The Hardt Mexico City House by Pedro Reyes and Carla Ferna%CC%81ndez 0 1080x675 Mexico City House by Pedro Reyes and Carla Fernández located in Mexico City, Mexico Architecture Art Books Concrete Courtyard Decor Design Furniture Interior Design Minimal Modern patterns stone  Pedro Reyes and Carla Fernández Pedro Reyes Mexico City mexico Edmund Sumner Coyoacán Carla Fernández   Image of Mexico City House by Pedro Reyes and Carla Ferna%CC%81ndez 0 1080x675

Mexico City House by Pedro Reyes and Carla Fernández located in Mexico City, Mexico

Asher 8:34 pm 7:51 am

Mexico City House by Pedro Reyes and Carla Fernández located in Mexico City, Mexico

 

Mexico City House by Pedro Reyes and Carla Fernández located in Mexico City, Mexico. Mexican artist Pedro Reyes and his wife, fashion designer Carla Fernández designed a gorgeous house that is an exceptional example of Brutalist Beauty. The couple built their beautiful Home in Coyoacán, south of Mexico City, it is a peculiar structure that was envisioned as a dwelling for the caveman of the future. The source of inspiration for the concept are the ruins of a civilization, now extinct, which was more advanced than the one we’re living in now, according to the designers. Hammered concrete walls, chunky furniture from volcanic stone and an abundance of rich, overblown greenery all come together to form an architectural masterpiece. Part of the remarkable stone floor is inspired by the nearby Anahuacalli Museum, the “temple” designed by Rivera in 1957 as a depository for his collection of 60,000 pre-Hispanic artifacts. Elsewhere, hammered concrete floors and walls were inspired by the Mexican brutalists, in particular, 89-year-old Teodoro González de León, who built many landmarks across the Mexican capital.

 

 

Ancient Aztecs meet The Martian Chronicles in the form of hammered concrete walls, chunky furniture hewn from volcanic stone and an abundance of rich, overblown greenery. A “pyramid” at one end is Carla’s studio, a yard behind it will be Pedro’s. It’s currently a ramshackle plot occupied by the team of artisans that is helping finish the house. “The use of concrete is very canonical, very clichéd, but it has many possibilities,” says Reyes, pointing out the handmade bricks covered with a wax-like concrete paste, which he, and his team, developed specifically for this project.

 

 

The couple also designed much of the furniture, a series of chunky unusual constructs that are deemed artworks in their own right, while at the same time serving a functional purpose. The lava-stone master bath and basin and the concrete kitchen table are two of the most imposing pieces, but perhaps the centerpiece of the house is a ceiling light, made of copper tubes threaded through an electrical wire. The striking ceiling light is inspired by the work of Buckminster Fuller, as is a 4m-high geodesic dome being completed in the living room. Another distinctive piece of furniture is Reyes’ sign language-inspired “Mano-Sillas” chairs, that appear alongside international and Mexican midcentury classics from the likes of Charles and Ray Eames and Clara Porset, and simple rural pieces such as milking stools, leather butaque chairs and seats woven from palm fronds. “The technique was used by the Aztecs and has been recovered by the design-conscious, but not in any official way,” says Reyes. “It would be great to make them on a large scale in other raw materials”. Revisiting ancient indigenous skills and developing a modern Mexican language lies at the heart of Fernández’s work, in particular.

 

 

 

Between the master bedroom and the two children’s bedrooms, there is space for one of “the best hammocks in Mexico”. These are woven by women from cooperatives in Izamal in Yucatán and Calkiní in Campeche, take two months to make and can sleep a family of four. The multitude of cultural symbolism is no coincidence. Before becoming an artist, Reyes trained as an architect at the Ibero-American University in Mexico City. His plan in designing the house was to transform 1.000 square meters of a “1980s monstrosity” into a modern space that includes hints of all of Mexico’s many modern cultural aspects. Enjoy the best parts of this Brutalist Beauty in the gallery below.

