The house looks like an wooden cube in an frame. The pitched outline of the roof seems classic only at first glance, the space underneath it — an open terrace.
The pool is set up in a basement recess, inaccessible to visual access by neighbors.
The foundations and basement are made of concrete, the top of the house is wood.
EQUITONE gray wall panels with a rough surface combined with wood and planken panels. The accents — illuminated panels with geometric pattern and volume effect.
Taliesin West in Arizona — the winter residence and school of architect Frank Lloyd Wright, a pioneer of organic architecture. Built in 1937 and listed in the Unesco World Heritage List.
To make the buildings harmonize with the environment, Wright preferred to use local materials, so the walls of the buildings are made of Arizona desert stones. An array of large boulders with concrete, cladding — flat flagstone.
The petroglyphs Wright found among the rocks were stylized and turned into one of the symbols of Taliesin West.
In the course of his life, Wright constantly changed and supplemented the complex of buildings. The School of Architecture continued to operate after Wright's death until mid-2020. In 88 years, it graduated more than 1200 students.
It is now the headquarters of the Frank Lloyd Wright Foundation, available to visit.
The house the family lived in for years is no longer a mere building, but a place full of memories. To tear it down and erase history is all too easy.
The old Dutch brick pediment has been preserved and incorporated into the dynamic concept of the new house. It's literally a juxtaposition of one era on another.
When you look at the front and back facade, you wouldn't know it's the same house.
As the width of the plot is only 5,5 meters, the layout of the house is multi-leveled, with stacked spaces. Finished with EQUITONE panels.
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The combination of different materials allowed us to break up the solid house and emphasize the modern geometry of the building: large openings, open terraces, and balcony.
The brick finish on the façade differs not only in color (ivory and gray), but also in texture. The combination of the smooth, velvet and fluted texture makes the facade contrasting and unusual.
The office building in Lisbon, where the headquarters of GS1 Portugal, a company that implements identification systems (including qr codes), is located.
This is a reconstruction of a 1980s building that was built in Portugal one of the first specifically for business purposes (photo below).
The authors of the renovation —architectural bureau PROMONTORIO.
The new building uses the existing concrete structure, but the façade itself is a play of angled concrete slabs and glass panels.
Depending on the angle you look at it you get a new look every time, and it protects the building from overheating.
A bas-relief of the street artist Vhils adds a touch of originality to the building.
How to soften the cold winters and hot summers is to plant a deciduous tree near the windows on the south side of the house.
The deciduous species of tree protects the interior from the sun's rays in summer while completely letting them in in winter. So much for bio-automatics!
And the trees also change their leaves in fall, bloom brilliantly in spring, smell and even produce fruit in summer. And in winter, a graphic pattern of trunk and branches appears in the window. The trees look especially good in large and huge second-story windows.
Clear maple, rowan, linden, plum, oak, willow - ideal when the tree is proportionate to the plot and the house, and the shape of the crown and planting location fits the facade.
We at DK monitor the parameters of our customers' homes and preferences, using end-to-end production and sales analytics.
The most striking trend that strikes my eye is the more than doubling of aerated concrete homes. At moment I would call it a victory march of gas concrete in Moscow&and the Moscow region&and and most likely& throughout& Russia.
Let's compare. Here's what we see over the entire history of detailed accounting of our customers. You can count over 10 years, as a percentage:
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And here are the last 70 projects (you can count the last year), in percentages:
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The houses are usually built season early. That is, this is the picture of the last two years of development. Aside from the obvious, you can see that there is no pent concrete at all, thanks to the large number of autoclave production facilities.
I'd like to point out that these are statistics only for the houses we work with. Usually these are capital houses for year-round living and houses that«lend themselves&to»facade design.
In England, there was a "window tax" for 150 years. And also in France, Ireland, and Scotland. The progressive wealth tax at that time was measured by the size of the house. The number of windows (and other openings in France) was used for ease of determining size.
We have had a similar practice in our studio for 12 years - the complexity of a house is determined by the number of openings. For us, the system works very well. Better than if we counted wall space or living space. For example, a façade design for a big garage or a windowless warehouse would cost very little, because there aren't many openings.
With time, the "window tax" was called one of the main causes of unhealthy cities and a "light and health tax," because people built fewer windows to reduce the tax.
There was also a tax on the number of bricks in walls in England. There was a request to increase the size of an individual stone, but the government soon limited the size of bricks in production, and imposed a double tax on larger stones.
There was also a tax on wallpaper. Homeowners dodged it by buying paper without a pattern and applying the image themselves, using a stencil.
It's interesting how my habits change when I get to a new place. Everyone can remember this from their travels. If you take the same family, the same things, the same kids, and consistently stay in different places, you can see how differently residents spend their days.
The places and things we use change our routine. Oddly enough, we adjust to the set of objects around us, furnish the space. The arrangement of the walls affects when we go to bed and wake up, how much we move, eat, read, entertain ourselves, talk to each other, and work.
The reciprocal location of the TV and the nursery? Which corners have good lighting during the day? Where is the house quiet? Is it convenient to carry food to the terrace? Is it hot or cool out there? Who can see me from the balcony? Who am I disturbing in the evening. Can I walk around these walls with interest? The shower, the bathroom, the pool, the size of the refrigerator, the canopy, the oven, the blender, the treadmill, the treadmill, the projector, the stereo, the streaming subscription. Each place has a different set and each time I change with that set.
I'm used to thinking about houses in the format of possibilities and usage scenarios.
Unfortunately, the time to create space is rarely given out -- when building and fixing up a house, when renovating, when choosing a rental property. And it's impossible to plan for everything at those times. You have to adjust and learn from experience.
