projects, including the Rolex Pavilion at the Venice Architecture Biennale and the upcoming Bët-bi museum in Senegal. Issoufou, founder of Mariam Issoufou Architecture and a professor of architecture heritage and sustainability at ETH Zurich, emphasizes a research-led approach that prioritizes local contexts, craftsmanship, and sustainable practices. Her work spans various regions, with a notable focus on projects within the African continent and Europe. The Rolex Pavilion, commissioned for the Venice Architecture Biennale, was designed to reflect Rolex's identity while addressing Carlo Ratti's 2025 theme of adaptation to climate change. Issoufou's design for the pavilion showcases a commitment to local materials and artisan collaboration. The facade is constructed from recycled wooden beams sourced locally, and the interior features a translucent colored ceiling crafted by Murano glassmakers, which creates dynamic light effects. The terrazzo flooring incorporates recycled Cottisso crushed glass. Issoufou aimed to honor Venice's heritage of making and to demonstrate how recycled and local materials can be used effectively in high-profile projects, similar to her work in Africa where materials like recycled metal, earth, and cement are commonly employed. Her design process for the Rolex Pavilion began by considering the unique shape of Venice, a city divided by the Grand Canal, which inspired the form and exhibition spaces of the structure. The project also focused on collaboration across different intelligences and showcased resource efficiency. Issoufou expressed pride in seeing the pavilion come together through the work of local glass, metal, and woodworkers, highlighting the successful integration of traditional Venetian artistry with contemporary sustainable design principles. Issoufou’s practice is characterized by a consistent research-led methodology across all her projects. Instead of imposing a design, she first investigates the architectural history, climate, and vulnerabilities of a specific location. Following this, she identifies and engages with local makers and their existing knowledge and skills. This collaborative and context-driven research then informs the design process, ensuring that each project is uniquely tailored to its environment and community. This approach allows the questions she asks in her projects to remain consistent, while the solutions and outcomes vary based on the specific research findings. Sustainability, for Issoufou, is an intersectional concept that extends beyond mere ecological considerations. She integrates green standards with social, cultural, and economic upliftment for the communities involved in her projects. This holistic view ensures that her architectural interventions contribute positively to the broader well-being of people and places, preserving cultural heritage and fostering economic opportunities. Beyond the Rolex Pavilion, Issoufou is currently focused on the construction phases of two significant projects: the Bët-bi museum in Senegal and the Ellen Johnson Sirleaf Presidential Center in Monrovia, Liberia. The Bët-bi museum, commissioned by the Josef and Anni Albers Foundation and Le Korsa, will be a 1,000-square-meter center for contemporary and historic African art, also serving as a temporary home for repatriated objects. Its triangular form is inspired by the Indigenous Serer people's belief system, symbolizing the relationship between elements, the living, and the dead. The museum will be built into the landscape using sustainable, traditional materials with the help of local artisans, reflecting Issoufou’s commitment to culturally resonant and environmentally responsible design. The Ellen Johnson Sirleaf Presidential Center, where Issoufou is the lead architect, involves collaborations with Sumayya Vally and Karen Richards Barnes, further exemplifying her collaborative and community-focused design ethos. These ongoing projects underscore her dedication to creating spaces that are deeply rooted in their cultural and environmental contexts while promoting sustainability and community engagement. #Architecture #SustainableDesign #VeniceArchitectureBiennale #RolexPavilion #MariamIssoufou #CulturalHeritage #CommunityEngagement #AfricanArchitecture #LocalCraftsmanship

Max Núñez Arquitectos has designed a greenhouse in Pirque, Chile, that blends modernist principles with innovative construction. The structure, measuring 11.4 x 11.4m, is raised on a plinth, creating the illusion of a floating glass box. This design choice, particularly striking when the interior is illuminated, allows the greenhouse to emanate a misty aura that reflects in an adjacent pool, enhancing its mysterious and sophisticated appeal. The greenhouse's design is a contemporary homage to classic modernist pavilions, drawing inspiration from architectural pioneers like Ludwig Mies van der Rohe and Philip Johnson. However, Núñez diverges from the archetypal flat roof, opting instead for a more historically informed approach that harks back to the early modern era when advancements in glass technology revolutionized industrial and residential architecture. The roof features two barrel vaults constructed from glass