Private homes in the world-خانه های خصوصی در جهان

8/9/2019 Private homes in the world-

1/12

2678

Hill House, which Charles Rennie

Mackintosh designed for Walter Blackie

in 1903, stands with panoramic views of

the River Clyde in Helensburgh, Scotland.

The creation of a complete, entirely

unique space, central to Mackintosh's

architectural vision, defines Hill House.

Mackintosh's facade carries on the tradi-

tion of brutal, strong, massive forms that

echo the Scottish landscape and also the

stone used in their construction. Theexposed Cliffside upon which Hill House

rests and the reference to Scottish baroque

castles in the architecture calls to mind

Swinburne's work "By the North Sea". A

distinct mood is conveyed through the

intensely weighted stone forms. The pow-

erful force of nature, the sea and the

weather and environment all had a strong

impact on the facade of Mackintosh's Hill

House. The small windows dotting the

thick walls make obvious the need

Mackintosh had for Hill House to with-stand the test of weather and the passage

of time.

The interior, defined by its functionality,

lacks the indulgence in ornamentation

familiar to Victorian spaces. Mackintosh

famously argued that construction should

be decorated and decoration should not be

constructed. Hill House, characterized by

a tendency toward the romantic, focuses

on the importance of the individual

patrons for whom it was built and the cre-

ation of mood and feeling. The power of

architecture and design to evoke emotion

and impact life gained prominence during

this period of experimentation as the

boundaries between the major and minor

arts dissipated. Mackintosh's organic

vision, shunning the industrial capitalism

that was gaining momentum, sought to

replace the art of construction and design

to the forefront of building and bring inte-

rior design into the realm of high art.

http://www.victorianweb.org/art/design/macintosh/kelly10.html

oHkIv,jI;I]HvgCvkDlHnvsH3091fVh,hgVf;DxVhpD;Vn&]LhkNhct


2/12

36 77

E-SCIENCE, ARCHITECTURE & CONSTRUCTION

,hpHsHjH;NcdHnnhvn#rNvlHv,xVhpDnvfVhkKhpHsHnvhdKn,vhhcjHvdOlHvhiJfHv`Nh;Vnff


3/12

4676

The Dymaxion House was a true revolu-

tion in building design. Housing a family

of five, it was a "house on a pole." The

hexagonal structure was suspended by

cables from a missile-like mast rising

through its center. Both inside and out, the

Dymaxion House is still futuristic more

than half a century later. Air was drawn in

through the central mast, after which it

was filtered and washed, cooled or heated,

rendering the dwelling virtually dust-free.

Water was filtered, sterilized, and recy-cled, so there was little need for piped-in

water. Everything was built-in and many

of the cabinets were controlled by intricate

light beams.

All its futuristic gadgets notwithstanding,

the Dymaxion House was true to Buckys

guiding principle of doing more with less.

Whereas a conventional single-family

house at that time weighed approximately

150 tons, Buckys creation was a mere 3

tons. It could be mass-produced, and

Bucky anticipated having units air-lifted

by zeppelin to remote areas such as the

North Pole.Since his intention was to find a way of

serving the interests of humankind rather

than his own self-interest, Bucky offered

in 1928 to transfer all rights to the

Dymaxion House to the American

Institute of Architects. His offer was

refused, with an explanation that the

organization was opposed to mass-pro-

duced houses.

At about this time, Bucky had an opportu-

nity to test his commitment to his pro-

claimed experiment and to learn a lesson

about making a difference in the world. In

line with his fundamental rejection of theconventional norms of living, Bucky had

taken to wearing T-shirts, sneakers, and

casual clothes at a time when"respectable"

people were expected to dress more for-

mally. The rejection of the Dymaxion

House somewhat hardened his rebellion

against social conventions.

nvn,niI0291fH;D2iV,;


4/12

56 75


jHvdI

noV;


5/12

6674

Fallingwater, one of Frank Lloyd Wright's

most widely acclaimed works, was

designed in 1936 for the family of

Pittsburgh department store owner Edgar

J. Kaufmann.

The key to the setting of the house is the

waterfall over which it is built. The falls

had been a focal point of the Kaufmann's

activities, and the family had indicated the

area around the falls as the location for a

home. They were unprepared for Wright's

suggestion that the house rise over thewaterfall, rather than face it. But the archi-

tect's original scheme was adopted almost

without change.