 

Words via DesignIsThis

Photos by Edmund Sumner

 

 

Aesthetically and Geographically Related Projects:

 

The Hardt The Lake House by Suyama Peterson Deguchi 1 1080x675 Mexico City House by Pedro Reyes and Carla Fernández located in Mexico City, Mexico Architecture Art Books Concrete Courtyard Decor Design Furniture Interior Design Minimal Modern patterns stone  Pedro Reyes and Carla Fernández Pedro Reyes Mexico City mexico Edmund Sumner Coyoacán Carla Fernández   Image of The Lake House by Suyama Peterson Deguchi 1 1080x675

The Lake House located in Seattle, Washington by Suyama Peterson Deguchi

Asher 12:29 pm 12:43 pm

The Lake House located in Seattle, Washington by Suyama Peterson Deguchi | The Hardt

 

The Lake House located in Seattle, Washington by Suyama Peterson Deguchi. The Lake House was conceived as a 21st Century retreat – an escape from expectations of modern life to a lakefront cabin near the city. The site is a narrow plot of land tightly wedged between existing single-family houses. The houses have an imposing presence on the site creating a need for visual privacy. The program allowed the design to be conceptually simplified into three components – a thick wall extruded from the topography, a low horizontal roof, and a volume for sleeping. The site conditions led us to carve multiple indoor/outdoor spaces into the topography – by filling some of the spaces with water we were able to expand the sense of the waterfront deeper into the property. The resulting spaces relieved the pressure for privacy from the waterfront exposure. A low roof provides a horizontal datum; a reference point to the sloping topography and a sense of open privacy from the neighbors.

 

 

Photos by Kevin Scott

 

 

Aesthetically and Geographically Related Projects:

 

The Hardt john pawson baron house Mexico City House by Pedro Reyes and Carla Fernández located in Mexico City, Mexico Architecture Art Books Concrete Courtyard Decor Design Furniture Interior Design Minimal Modern patterns stone  Pedro Reyes and Carla Fernández Pedro Reyes Mexico City mexico Edmund Sumner Coyoacán Carla Fernández   Image of john pawson baron house

Baron House located in Skåne, Sweden by John Pawson

Asher 12:14 pm 12:18 pm

Baron House located in Skåne, Sweden by John Pawson | The Hardt

 

Baron House located in Skåne, Sweden by John Pawson. The site of this vacation house in rural southern Sweden came with a conventional arrangement of farm buildings set around a courtyard and the earliest phases of the project explored the possibility of retaining some elements of the original structures. The final design raises single-story wings of accommodation on the cleared footprint of the old. Agricultural precedents are reworked in both the form and materiality of the architecture, producing pitched roofs of corrugated zinc, white rendered walls and timber elements. 

 

 

 

 

Aesthetically and Geographically Related Projects:

 

 

The Hardt Copper House II by Studio Mumbai Situated in Chondi Maharashtra India 1 1080x675 Mexico City House by Pedro Reyes and Carla Fernández located in Mexico City, Mexico Architecture Art Books Concrete Courtyard Decor Design Furniture Interior Design Minimal Modern patterns stone  Pedro Reyes and Carla Fernández Pedro Reyes Mexico City mexico Edmund Sumner Coyoacán Carla Fernández   Image of Copper House II by Studio Mumbai Situated in Chondi Maharashtra India 1 1080x675

Copper House II by Studio Mumbai situated in Chondi, Maharashtra, India

Asher 12:38 pm 4:01 pm

Copper House II by Studio Mumbai situated in Chondi, Maharashtra, India | The Hardt

 

Studio Mumbai / Copper House II from Daniele Marucci on Vimeo.

 

Copper House II by Studio Mumbai situated in Chondi, Maharashtra, India.  The Hortus conclusus unites within itself a marvelous assemblage of disparate aspects. It seeks to understand the landscape it denies, explain the world it excludes, bring in the nature it fears and summarise all this in an architectural composition. The Enclosed Garden, Rob Aben, Saskia de Wit. The severe flood of Mumbai and its hinterland in 2005 had marked its high-water mark on a pump-house that was extant to the site. After using it to register the datum for the house, pile foundations were put in and a slab was cast two feet above the high-water line. The central fill came from the excavation for the well, and around a court, the house grew. The language and logic of the building are located in three primary architectural moves. The first is the creation of two distinct blocks, varying in width by a foot, separated by the stone-paved courtyard on the ground, and united by the cupric roof plane at the upper level. The two blocks function as discrete personal spaces on the upper level, one is a singular space of bedroom and bath, the other has an additional study.

