Located in Tel Aviv-Yafo, Israel, In Praise of Shadows (2014) by Pitsou Kedem Architects | The Hardt
Located in Tel Aviv-Yafo, Israel, In Praise of Shadows (2014) by Pitsou Kedem Architects. Mass and space combine together in a perforated, weathered steel (Cor-Ten™) structure that creates and sets clear boundaries for the home. The structure regulates the amount of sunlight penetrating the building’s spaces and controls the angle of sight both into and from the building whilst creating a controlled, visual dialogue between the inside and the outside. The structure is constructed from layers and areas. The central area which is the central space, the residential area which centers around a double, communal living space and the external area, the weathered steel structure which defines a border and area for the building whilst creating new, intermediary areas that combine the inside and the outside.
The external area, the weathered steel layer is seen as being two dimensioned from afar but does, in effect, have volume and can be experienced almost as a piece of sculpture or work of art and not just in terms of its function as part of the building’s structure. This same structure creates the building’s most important element, an element that has no physical aspect and takes up no volume or space – the layer of shadow. Shadows projected onto the walls and floor result from the building’s external structure’s early planning that relates to the angle of the suns light on the plot. This early planning allowed the architect to create areas and complete surfaces used as a canvas for the shadows to paint upon. The building is constructed of exposed concrete walls, large and inanimate and, without the movement of light and shade, they appear almost monastic. The shade and shadows moving across the building’s surfaces create a dynamic drama that makes the entire mass seem to be alive and full of movement. Sometimes the shadows and shade create repeating geometric shapes that sometimes stretch the entire length of the wall and sometimes creating unique blends of color and depth on the grey walls.
Light and shade on the structure enhance the user’s experience in the space and provides the space with structural richness, movement, and a certain mystery. The materials chosen for the building’s construction are all in their raw state (concrete, weathered steel, and wood) with sunlight changing their colors throughout the day. The weathered steel takes on a bright orange color during the day and towards evening, appears almost black. The considered use of the most abundant resource available in the local climate, sunlight, allowed the designer to create an entire world of contrasts and suspense seen in one project: between mass and lightness, between silence and dynamism, between simple and complex, between light and dark, between mysterious and the known. Together, they enrich the structure both from an architectural point of view and the relationships between the building’s spaces and those living in them. A still cactus garden enhances the dry atmosphere and the silence with only the shadows of the cacti on the concrete walls and ceilings bringing the garden to life and acting as a symbol for the entire project.
The 1961 Ferrari 250 GT SWB California Spider by Scaglietti | The Hardt
The 1961 Ferrari 250 GT SWB California Spider by Scaglietti. Few postwar classic cars can match the insanely high prices commanded by the Ferrari 250 in its various forms. And of the forms that the 250 took, it is generally the 250 GTO and 250 GT SWB California Spider that fetches the very highest prices. These are prized because of their rarity, and with RM Auction set to auction off a 250 GT SWB California Spider soon, it has caught the attention of collectors everywhere. Not only were there just 56 units of the Spider produced, but only 16 of these units were built with open headlights, this 1961 model is one of those 16. RM Auctions is, therefore, expecting the car to go for 11-13 million euros.
The California Spider was built essentially at the request of a couple of American Ferrari distributors. It is based on the 250 GT Berlinetta Tour de France, but with a convertible top for increased enjoyment of the lovely California weather. Most of these cars were of course sent to the U.S., but a handful stayed in Europe, of which this is one. It was bought by its current owner in 2007 and was sent to Ferrari Classiche shortly thereafter for restoration. This was completed in 2010, and you can see, it is absolutely gorgeous.
1961 Ferrari 250 GT SWB California Spider by Scaglietti
$13,500,000 (€ 11.000.000 )
Horsepower @ RPM
In the late 1950s, Luigi Chinetti and John von Neumann, Ferrari’s two U.S. distributors, both realized that a convertible version of the 250 GT Berlinetta Tour de France would sell well in the United States, as clients desired the performance of the TdF yet yearned for the excitement that a convertible provided. The California Spider proved to be a success, and as Ferrari updated the 250 GT Berlinetta to ensure that it remained competitive in motorsport, it was only natural that the California Spider received a similar set of upgrades.
The biggest difference between the original California Spider and the newer series that had first been shown at the Geneva Salon in March 1960 was the change in wheelbase. In an effort to improve handling and increase the car’s cornering speeds, the wheelbase was reduced from 2,600 millimeters to 2,400 millimeters. Through utilizing the newer Tipo 168 design with new heads and larger valves, the engine was now reported to produce up to 280 horsepower. Additionally, the track was wider than that of the outgoing California Spider, and the car’s lever-type shock absorbers were replaced with newer Koni adjustable and telescopic shock absorbers. Braking was transformed by the inclusion of four-wheel Dunlop disc brakes, and the SWB California Spider became the contemporary of the legendary 250 SWB Berlinetta.