Completed with a guest and service wing

in 1939, Fallingwater was constructed of

sandstone quarried on the property and

was built by local craftsmen. The stone

serves to separate reinforced concrete

"trays", forming living and bedroom lev-

els, dramatically cantilevered over the

stream. Fallingwater was the weekend

home of the Kaufmann family from 1937

until 1963, when the house, its contents,

and grounds were presented to theWestern Pennsylvania Conservancy by

Edgar Kaufmann, jr. Fallingwater is the

only remaining great Wright house with its

setting, original furnishings, and art work

intact.

In 1986, New York Times architecture

critic Paul Goldberger wrote: "This is a

house that summed up the 20th century

and then thrust it forward still further.

Within this remarkable building Frank

Lloyd Wright recapitulated themes that

had preoccupied him since his career

began a half-century earlier, but he did not

reproduce them literally. Instead, he casthis net wider, integrating European mod-

ernism and his own love of nature and of

structural daring, and pulled it all together

into a brilliantly resolved totality.

Fallingwater is Wright's greatest essay in

horizontal space; it is his most powerful

piece of structural drama; it is his most

sublime integration of man and nature."

oHkI>fHv;IdDhclVjVdK>eHvtVhk:gfHvsHoIhkN#>fHvlV;CtHgJiH;HtKffHvfIiVhfA,d|lHkH

,sV,dSfNhaDhnvsH9391fI`HdHvsN#oHkI>fHvvhwVhffHvhcsH7391jH3691lGhrHlJoHkoViIf


6/12

76 73


View of the main (living room) level, from south-southeast.

Stairway of Fallingwater

Interior space of Fallingwater

Figu

re1

kHoHkI>fHv)hjHkK(hcsJ[fHv

tHnhoDoHkI>fHv

aG1

Figu

re2

aG2


7/12

8672

In his summer house in Muuratsalo

(1953), Finland Aalto used the courtyard

wall for experimental purposes. He

explored a variety of brick patterns and

combinations to better understand the

properties of the materials. This experi-

ment is not merely technical, but also

poetic. The summerhouse at Muuratsalo is

not only a place to live and work but is

also a sort of experimental house. It is

located in the lake country of north-central

Finland, one hour by motor boat from thenearest railroad station. Two wings of

equal length set perpendicularly to each

other, one containing the living area and

the other the bedrooms, form a square

court which is closed to the exterior by

means of high walls. The exterior walls of

this court are developed as mosaic-like

experimental walls, divided into about

fifty areas in which different types and

sizes of brick and ceramic tile with differ-

ent methods of jointing are used, so as to

test their effect from both the aesthetic and

practical standpoints. The lean-to roof

rises steeply over the living area towardsthe west wall." The building has, with its

experrimentalaim in mind, been designed

so that it differs form the normal; the same

forms have not been used throughout, nor

the same scale, nor the same construction.

Thus all the wall around the closed patio

are divided into approximately fifty panels

in which the effect of ceramic materials,

brick, joints, different brick formats, and

surface treatments have been tried out.