 

 

At the ground level, an indoor family room becomes an adjunct to the main living space which does not have the containment that the other more private spaces exhibit. This main space functions literally as the deck of the house, overlooking the landscape and the courtyard, creating a simultaneity of vistas, each of a different scale and access. The copper-covered private spaces at the upper level are positioned in mutual tension, with the guarantee of simultaneous intimacy and isolation, so essential to the domestic interior. This spatial strategy also allows for varying levels of communication, visual and otherwise, between the upper and lower spaces of the house. In Kerala, further south from Mumbai along the west coast of the Indian peninsula (as in many other regions), the courtyard was the center of the traditional house.

 


 

The central room formed by the courtyard flanked by pillars was called the naalukettu. But the entire structure, comprising the central hall and the four wings around was also commonly referred to as the naalukettu. This reference to the courtyard as the house itself, holds a clue to the development of the design for this house, as it evolved from being an embracing structure to one which opened out. The second definitive move is the layering of light through a series of material gestures, each one tuned to the direction that light takes and the need for changing degrees of privacy. This is articulated with screening devices made of fine netting framed in traditionally crafted wood, fluted glass which diffuses the light and greenery and hints at the absent city, and sliding and folding wooden windows, all of which allow for degrees of seclusion.

 

 

The walls are finished in a celadon-colored traditional plaster, smooth like human skin, and crackled like the ancient Chinese glaze, giving the transitory appearance of a fragmented ceramic container, rectilinear and encased with a lid of weathered copper. The continuous copper roof plane forms a secondary datum for the house, becoming a surface of potential occupation and cover. The last is the inclusion of the element of water, whether in the form of the monsoon rain which is relentless in its action on material and mood, or in the form of the well, the stream and the pool beyond the house. The seasonal ‘anxiety’ of the ground is addressed in the manner in which the paving is worked out within the courtyard in a continuous linear fashion and in a loose ring around the house, with undulations registering the flow of rainwater as it reaches for the nearest point of exit. The entrance portal of the building is a non-place. Sitting beneath the first upper copper-wrapped container, it becomes a space of pause. In this house, with its Hortus conclusus acting both as container and sieve, the exploration of the rites of retreat, passage and exclusion are tested again. The final gesture was housing the massive rock which came as a gift from the owner’s mother, leaving it for time to take over, as time inevitably will.

 

Photos Courtesy of Studio Mumbai

The video shot by Daniele Marucci shows the relationship between architecture and the environment, the nature that surrounds it, the context in which it is located and how it reacts to different weather conditions.
It was filmed in India in July 2012 with a Canon 5D Mark II, and was part of the exhibition of the BSI Swiss Architectural Award 2012, which opened in September at the Academy of Architecture in Mendrisio (Switzerland).

 

Aesthetically and Geographically Related Projects:

 

 
The Hardt Little House mwworks architecturedesign v 2 1050x675 Mexico City House by Pedro Reyes and Carla Fernández located in Mexico City, Mexico Architecture Art Books Concrete Courtyard Decor Design Furniture Interior Design Minimal Modern patterns stone  Pedro Reyes and Carla Fernández Pedro Reyes Mexico City mexico Edmund Sumner Coyoacán Carla Fernández   Image of Little House mwworks architecturedesign v 2 1050x675

Little House by mw|works architecture+design located in Seabeck, United States

Asher 7:19 am 7:19 am

Little House by mw|works architecture+design located in Seabeck, United States | The Hardt

 

Little House by mw|works architecture+design located in Seabeck, United States. The Little House is nestled into a lush second growth forest on a north facing bluff overlooking Hood Canal with distant views to Dabob Bay. Designed to repurpose an existing foundation, the new building is just over 20m2.  The simple form is abstracted against the forest – a stark exterior contrasting a warm bright interior. The owners live full time in Houston, Texas but have shared many summers with family at a nearby property outside Seabeck. They loved the wildness of the southern Canal and imagined a small retreat here of their own. Early design discussions focused on creating a compact, modern structure that was both simple and inexpensive to build. Intentionally restrained on an existing footprint, the concept grew from this premise – a simple box with large carved openings in both the roof and walls that selectively embrace the views and natural light.