In 1961, a gentleman driver could drive his California Spider to the race track, easily outrun comparable Aston Martins and Jaguars, and drive home again in the early evening with the top-down and in utmost comfort. The car’s dual-purpose nature appealed to many well-heeled individuals, and SWB California Spiders were owned by film stars, such as Alain Delon, James Coburn, and Roger Vadim; European aristocracy, including Vittorio Emanuele of Savoy; and even racing drivers. Jan De Vroom campaigned his SWB California Spider at both the 1960 24 Hours of Le Mans and the 1961 12 Hours of Sebring, where he finished 12th overall, which is an incredible result for a street-legal convertible.
The Spider has its roots in the 250 GT Berlinetta Tour de France in 1956. In 1957, two different convertible versions of the car were made, the 250 GT Cabriolet Pininfarina, with bodywork by Pininfarina (obviously), and the America-bound 250 GT California Spider, with bodywork by Scaglietti. Both of these were superseded in 1960 when Ferrari decided to go with a shorter wheelbase for improved handling. There are some variations in the bodywork between the versions of the car, especially given that the SWB versions were a full 8 inches shorter than the original, but all told, a 250 GT is always pretty recognizable as a 250 GT.
Among the differences are the pronounced “hips” in the bodywork just behind the rear doors. These are not unique to California models, or even to the convertibles, but it is something which not every 250 had, and those that have them are more valuable. The bodywork of the California models is about as curvaceous as 250s get, yet it manages to hold on to the elegant simplicity that makes the whole line still so desirable.
In 1961, Ferrari was still mainly concerned with building race cars. Road-going cars were built almost as an afterthought and were always based on platforms designed chiefly for racing. Cabin accessories are essentially nonexistent, and you might have noticed from the pictures that it lacks even a radio. But that’s fine, this was a car that was meant to be driven, and the sound of the engine was all the music you would ever need. There is an ashtray though because we’re talking about 1961 in Italy. And though there might not have been a lot of interior options, the finest materials were used, from the copious amounts of leather upholstery to the big wooden steering wheel.
Ferrari used some variation or another of the same 12-cylinder engine from 1947 all the way up until 1995, and the 250s all had them as well. This was the Colombo V-12, and at the time of the 250, Ferrari differentiated models by unitary, rather than total engine displacement. This meant that the 250, rather confusingly, actually had a 3.0-liter engine, with 250 cc per cylinder, times 12 cylinders. Early road-going versions of the 250 produced 217 horsepower, but along with the shortened wheelbase, 1960 also saw improvements to the engine that resulted in more power. The improvements consisted largely of redesigned heads and larger valves, which pushed output up to 280 horsepower.
RM Auctions has estimated that the car will likely go for anywhere from 11 million to 13 million euros ($12 million-$14 million). It sounds like a lot of money, but it’s actually probably a fairly conservative estimate, given that an unrestored barn finds 250 GT SWB California Spider just recently went for $18.5 million at auction. But as with anything this rare and valuable, it is a very difficult thing to predict.
ASTON MARTIN DB4
Maybe my favorite car all-time, though not as rare as the 250 GT SWB California Spider, the DB4 is very much the same kind of thing: a low-volume European Grand Touring machine. And The DB4 does date back to a time in the company’s history before the sales explosion that would result from the DB5’s appearance in the movie Goldfinger. They aren’t cheap, but because they aren’t as rare, you can have one for generally between half a million and one million USD, depending on condition and which variation of the car you’ve got your heart set on. Sporting 240 horsepower, the DB4 isn’t quite as powerful as the Ferrari, but the important thing is that you’ll look at least as cool driving it.
MASERATI 5000 GT
Though this is very much open to debate, the 5000 GT is considered by some to be the greatest Maserati of all time. Based on the 3500 GT, but with a 5-liter, 340-horsepower V8 in place of the inline six, only 34 units of this car were ever produced. Not only that, but there is a fair amount of variation in the bodywork from one unit to the next, as eight different coachbuilders produced bodies for various clients, many of whom were royalty. It is therefore literally a car fit for a king, and RM Auctions happens to have one of these going up for auction soon as well. That particular car was owned by King Saud bin Abdulaziz Al Saud, and is expected to go for $2.2-$2.9 million.
Hurst House by John Pardey Architects + Ström Architects located in The UK | The Hardt
Hurst House by John Pardey Architects + Ström Architects located in the UK. The Hurst House is a new build one-off contemporary house located on the edge of the village of Bourne End in Buckinghamshire. The site forms part of a garden of a substantial house located on the edge of Bourne End in Buckinghamshire, directly fronting an area of open fields that form part of the Chilterns Area of Outstanding National Beauty (There are currently 33 AONB designations within England). The clients’ brief was to build a very sustainable and contemporary family home that would have the flexibility to successfully cope with changing family conditions as their children grow up and leave the nest. This lead to a house where they can live in one extended space while family bedrooms can be shut down and left on tick-over.