These experiments with form also include

test of durability that are daily the object

of the architect's observation. Similar

experiments take place on the centralpatio, where form one year to the next we

have tried different techniques for surfac-

ing different areas, from the point of view

of aesthetic effect. We have tried every-

thing from brick and stone surfaces to dec-

orative plants and mosses. The wall con-

struction of building varies,and for experi-

mental purpose different roof construc-

tions have been attempted.

www.alvaraalto.fi

>g


8/12

96 71


Kahn built relatively few houses. In eachthere seems to be a larger-scale buildingtrying to escape from the confines of theclient's budget. In the Esherick House, theinherent monumentality of the plan isdiminished by the fact that the major liv-ing spaces are surrounded by very thickwalls. In the double-height living room,the fireplace wall is literally deep. Theopposite wall in plan also has a fireplaceused in the bathroom, but the wall is thick-er containing a zone of servant spaces,kitchen, bathrooms, closets which are not

part of the axial symmetry of the twomajor living spaces.. The two windowwalls are also thick but these frame wallswith alcoves or niches between the case-ments. The most intricate planning occurson the first floor where the sliding doors

between the gallery and bedroom, andthen between bedroom and bathroom, sug-gest a flow of space from void to room toaltar.In searching for the nature of the spaces ofhouse might they not be separated a dis-tance from each other theoretically beforethey are brought together. A predeter-mined total form might inhibit what thevarious spaces want to be. Architecturalinterpretations accepted without reflection

could obscure the search for signs of a truenature and a higher order. The order ofconstruction should suggest an evengreater variety or design in the interpreta-tions of what space aspires to become andmore versatility in expression of the ever

present problems of levels, services, thesun, the wind and the rain."- Louis I. Kahn. from Alessandra Latour,ed. Louis I. Kahn: Writings, Lectures,Interviews. p60.

;H&oD;LoHkIsHoIhsJfHhdKpH=


9/12

0770

Japanese architect Tadao Ando skillfully

manipulates light and form, creating spa-

tial sanctuaries for introspective medita-

tion. The thoughtful arrangements of stark

cast-concrete elements animated with nat-

ural light are Ando's trademark in creating

spaces. Born in Osaka, Japan in 1941,

Ando at an early age had developed an

interest in the art of building, frequenting

the local carpentry workshop near his boy-

hood home. Ando began to study architec-

ture through independent study and travel

to Europe, Africa, United States, and

around his native Japan. After rigorous

study and technical application, Ando

opened his practice, Tadao Ando Architect

& Associates in Osaka in 1969.

Like many great architects before him,

Ando started his career with the design of

residential projects. Of these one very rep-

resentative project is the Row House in

Sumiyoshi, completed in 1975. In a densedistrict in Osaka, Ando crafts a house of

two identical cubic volumes of concrete

split by a void of the same proportions.

The open-air void is a courtyard, which is

centrally bisected by a bridge on the sec-

ond floor. The house is composed around

the void and, except for the recessed

entrance, completely closes itself from the

street, separating all activities of the house

from the outside world. This separation

creates a microcosm around which the

family and its activities are embraced. The

house received the top prize of the

Architectural Institute of Japan in 1979.The creation of introspective domain is

evident in all Ando's work .

oHkIvndDkKheVfV[IjHnhmkN,hsJ;IsHoJ>nvsH5791nvhch;HfH`HdHvsN#>kN,nvd:lIakN,hdVhn=VtIhkN;I]VhfH,[kN,kCnv`HsO=IhsJ;InhaKhvjHlLfHxJ&fVhaV,kNhhvcaNjVdK>sHdAhsJ#>kN,nvdDndVhclHpIiHdAnvfHvhdKoHkI=IhsJ^nv

hdKoHkI&pHlV;CtHsJ&nvxIh,nvd: xV>hjHkK,nvxVndV>aCoHkI&hjHyBho


10/12

17 69


As the name of this project suggests, the

house is designed for two families.

Originally, it was meant for two business

people but due to financial constraints,

they found another couple to pool their

resources in order to make this project

possible. Instead of simply splitting the

site into halves for each of the two fami-

lies, the architects designed the houses to

be interlocked together three-dimensional-

ly in order to have bigger living spaces

that almost stretch across the entire widthof the site.One of the living rooms occu-

pies the entire first floor while the other

occupies the second floor. Both families

have equal views of the exterior from their

living room and both have their own

entrances, one at the front of the building

and one at the side.