blocks, supported by a framework of inverted V-shaped steel braces. This innovative roofing system provides an internal height of approximately 6.3m, accommodating the growth of even large plant specimens. The glass blocks are instrumental in diffusing direct sunlight, which helps to regulate the internal temperature and reduce the reliance on mechanical cooling systems. An external boiler house is connected to automatically controlled vents within the glazing, pumping in heat as needed. Additionally, a sophisticated system of pipes and nozzles disperses moisture, creating the hot and humid conditions necessary for tropical plants to flourish. In stark contrast to the lush, controlled environment within, the greenhouse is situated in a typical semi-arid Chilean landscape. This juxtaposition highlights the structure's role as a self-contained ecosystem, designed to sustain a vibrant interior realm despite its external surroundings. The choice of raw industrial finishes and materials further emphasizes this function, forming a diaphanous framework that envelops a small slice of the tropics. Núñez's architectural style is characterized by its eclectic formal intensity. His previous project, the Ghat House on Chile's Central Coast, was recognized with the Best New Private House award in the 2018 Design Awards for its sculptural concrete cascades. The Pirque greenhouse, however, represents a distinct shift in scale and its response to topography, showcasing the architect's versatility and ability to adapt his vision to different functional and environmental contexts. The project exemplifies a thoughtful integration of art, science, technology, and style within the typology of a glasshouse, offering a refined space for botanical collection, cultivation, and display. #ModernistArchitecture #GreenhouseDesign #GlassArchitecture #ChileanArchitecture #MaxNúñez #SustainableDesign #ArchitecturalInnovation #ResidentialArchitecture

The article discusses the collaboration between fashion label COS and American light-based artist Phillip K Smith III for an installation titled 'Open Sky' at Milan's Salone del Mobile. This project, featured in the 2018 edition of the design fair, marks a significant departure for both parties: Smith's first brand collaboration and his initial foray into a dense urban setting, moving away from his usual desert landscapes. COS, known for its annual design collaborations since 2012 with talents like Sou Fujimoto and Studio Swine, aimed to create an experience that transcends traditional art and design boundaries. Karin Gustafsson, COS' creative director, emphasizes that the brand's collaborations are driven by passion for the artists' work rather than a desire for increased presence. She highlights that COS provides a broad brief, focusing on brand values but allowing artists creative freedom. The choice of Phillip K Smith III was influenced by the shared values of tactility, modernity, and functionality, as well as Smith's meticulous attention to detail and the timeless quality of his work, which resonated with COS' aesthetic. 'Open Sky' is strategically placed within the 16th-century Palazzo Isimbardi, an exhibition venue previously unused. Smith's sculpture, a circular mirrored structure angled at 43 degrees, reflects the sky and surrounding Italian Renaissance architecture, drawing fragmented views into the courtyard. This design aims to create a unique and personal experience for each visitor, influenced by the time of day and atmospheric conditions. The installation encourages contemplation, offering a quiet respite from the bustling Salone del Mobile. The ambitious structure, an 11ft-tall concrete form with 34 chemically polished stainless steel panels, was fabricated by UAP, an international studio specializing in public art projects. The components were manufactured at UAP's Long Island City facility, then shipped to Milan for on-site assembly. The installation's journey begins with visitors encountering the imposing concrete form, which contrasts sharply with the classical palazzo. A single opening guides them along its circumference, eventually revealing the mirrored inner surface that reflects the Renaissance architecture and the sky. Additionally, smaller freestanding sculptures by Smith are installed in the palazzo's outdoor gardens, further exploring the distillation of his larger concepts into abstract, smaller-scale works. Smith notes that COS's support was instrumental in realizing his vision, allowing the concept to remain remarkably true to his original proposal. He describes the collaboration as akin to a museum offering space and budget, indicating COS's commitment to supporting artistic ideas. With degrees in both architecture and fine art from the Rhode Island School of Design, Smith effectively merges these disciplines in his practice, creating art at an architectural scale. His architectural training informs his approach to context and detailing, ensuring the concept and experience are pure. 'Open Sky' represents a significant development in Smith's practice, allowing him to explore his ideas on an architectural scale within an urban environment, an opportunity that he suggests would have been much smaller without COS's involvement. #SaloneDelMobile #COS #PhillipKSmithIII #ArtInstallation #MilanDesignWeek #ArchitecturalDesign #ReflectiveArt #ContemporaryArt #DesignCollaboration

