Built in the second half of the 19th century, the barn was originally situated at the entrance to the village of praz-de-fort in the val d'entremont, and had been abandoned. as part of the conversion process, it was first dismantled and then rebuilt a few kilometres further into the valley, at saleinaz.

Introduction

a new independent structure and an internal skin were constructed inside the envelope formed by the old barn. this separation from the external structure enabled a rich spatial mix to be created via open half-storeys communicating with one another. the dwelling was therefore treated as a single open and continuous space, organised via the differences in level. the bedroom and office, which are the most private spaces, were created in the upper part of the barn, above the living areas and the kitchen.

as the only existent openings were doors that gave access to the different balconies, these were retained and glazed. the number of additional new openings was minimised, to avoid detracting from the character of the barn while making it more comfortable. the new openings were positioned in such a way as to create a relationship either with the natural surroundings outside or with the original envelope, depending on the position. the external bands formed by the existent ruchines (wheat-drying galleries) have been made slightly more dense with a view to making the outer walls more homogeneous and keeping the barn closer to its original appearance, as well as offering an intimacy for the users of the internal spaces.

the base, which has been reconstructed in exposed concrete, recalls the stone used for the original base. this new base is connected to the barn by a band of glazing which is set back from the external wall so as to make it inconspicuous. this band of glazing enables natural light to reach the areas situated in the base.

the new internal skin of the barn consists of oak panels, with the spaces in the base providing a contrast through the use of materials that recall the external stone.

Exterior

Curated by Florian Idenburg and Jing Liu, and artist Sebastiaan Bremer, Blueprint at Storefront for Art and Architecture invited artists and architects to reflect on the theme of origination through the medium of the blueprint. The notion of the blueprint — a nostalgic medium — implies a plan and intention. The show is an assessment of the past and suggests a trajectory for the future.

Realized as part of the exhibition, our installation shrink-wraps the gallery’s façade of varied and irregular openings, transforming the Holl-Acconci exterior into one continuous and undulating surface. The resulting interior provides an intimate space for the viewer to see the mind of the artist.

The region of Karst was once covered with Oak trees that Venetians have extensively used for building up the City on water. They have left the wind to peel off earth revealing limestone grounds. In this landscape the tradition of small, compact, stony and almost windowless houses developed and remained until today.

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Nestled in the privacy of a hemlock forest, FAHOUSE presents an amazing building that seems to emerge from a children's story. Exploiting the contrasts between opacity and light, the architect Jean Verville develops a graphic assemblage, which rises like two giant conifers, intensifying the dreamlike aspect of this architectural proposal. Derived from the archetypal figure of the house, the double triangular prism perfectly illustrates childhood characterizing the whole development of this project.

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Quote: Conceived for a couple of young professionals and two children, the cottage revisits the family home settings to explore an imaginary closely linked to the site, its occupants and their actual way of living the family life.

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The house, built in the 1940s, when Grandfather Martinho returned from Brazil, received a new family, the new owner is an interior designer who returns from the city to his small village TOURO, situated in the interior of Portugal. Located at 800 meters of altitude, the village has a thousand residents. In the village, in a small alley, is the house of Grandfather Martinho, 2 adjoining buildings with an annex, built in stone.

The project is located on the paulista shore in the region of the Rain Forest and the land has a mountainous topography with dense vegetation. The introduction of this house to this landscape has the objective of optimizing the connection between architecture and nature, privileging the view looking out to the ocean and the incidence of sunlight in the internal spaces. Furthermore, the positioning of the house on the site obeyed the previously-open area in the vegetation.

The Meditation Pavilion blends in the global conception of the park where it’s placed, enhancing the composition with its own qualities. The idea of this pavilion is projected through the particular relation of the wooden volume gently hovering above a crossing water surface, creating an ensemble precisely aligned with the cardinal directions.

The poetic relation between the pavilion and the water surface is highlighted through a work on the vegetal environment that confines the pavilion’s position inside the private park that spreads around it. The Gramineae mounds around the pavilion and the pool create a fluid vegetal belt, changing colors and movements with the seasons, and hiding the pavilion from direct views, allowing only partial or indirect perceptions. It is only fully revealed when penetrating among the mounds.

A special attention is given to lighting design (natural and artificial) in order to preserve the site’s intimate character. In both lateral volumes, skylights allow natural light in, while suspended spotlights and indirect lighting enhance the rhythm of timber cladding and the the ceiling’s corners. The pavilion itself is composed by a crossing central void, flanked by two lateral volumes. The ensemble sits on top of a wooden platform cantilevered over the lawn and pool. The structure is made of V4A stainless steel covered by thermo-coated solid ash wood in walls, floors and ceilings.

The central void includes two slight reinforcements on the floor in an asymmetric position and can be closed by sliding elements from inside the walls. Each lateral volume contains a different function: the changing room and bathroom in the west one and the summer kitchen and storage in the east one. In order to refresh the atmosphere around the pavilion, a misting system is integrated along the eaves.

The Museum of Outdoor Arts Element House is a structural insulated panel (SIPS) modular building designed to operate independently of public utilities by integrating passive systems and on-site energy-generation. The house functions as a guest house and visitor center for Star Axis, a nearby land art project by the artist Charles Ross in New Mexico.

The story began in 2015 while we were doing a construction in Di Linh Highland. Our Uncle helped us look for the materials for the construction, which was our big problem in this rural area (that house also has an interesting story, we’ll tell you later). For many times searching for materials together, we talked more and more about our own future plans and passions. Nothing happened until a few days later he came back and shared his concerns and his plans for a new house…

The story began in 2015 while we were doing a construction in Di Linh Highland. Our Uncle helped us look for the materials for the construction, which was our big problem in this rural area (that house also has an interesting story, we’ll tell you later). For many times searching for materials together, we talked more and more about our own future plans and passions. Nothing happened until a few days later he came back and shared his concerns and his plans for a new house…

Living with his wife, his son and his daughter, he spent everyday from early morning to late night at a small booth in the local market, selling rubber shoes and clothes. The kids grow up in the environment only within the busy and bustling market. Their daily activities were nothing else but the games on technology devices. He realized that they might have no chance to experience an amazing childhood in the arms of Mother Nature as he had before.

That was the reason why he planned to sell his old house, and then moved to a place which was a little bit far away from the central. He wanted to have a real home for his family. His desired home was the new home which was not only fulfilled with laughter and joy of his children, but peaceful enough for him to recall his sweet memories in his childhood. Two kids were born in the urban area already, now it’s time for them to completely grow up in the connection with nature.

Uncle’s House reflects featured image of Di Linh Plateau, using a wide range of traditional as well as modern materials. All are processed just enough to maintain the nature of material itself. The tile walls proved their power when keeping the house warm at nights and cool during the sunny days. They especially recall the owners to their very old moments living peacefully in a Vietnamese village when they were young. Light also has its own story in this cozy house. Here the kids can spend their time to climb on the tree, draw on the rock, grow vegetables with their mom and take care of the fish right in their own yard, which they cannot found in the modern society nowadays. Understanding his concerns, we designed and built this house. The house may be small. Yes, it is. But we don’t think it is.

This project is located in Alentejo about 10 km inland from the Atlantic Ocean. The area features a hilly, rural landscape and is covered with beautiful old cork oaks.

This project is located in Alentejo about 10 km inland from the Atlantic Ocean. The area features a hilly, rural landscape and is covered with beautiful old cork oaks.