This is a private residence; it is not open to

public. The exterior can be viewed from

the small park across the street from the

house. The home is located in a row of iso-

lated houses at the edge of Wilhelmina

park.The facade of the house reveals the

subdivision, intersection and complexity

of the space it encloses, presenting as its

facade a graphic structure reminiscent of

the geometries of Theo van Doesburg in

an apparently arbitrary arrangement which

is a paragon of free architecture.The outer

surface plays with transparency and opac-

ity, alternating different types of glass

with panels of dark-painted plywood

which hide what glass would reveal: the

most private parts of the house.The home

next door is larger, with an entrance,

garage and guestroom on the ground floor;

the first floor is completely open, and con-

tains the living room and kitchen; the sec-

ond floor with its two bedrooms is much

smaller.Above this more rooms of various

sizes take back space from the house next

door.

hdKxVnvhfNhfVhn,jH[VxVhpDaNfkHfIuJlfHd:c,ndVaVd:aNkNjHf


11/12

2768

The Smith House is located on the

Connecticut coastline-overlooking Long

Island Sound. The site is 1 1/2 acres and

drops from a plateau on the north side that

contains several evergreen trees to the

rocky shoreline of Long Island Sound on

the south. The house is located on an axis

with the entry drive, and lies slightly

below the crest of the sloping hill. This

allows a sequence of approach, entrance,

and views. As one enters the site, they see

views of the house beyond, but they are

also able to see the surrounding landscape.The front facade has been treated as an

opaque screen that one must penetrate. A

ramp slopes up to the front door as one

enters through a double wall, or the space

that contains most of the utilitarian ele-

ments of the home, into the primary living

space. While the front facade is opaque,

the rear facade is almost entirely glazed

allowing light and color from the land,

sky, and water to fill the living space.

The spatial organization of the house is

based on separation between public and

private. Functions such as sleeping and

bathing occur in the double wall towardsthe land, while family gatherings and

entertaining take place in the rear space

toward the water. The structural system is

differentiated in these two zones. The pri-

vate section of the home is constructed of

load-bearing wood stud walls, while the

public section contains round steel

columns. On the exterior, glass frames the

public side and vertical wood siding cov-

ers the private side. "The complementarity

of solids and voids in strong juxtaposition

creates a spatial dialogue in both plan and

elevation."

oHkIhsJnvoXsHpD;Hk:jdNhsJ#hdKoHkInvl


12/12

37 67


SAGAPONAC HOUSE

This house is composed of two simple

rectangular volumes forming an L-shaped

plan . It engages the landscape and the

pleasures of being in the country by fram-

ing it . The private pool area acts similar to

some beaches in the area where the beach

becomes a stage for exhibitionism and

spectatorship by parading bodies .

Inspired by Giacomettis sculpture titled,

Figure in a Box between Two Boxes

which are Houses, the Sagaponac house

takes the from of a minimalist structure

hovering over a solid platform within the

untouched natural landscape .

GREENWICH HOUSE

This 3800 square foot suburban home for

a young Argentinian couple with three

children gave an opportunity to investigate

and reexamine the potential possibilitles of

a suburban home in the next millennium .

The owners paradoxical love & hate rela-

tionshlp with both the city and the subur-

ban life urged us to evaluate and address

the changing attitudes of new generation

of home owners toward privacy and space

vs public interaction and urban density.

Conceptually a new Datum line or ground

plane was established by partially using an

existing rectangular structure into creatinga new one story horizontal L-shaped vol-

ume . This volume contains the children

bedrooms and the Gym room in the East

wing and living, dinning, kitchen eat-in

area, laundry, Maids suite and garages in

the west wing .

oHkIsH=H`

Documents

Private homes in the world-خانه های خصوصی در جهان