Artemest's L’Appartamento exhibition, held during Milan Design Week, transformed a 20th-century Milanese mansion into a showcase of Italian craftsmanship through decorative interventions by six international interior designers. Each designer reimagined a room, creating immersive vignettes that seamlessly integrated with the mansion's authentic character while exclusively featuring contemporary art and furnishings from Italian artisans available through Artemest. The exhibition provided a unique platform for designers to blend their individual styles with Italian design heritage. Studio Meshary AlNassar curated the Entryway, infusing it with warm earthen tones inspired by Gulf landscapes. This space featured silhouettes reminiscent of classical colonnades, illuminated by a chandelier adorned with Murano glass sunflowers, setting an inviting and exotic ambiance upon entry. The adjacent Flower Room adopted a dreamlike aesthetic, utilizing pastel hues. It was further enhanced with Art Deco steles and mouth-blown vases, brimming with vibrant floral arrangements that lent an ethereal quality to the space. Elicyon designed the Cocktail Room, where playful bohemian textural expressions paid homage to the building's historical grandeur. This room was characterized by sensorial textural depth, exemplified by a long-hair fur lounge chair and wall-mounted rugs, creating a luxurious and inviting atmosphere. VSHD's Dining Room presented a striking juxtaposition of styles, blending minimalist modernism with richly ornamental baroque aesthetics. A whimsical paper chair was deliberately placed alongside Luciano Baldessari's Futurist floor lamp, creating an eclectic and dynamic dialogue between eras and design philosophies. Rottet Studio's classical Living Room embraced traditional elements such as wooden parquets, gilded brocade walls, and celadon wainscotting. This historical backdrop was enriched with contemporary touches like Venetian glass accents, a pyrite- and Cubism-inspired cabinet, and a dichroic glass table, which dynamically refracted light throughout the room, adding a modern sparkle to the classic setting. Tamara Feldman's Bedroom drew inspiration from Mexican haciendas, featuring robust terracotta textures and saturated red walls. The space was enlivened by biophilic elements, with glimpses of botanicals, natural wood, and stone, complemented by yellow and green hues that mirrored the foliage outside, connecting the interior with nature. The exhibition extended outdoors with GACHOT's Courtyard, conceived as a verdant extension of the interior spaces. This intimate outdoor living room offered lounge and dining areas, alongside a bar, all enveloped by local blossoms. A fire pit sculpted from local Dolomia stone served as a focal point, harmonizing with the delicate Murano drinking glasses and the rich burgundy tones of an iron bowl, creating a sophisticated and relaxing outdoor environment. This comprehensive exhibition highlighted the versatility of Italian craftsmanship and the innovative approaches of international designers in a historically rich setting. #MilanDesignWeek #Artemest #ItalianCraftsmanship #InteriorDesign #EclecticShowHouse #MansionInteriors #ContemporaryArt #MilaneseArchitecture

Architect Matt Gibson designed the Concrete House in a Melbourne suburb, drawing inspiration from mid-century Modernist architecture in Brazil. The client, a commercial builder specializing in masonry, specifically requested a house constructed from a concrete and stone palette, with references to Brazilian Modernists such as Oscar Niemeyer, Lucio Costa, and Paulo Mendes Da Rocha. These architects are known for their bold forms, protruding volumes, and raw concrete surfaces, which heavily influenced Gibson's design. The Concrete House primarily utilizes concrete as a fundamental construction material, making it a defining element of the building's architecture and reflecting the owner's profession and craft. The compositional palette, combined with the client's specially sourced exterior stone, adheres to the specific requirements of the client's mid-century Modernist brief. The residence consists of two horizontally oriented, two-story blocks crafted from concrete, wood, and stone, positioned side by side. Living spaces on both the lower and upper floors are situated within the block closest to the rear garden, while the bedrooms and entrance areas face the street. The property is set back 10 meters from the street, with an opaque wooden screen at ground level providing privacy along the front facade. This facade also houses the main entrance and a large lift designed to transport the client's car to an underground parking space. A distinctive concrete block subtly overhangs the lower floor. This block features two wide windows, recessed within deep faceted frames, at both the front and rear of the structure. The tapered concrete form is strategically designed to maximize views in both directions, while the east and west elevations remain windowless to restrict sight lines to neighboring