modernist architect

Tour Totem, ParIs, France.

(Arch. Michel Andrault & Pierre Parat, 1976-79)

Photo by Carlos Traspaderne with Hasselblad 500 C/M & Ilford film.

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Miele Chino Canyon Project

Lance O'Donnell of o2 Architecture has overseen the completion of two dwellings in Palm Springs – a contemporary home he designed, and a never-built residence by famed mid-century modernist architect Al Beadle.The homes are referred to as the Miele Chino Canyon Project — a reference to their location within the Southern California city. The dwellings are situated within the Chino Cone area, at the base of the San Jacinto Mountains.

The 02 House was designed by O'Donell, who founded the local firm o2 Architecture in 2006. The other residence, the Beadle House, is based on never-built plans by Al Beadle, a famed Arizona architect who died in 1998. He was known for creating relaxed, modernist dwellings in the desert. The two homes, which sit within walking distance of each other, share a respect for their natural context. “Both feature notable art and furnishings, as well as building principles, that are sensitive to the environment of the desert,” the team said.

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anonymous asked:

What do you think are the most important women architect in the history of architecture, and your fav?

OK, here is MY list. Everyone is free to agree or disagree or to comment on who was left out but I limited the list to 10 spots and focused on the last century.

You are invited to post about any of those that were not included and tag me, if I agree with your suggestion I will add a list of runner ups and link it to your post.

Lina Bo Bardi

Lina Bo Bardi, was an Italian-born Brazilian modernist architect. A prolific architect and designer, Lina Bo Bardi devoted her working life, most of it spent in Brazil, to promoting the social and cultural potential of architecture and design. Source Image

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Logements Jeanne Hachette, Ivry-sur-Seine, Paris, France.

(Arch. Jean Renaudie & Renée Gailhoustet, 1970-75)

Photo by Carlos Traspaderne with Hasselblad 500 C/M & Ilford film.

Homes: Schindler House
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Schindler House


The L.A. designer Pamela Shamshiri recently brought her own historic R. M. Schindler house back to its original glory.

The architect, the most bohemian of Frank Lloyd Wright’s acolytes, known for his cresting wave of dark hair and poet’s white middy blouse, built the place for a client named Richard Lechner and his wife in 1947. The house — at 3,500 square feet one of Schindler’s largest — hugs the land’s contours like a giant V, the angle nestled into rock. With long treetop views through walls of glass, seemingly endless sources of natural light from clerestory windows and a warm, human scale emphasized by humble plywood interiors, it is a classic example of the architect’s postwar “space” oeuvre, an Expressionist cliff dwelling for the modern era.

Pamela Shamshiri knew the house would complicate her life, almost unbearably, when the realtor first took her there in 2008. She was raising two children and was buried in projects for Commune, the design firm behind the Ace Hotels in Palm Springs and L.A., as well as boutiques for Irene Neuwirth and Opening Ceremony. As a result of her work with that in-­demand collective (co-founded by Shamshiri and her brother, Ramin, along with Roman Alonso and Steven Johanknecht), she was well positioned to understand the challenges inherent in bringing the house back to its original glory.

Lechner eventually lost the place in a divorce in the ’50s, and eight owners later, it had gone from majestic to mundane, a fate common to many works by Schindler, as well as his two great Los Angeles-based midcentury peers — fellow Viennese émigré Richard Neutra and John Lautner. The walls and the bold, angular, stainless-steel fireplace were covered in Sheetrock (the brick columns that flanked the hearth had been sheathed in black granite), and Schindler’s purposefully plain, hardware-free windows had been replaced with big-box-store-grade metal ones. The architect’s understated mirror-top bar and built-in pullout table were gone from the great room, and there were incongruously cheery mosaic tiles in the kitchen. Some of the outdoor spaces on the two levels had been enclosed — not necessarily a bad idea, but the work had been done shabbily. “It was heartbreaking,” Shamshiri says. “The spirit was gone.”

And yet, it haunted her. At the time, ­Shamshiri and her then-husband were living in another significant structure, a radically deconstructed ’80s Frank Gehry in Venice Beach. But the idea of “saving something that was really worth it, that you know means something to history,” was too tempting to resist.

Eight years later, the house is not merely a Schindler brought back from the near-dead, but a reflection of Shamshiri’s own unique ­aesthetic, streamlined late-20th-century California cool studded with primitive, organic touches and high-low wit, showcased now in her work with Studio Shamshiri, co-­founded with Ramin this year. The renovation also represents an ongoing dialectic with Schindler, whose unconventionality and purity of vision are inescapable in Southern California, not only in his houses for clients, but in the Kings Road house. Now a museum in West Hollywood, it was originally built in 1922 as a studio-cum-commune for himself, his wife, Pauline, and another couple. (Neutra and his wife lived there with the Schindlers for a time, until they had a falling out.)