 

 

 

Visitors approach the site from the south. A thin canopy marks the entry and frames views of the Canal below. The more transparent north and west elevations pull the landscape and distant view into the space.  With primary views toward the water, the south and east elevations remain mostly solid, shielding views from the driveway and neighboring properties. Skylights carve into the roof, bringing light and views of the stars over the bed and into the shower. Taut oxidized black cedar and blackened cement infill panels clad the exterior while lightly painted MDF panels and soft pine plywood warm and brighten the interior. On a sunny western corner of the house, a large patio reaches out into the landscape and connects the building to the larger site while serving as a jumping off point to the trail system wandering down to the water’s edge. The small footprint ultimately served as an effective tool to govern the design process. The focus was placed on the essentials and extras were edited out by both desire and a very humble budget. The resulting project hopes to capture the essence of the modern cabin – small in size but much larger than its boundaries.

 

© Andrew Pogue  

 

 

Aesthetically and Geographically Related Projects:

 

The Hardt House in Colares II by Frederico Valsassina Arquitectos stuated in Colares Portugal 835 1080x675 Mexico City House by Pedro Reyes and Carla Fernández located in Mexico City, Mexico Architecture Art Books Concrete Courtyard Decor Design Furniture Interior Design Minimal Modern patterns stone  Pedro Reyes and Carla Fernández Pedro Reyes Mexico City mexico Edmund Sumner Coyoacán Carla Fernández   Image of House in Colares II by Frederico Valsassina Arquitectos stuated in Colares Portugal 835 1080x675

House in Colares II by Frederico Valsassina Arquitectos situated in Colares, Portugal

Asher 2:11 am 2:11 am

House in Colares II by Frederico Valsassina Arquitectos situated in Colares, Portugal | The Hardt

 

House in Colares II by Frederico Valsassina Arquitectos situated in Colares, Portugal. In the dense pine forest next to Praia das Maçãs (Apple Beach) the house hovers over the landscape. We opt for a single volume with two distinct faces: a more closed one and another more exuberant and exposed. It marks the entrance in the blind elevation by a ramp that gently transports us to the interior of the house that in an unexpected way merges with the outside. The theme of being indoor and out, both inside and outside, is intrinsic in the atmosphere intended for a seasonal dwelling like this: all the spaces of the house have autonomous access from the outside. Thus, all the environments set up a strong relationship with the pinewood, the patio arises from this will and serves as a hinge between social and private area. In the room the space continuity is greater: two large planes of glass that run one over the other and open alternately to the porch. The few materials of the house create a unique atmosphere, the pavement inside and outside is the same – cement stroked – ensuring the unification of spaces.

 

 

The exterior porch due to its elevation relative to the terrain appears as a porch above the pine forest. If the house on one side is born from the land, on the other due to the natural topography delicately levitates on it. This solution appears in a way as a strategy of environmental comfort, the Sintra mountain range has a very high humidity level, with this solution decreases the transfer of moisture from the soil to the house. The program is simple and was thought to the place where it is, with the existing climate. In this way is intended the greater absorption of sunlight: Rooms facing south, an office that appears as a place of collective activities and opens for passage, room to the west and kitchen to the north. The large glazed windows allow the entrance of natural light in much of the day and therefore the heating of the space.  Minimizing the effects on the natural landscape of the place, the pine forest was left as it was before this existence: the house is a platform that floats on the sandy terrain.

 

© Fernando Guerra | FG+SG and © Ricardo Oliveira Alves

 


 

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