properties. Inside, a double-height living room featuring an integrated concrete chimney breast serves as the central focal point of the house. Glazed doors connect this lounge area to the rear garden, which was designed by Australian landscape architect Rick Eckersley. The garden incorporates planting pockets within concrete patios, along with a tennis court and a swimming pool. The interior design emphasizes vertical and horizontal material connections, weaving them throughout the spaces. White plaster is used for practical purposes and is interspersed among timber, stone, and concrete, creating a neutral backdrop for the client's lifestyle, furniture, and artwork. The main spaces are characterized by their formal simplicity, lofty ceilings, and airy atmosphere, reminiscent of mid-century Modernist material and compositional qualities, particularly those found in Brazilian Modernism. A smaller snug area on the upper floor overlooks the primary living space. This floor also accommodates three bedrooms and features a decked balcony extending along the garden-facing facade. The Concrete House exhibits similarities to several recently completed residences in Brazil, including Casa Cubo by Studio MK27, known for its seemingly wall-less living room, and a substantial concrete home designed by Isay Weinfeld for a graphic designer in São Paulo, further cementing its connection to the Brazilian Modernist aesthetic. #BrazilianModernism #ConcreteArchitecture #StoneConstruction #MelbourneDesign #MattGibson #MidCenturyModern #ArchitecturalDesign #ResidentialArchitecture #AustralianHouses

The article showcases a unique residential project by Fala Atelier in Matosinhos, Portugal, which redefines suburban architecture with an unconventional design. The house, spanning 2,580 square feet, features an inverted roof where one side is curved and the other straight, creating a distinct silhouette that stands out from typical suburban homes. The structure is described as an 'exploded box' resting on a translucent plinth. The exterior of the house employs a striking black, white, and green color palette, a signature of Fala Atelier, but with new and surprising elements. Different vertical and slanted surfaces are meticulously chosen and set apart with varying colors. The facade is punctuated by a mix of round and square windows, which are arranged to compose three distinct elevations, some evoking faces or imaginary animals. Adding to the playful aesthetic, the house incorporates blue and green shutters that can conceal the openings, giving it the appearance of a paper collage with colored figures scattered across a white canvas. The color scheme is elaborate, featuring hues of green, blue, light green, black, white, and green again. Inside the residence, the structural elements are intentionally detached from the walls. A sequence of five slender, light green concrete columns is prominently featured in different rooms, designed to subtly obstruct daily routines, emphasizing their presence as sculptural elements rather than hidden supports. Notably, one of these columns extends to the outdoor terrace, seemingly supporting nothing, which further highlights the architect's unconventional approach to structure and form. The ground floor hosts an open living space that seamlessly connects to the garden and an office situated above it. The interior's complexity is enhanced by double-height spaces, occasional kinks in the walls, and the visible concrete columns, all beneath a gently sloped ceiling. The upper floor houses the primary bedroom within an extruded quarter-circle space, adding another unique geometric dimension to the layout. The house's construction is a deliberate assembly of various surfaces—straight, folded, cut, curved, and tilted—crafted from materials such as concrete, marble, and glass brick. These surfaces divide, overlap, intersect, and cover different areas, all anchored by the bold, punching-through columns. The interior space is designed to meander between these carefully choreographed elements, creating a dynamic and engaging experience. The architectural concept defines the house as a figure that is simultaneously complete and broken, reflecting a deliberate disruption of conventional architectural norms. #FalaAtelier #PortugalArchitecture #ModernDesign #InvertedRoof #UniqueHomes #ArchitecturalInnovation #ColorfulFacade #ConcreteColumns #SuburbanRevolution

The article explores Art Nouveau design, a movement originating in Belgium in the late 19th century, characterized by undulating curves, asymmetrical lines, and earthy colors and motifs. It differentiates Art Nouveau from the later Art Deco movement and highlights the influence of Czech painter Alphonse Mucha, whose iconic posters, featuring botanical elements and curved archways, became synonymous with the style in France. The piece then guides readers through preserved historical Art Nouveau buildings in Brussels, beginning with Maison Hannon. This corner townhouse, built in 1902 and recently restored, showcases a blend of botany and antiquity through intricate mosaic floors, stained-glass windows that cast golden light, a theatrical spiral staircase with wrought-iron railings, and frescos