A masonry rectangular volume on the ground floor contains bedrooms and is slightly sunken into the ground to reduce the height of the building towards the AONB. A lightweight steel and timber volume on the first floor is set perpendicular to the ground floor volume and contains living, kitchen, and dining spaces, as well as the master bedroom suite. It rests on top of the ground floor volume and spans across to a masonry wall that defines the southern edge of the house. A rectangular service element underneath the first-floor sleeve – separated by a clear-story – defines an entrance lobby with vertical circulation to one side as well as a carport to the other. This arrangement of space allows for a self-contained bedroom wing for children (teenagers) that opens up to a south-facing courtyard, whilst the first-floor volume allows living spaces and master bedroom to make the most of the site with its incredible views of the rolling landscape of the AONB to the west.
A linear balcony along the length of the first floor allows the facade to open up, and the recessed floor to ceiling glazed sliding panels to be shaded in the summer. At the southern end of the first-floor volume, the glazing is pulled back to create an outdoor living area which is open to both the east and the west allowing the sun to reach it at different times of the day. The environmental impact of the house was considered from the outset, and we were aiming to get very close to being a zero carbon home.
The building utilizes very high levels of insulation. A small highly efficient gas boiler, together with heat recovery ventilation, rainwater recycling, solar water heating, a 10kW wood burner, and a 9.9kWp photovoltaic installation, and low energy fittings throughout, ensure the property has an overall near zero CO2 impact rating. (We are yet to carry out the as-built environmental performance calculations, to establish the exact CO2 impact of the property.) Since the building was connected to services, it has generated 25% more electricity that has been used. We employed high-quality natural materials that enhance and harmonizes with the site; local Weston Underwood coursed stone to ground floor walls, and the upper floor element is clad in British Sweet Chestnut, which weathers to a natural silver color and will last for many centuries without further maintenance. To the garden side, panels of pre-weathered zinc, set within the timber sleeve are employed. These materials will all weather naturally and blend harmoniously with the site and surroundings.
John Pardey Architects and Strom Architects worked in collaboration to see this building completed. When Magnus Strom left his job as a Director of JPA in 2010 to set up his own practice, John and Magnus decided that it would be beneficial for the project, if Magnus continued working with the detail and construction side of the project as well as overseeing it on site. This collaboration ensured a continuity of the project and has resulted in a strong design that has been detailed with great care and finished to extraordinary quality.
House in Shatin Mid-Level (2013) by Millimeter Interior Design Limited located in Hong Kong, Hong Kong | The Hardt
House in Shatin Mid-Level (2013) by Millimeter Interior Design Limited located in Hong Kong, Hong Kong. This design gave a boundless makeover to the structure of an existing 40-year old house, transforming it into a comfortable and modern accommodation. The designer successfully divided the two-story house into a garage, a living room, a dining room, a garden, two guest rooms, two guest bathrooms, one helper suite, a master bedroom suite with a spacious walk-in closet and a study room.
The highlight of this design is that it incorporates a sustainable green approach to reduce environmental impact. The external walls of the house are rebuilt over an old fashion style house preserving the original structure. This not only helps save on building reconstruction cost, but it reduces waste to protect the environment. LED light tubes are used to create a time motion-like garage, springing off a hip and surreal effect. The inclusion of nature indoors or an interaction of ecology and living space is created by planting a small maple tree in the center of the house. The open roof of the maple tree provides sunlight for the tree and also brings in natural light into the glass partitioned study room.
Through the design, technology assists in green living in the following ways: Motion sensors are used for the garage gate and lighting. All lightings in the house are automatically turned off when no one is present. Aluminum panels are installed to prevent solar heat from entering the house and hence, reducing the use of air conditioners. Large solar panels are installed on the rooftop to provide a source of natural power to water heaters, lighting, and backup batteries. Transforming an old-fashioned style house into an urban-style home and yet maintaining the original construction without a trace is something that deserves to be accredited. Now that environmental awareness or being socially responsible has become an increasing trend in society, bringing sustainability into homes is an alternate lifestyle for the new generation. The design adopted in this case breaks boundaries between interior and exterior space and establishes a green and conscious lifestyle, meeting the needs of a growing demand in society today.