For Shamshiri, the key to turning the Lechner house into a contemporary residence was to avoid slavish devotion to Schindler’s original design, while reconstructing his most brilliant touches. She had a few things going for her. Schindler had acted as contractor as well as architect, and all of the plans and details, along with black-and-white photographs, were meticulously archived at the University of California Santa Barbara. Once the Sheetrock was removed, Shamshiri found the original plywood, with Schindler’s own numbers scrawled in pencil in the corners. She replaced the metal windows that so violated the home’s ethos; many of them now push out simply, with minimal hardware, as the architect intended.

From there, Shamshiri strove to improve on the original. To make the flow more organic, and because food culture is now such a part of California living, she broke through the far end of the galley kitchen to connect it to the den behind, adding a Paul McCobb wine rack that looks as though it has always been there. The changes aren’t major, but they’re symbolically significant, proving that the work of great Modernist architects can be made contemporary without diluting their éclat.

Having come from a close, globe-trotting clan — her Iranian father and Roman mother split their time between Iran and Italy — Shamshiri regards family life as a cacophonous work in progress; she had no intention of living in a museum. “I would often say to myself, What would Schindler do if he were alive?” she says. “He updated houses all the time. He didn’t think it was set in stone.”

Source: The New York times Style Magazine

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The Rietveld Schröder House (Dutch: Rietveld Schröderhuis) (also known as the Schröder House) in Utrecht was built in 1924 by Dutch architect Gerrit Rietveld

The Rietveld Schröder House constitutes both inside and outside a radical break with all architecture before it.  Inside there is no static accumulation of rooms, but a dynamic, changeable open zone.

Torres Blancas, Madrid, Spain.

(Arch. Francisco Javier Sáenz de Oiza, 1964-68)

Photo by Carlos Traspaderne with Hasselblad 500 C/M & Ilford film.

Homes: São Paulo Apartment by SuperLimã
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São Paulo Apartment by SuperLimão


This apartment inside a São Paulo block designed by the late modernist architect Oscar Niemeyer has been overhauled to reveal its original ribbed ceiling and board-marked concrete walls.

The 137-square-metre apartment is located on the 11th floor of the 38-storey Edifício Copan in downtown São Paulo, a building completed by Niemeyer in 1961.

Among the country’s largest buildings, the apartment block is known for its sinuous facade that is covered in rows of sinuous concrete ribs.

Local studio SuperLimão was asked to transform the flat into an open-plan, loft-like space, but were prevented from doing so by two existing structural walls that run the full length of the space.

The architects instead removed a series of partitioning walls to create three long spaces that connect to windows at either end, allowing for plenty of natural light and ventilation.

The studio also made large openings in each of the structural walls, providing views and easy routes through the apartment.

The inner structural walls are stripped back to expose the original board-marked concrete, and the ceiling plaster was removed to reveal the ribbed slab.

The granite flooring throughout the residence is the same as that used in the common areas of the apartment block.

Each of the three spaces has a different function. A television room is placed nearest the entrance, while a combined kitchen, dining and living area is set in the centre, and the bedrooms and bathrooms are located at the farthest end.

The concrete brises that define the facade of the building run across the windows of the television room and the lounge.

The kitchen and dining room, and the master bedroom occupy the other side of the building, where perforated breeze blocks cover the majority of the windows.

The only exception is the upper portion, where hinged windows open to allow the breeze through.

Lighting in galvanised steel tubes runs through the ceiling and the walls – one of a number of industrial-style finishes in the residence.

Others include the colourful steel kitchen cabinets in hues of green and red, a large storage cabinet and the lounge table made from a wooden pallet.

Source: Dezeen

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1962 Parker Residence, Coral Gables, FL (existing)

Alfred Browning Parker (1916-2011) was a Modernist architect best-known for post World War II residential architecture — first for the wealthy and later for the ecologically minded. Known as the “Playboy Architect of Miami” for his dashing good looks and high-society lifestyle, Parker gained fame for outstanding modern houses around Miami, Florida.

His own “Parker Residence” exemplifies the manner in which he harmonized a structure with Florida’s natural setting. His focus was not on creating “grand” homes but rather proportionally sized built environments appropriate to the setting, utilizing locally sourced materials and early explorations of environmentally efficient use of cross currents and shade.