reminiscent of Mucha's art. The design emphasizes natural light permeating every corner, creating an ethereal escape. Further exploring Brussels, the article details the Horta Museum, a UNESCO World Heritage site dedicated to architect Victor Horta, considered a father of Art Nouveau. Horta's former home is furnished with custom-designed items like flower-shaped lamps and curved wooden chairs, reflecting his integrated design approach. Other Art Nouveau sites by Horta, such as Hotel Solvay, are mentioned as grand mansions where the style meets maximalism. Outside Brussels, the Zurenborg neighborhood in Antwerp is presented as a charming example of diverse Art Nouveau exteriors, demonstrating that the style is not limited to verdant hues. Transitioning to Singapore, the article notes the scarcity of Art Nouveau architecture compared to Art Deco but highlights Dragonfly Singapore, a new Art Nouveau-inspired cocktail bar conceptualized by Australian designer Ashley Sutton. For Singaporean homeowners interested in incorporating Art Nouveau, the article offers practical suggestions. Despite the limitations of apartment living, laser-cut wood paneling can replicate intricate detailing. Stained-glass film from online platforms like Etsy provides an option to diffuse sunlight or decorate glass doors with Art Nouveau motifs. Decorative wrought-iron grilles with botanical flair from suppliers like M Aluminium & Glass can enhance metal gates. Additionally, lighting shops such as Horizon Lights offer floral-inspired chandeliers and lights that embody the Art Nouveau aesthetic. The article concludes by emphasizing the enduring appeal of Art Nouveau, which, even today, offers a visually pleasing outlet for whimsy and elegance, connecting people to the fluidity and harmony of the natural world amid increasing urbanization. #ArtNouveau #ArchitecturalDesign #InteriorDesign #BrusselsArchitecture #SingaporeDesign #HomeRenovation #HistoricalBuildings #DesignInspiration

This article details a contemporary 6,000-square-foot residence in Southern California’s Manhattan Beach, designed by Montalba Architects. The dwelling spans three floors on a long, deep lot, characteristic of the area's ocean-adjacent properties, and addresses the challenge of dense proximity while maintaining a sense of openness. The exterior features a pared-down palette of plaster, Douglas fir for the roof overhang, and Western red cedar for a textural screen wall, complemented by an abundance of glass, suggesting a voluminous interior presence. The interior design ingeniously mitigates any feeling of compression through a double-height interior courtyard open to the sky, serving as the central organizing element of the home. Entry to the house is through a screened, semi-outdoor garden space on the ground floor. This level contains a guest room and bath, mechanical and laundry areas, a large gym, and an expansive garage designed to accommodate up to six vehicles, catering to the owner’s passion as a Porsche collector. The "real" front door is situated on the second level, accessible via an exterior stairway. On the second floor, an entry foyer overlooks the central courtyard, which features a large maple tree. This alfresco amenity is visible from various points throughout the house, including from the third floor. This level is dedicated to the owners' private spaces, encompassing the primary ensuite bedroom and bath, as well as separate her and his offices. An additional deck expands the usable outdoor area. An indoor, light-filled stairwell connects to the third floor, strategically located to maximize natural daylight. David Montalba emphasizes that a consistent theme in his diverse architectural work is the sculpting and engaging integration of natural light into buildings. The third floor accommodates the main living areas, including a conjoined living, dining, and kitchen zone, alongside a family-media room. This family-media room opens through sliders to an outdoor living space, featuring the tall courtyard and a deck with a lap pool, overlooked by a vertical garden. This vertical garden enhances privacy and adds a unique aesthetic element. The design also incorporates a subtle 'slot of space' on the third floor, allowing for distant views of breaking waves from all rooms. Montalba’s modernist approach is evident in the minimal finishes and furnishings throughout the home. Flooring consists of white oak indoors, transitioning to ipe outdoors, designed to blur the boundaries between interior and exterior spaces. Other prominent materials include vertical-grain white oak for millwork and acid-blasted silver travertine from Belgium for the living room fireplace. The furniture selection features pieces from acclaimed designers such as Finn Juhl, Rodolfo Dordoni, Edward Barber & Jay Osgerby, Roberto Barbieri, and Roberto Lazzeroni. The home also integrates contemporary art from artists like Andy Moses and Casper Brindle, alongside a family heirloom Steinway piano, blending modern aesthetics with personal history. #MontalbaArchitects #ManhattanBeach #ContemporaryArchitecture #BeachHouseDesign #ModernistDesign #InteriorCourtyard #LuxuryResidential #SouthernCaliforniaHomes #ArchitecturalLighting