Aesthetically and Geographically Related Projects:
Ferrari 512 BBi “Boxer” at Holger Schubert’s Garage in Los Angeles | The Hardt
Ferrari 512 BBi “Boxer” at Holger Schubert’s Garage in Los Angeles, The 1,200 square foot space provides a designated spot for the car and a large open area for a couch, a slide-away TV, a built-in bookshelves in front of a large storage room, as well as a small kitchen, a bathroom and a library The house – an old ranch house located in Brentwood – Los Angeles, was redesigned to match the car, the tones, colors, and style – everything was reconsidered. But how do you get the car inside and then back on the streets, as this Ferrari is on a daily base use, not being kept as a museum piece?!? Hogler built a bridge between the house and the road, that features a hydraulic ramp on one end – basically, the car is not turned on when he’s leaving the house but pushed outside by the ramp.
It’s not only a superb, unique, award-winning project – but also quite a bit of expensive – Hogler paid more than 1.5 million dollars for his stunning idea. But in the end, it’s not about money, but satisfaction and the smile that’s written on your face when you see that you have accomplished a dream – your dream. “I enjoy driving the car on winding roads – where it’s not about speed, it’s about being in the right gear, shifting up, shifting down, really getting a feeling for the car”.
In 2009, Maserati shined a spotlight on the place where cars are parked through a nationwide call for entries in their Ultimate Garage competition. Holger Schubert, a renowned architect, and car aficionado took the challenge and designed his garage specifically for this competition. He was awarded first place for the existing garage category. Schubert’s “garage” is an exquisite space that resembles a museum exhibit of the ultimate man cave of the twenty-first century. As an admirer of art and cars, Schubert designed and built the area to be his retreat, with the Ferrari as the focal point.
LOCATION: Los Angeles, CA
STYLE: Modern Contemporary
DESIGNER: Holger Schubert
PRODUCT: Motorized retractable screens
Schubert required a solution that enabled him to shade the sun and prevent the solar heat from entering the room. In addition, the entire screen had to remain completely hidden when not in use to preserve the architectural integrity of the building.
Phantom motorized screens provide solar protection while maintaining the look of the room. The motorized screens were mounted on the exterior of the windows to absorb and dissipate heat and glare before it reaches the glazing. The openness level of the mesh combined with the darker shade help to preserve the view to the outside and maintain a comfortable level of interior light. At night, the screens are completely retracted in recessed housings, and the car is reflected on three 16-foot glass windows.
What makes this project special
The screens on this garage are entrusted to protect the homeowner, architect, and builder- Holger Schubert’s, 1984 Ferrari 512 BBi Boxer- the first mid-engined road car to bear the Ferrari name.
Situated in the UK, Jura by Lewandowski Architects | The Hardt
Situated in the UK, Jura by Lewandowski Architects. Jura is a fine example of contemporary architecture that breaks the mold in an almost entirely traditional architectural context. The Wentworth Estate, home to the world famous Wentworth Golf Club, was originally conceived in the 1920’s by the renowned builder and developer W.G Tarrant and comprises architecture ranging in style from Arts and Crafts to neo-Georgian. Most newly constructed properties on the Estate, be they privately commissioned or developments, are designed in a traditional pastiche. This is largely due to fear of the unknown and risk of jeopardizing future values. Jura looks to set a precedent on the Estate of how good quality, contemporary architecture can maximize the opportunities of a site in both design approach and planning terms.
The design vision for the house was to create a series of moments capturing vistas both inside and outside, offering a textural and inspiring journey through the building. As you approach the building you are greeted with a natural stone façade, replicating the craftsmanship and grandeur of its more traditional peers on the estate, whilst the crisp clean lines and glimpses of what happens behind begin to reveal its true identity. The sound of falling water and the ability to touch and feel the natural stone as you arrive at the entrance encourages and stimulates the experience.
The plan consists of two wings of accommodation that are connected across all three floors via a central link/bridge. This link provides not only a functional and physical connection between spaces but allows the users to always feel connected to one another by sound and sight; this connectivity of the senses can often be missing in larger properties but was key to creating a building that could function as a home. The property offers three floors of living accommodation; two floors above ground and a substantially lower ground floor which is flooded with natural light, measuring approximately 2000 sqm in total. The site offers just over 5 acres of land which is again unique for the location. A large challenge with this project, which has been built to the highest specification, was to design not only the external appearance but also the interior spaces with a very discerning ‘virtual client’ in mind. As such all spaces were consciously designed to appeal to as wide an audience as possible while remaining honest to the contemporary roots of the architecture.
The clean and contemporary lines, enhanced by the natural limestone walls and full height glazing, offer a perfect complement to the soft natural wooded surroundings. The stone walls are accompanied by areas of Iroko cladding, a hardwood that will offer durability and elegance while providing a finish that matures and mellows as the building settles into its new surroundings. High performance and ultra slim profile glass sliding doors are used extensively throughout to maximize natural light and offer panoramic views over the surrounding grounds. The result is an elegant and modern home, carefully conceived and crafted to respond to the site’s individual features and the potential end user.