Atelier Hermann Rosa, located in Munich, Germany | The Hardt
Atelier Hermann Rosa, located in Munich, Germany. Atelierhaus Hermann Rosa is a daylight studio built as a big sculpture by hand without any machines by sculptor Hermann Rosa (1911-1981) in Munich between 1960 and 1968.An elemental concrete stair leads one up to a vaulted hall. A simple round skylight recalls the moon. Modest pavers lead the eye and the inhabitant deeper into the forest glade. The sculptor Hermann Rosa personally built his ateliers in Munich like larger-than-life concrete sculptures. Due to the manual, up and dismantling way of working as well as the choice of fewer base materials his architectural work differs from the modern one and refers in its design language clearly to these. Sunlight was both tectonic and mass for Rosa. As in his late work, two portrait heads, he sought in the architecture of the enclosed space stormy and purist at the same time.
“The studio building Rosas is a radiant solitaire in the German architectural landscape. It is a spatial work of art that can hardly be compared to architectural radicalism throughout Germany in the decades between 1950 and 1980. Decades before the so celebrated concrete minimalism of Luigi Snozzi, Peter Märkli or Peter Zumthor, Rosa created a masterpiece whose impressive and moving spatial asceticism will outlive many fashions of architecture and which deserves a place of honor in post-war German architectural history. “
The interiors are denuded of all save the absolute minimum. A single material (concrete) is deployed throughout with tremendous effect. Silver birches soften tough exteriors. Boarded formwork joints part and make way for inset plumbing pipes, which become sculptural – a bas-relief of utility. An elemental concrete stair leads one up to a vaulted hall. A simple round skylight recalls the moon. Modest pavers lead the eye and the inhabitant deeper into the forest glade.
Photography by Jürg Zimmermann. Images courtesy of Atelier Rosa.
Check some more surreal interior vibes with the minimalist projects below:
House G12 (2011) by (se)arch Freie Architekten located in Überlingen, Germany | The Hardt
House G12 (2011) by (se)arch Freie Architekten located in Überlingen, Germany. In some ways, the architect duo of Stefanie and Stephan Eberding have followed the tradition of avantgarde flexibility projects of Classic Moderne with their experimental living building at Überlingen on Lake Constance. This new design was also based on the idea of extending the available space and experience of space by making the inner space configuration flexible. Here, however, the façade is also included in the flexibility, creating a multifaceted interplay between the different spatial levels, covering both the division of the floor plan and the transparency of the ‚layered‘ space. This exclusive lakeside property is right on the north bank of the lake Constance and is enhanced by its particular position, between a sailing school with its marina and the beach houses of the bank development. As well as its own direct access to the lake and mooring, the property also offers a spectacular view over the lake to the Swiss Säntis mountain opposite.
The idea of dividing the space flexibly came from how the client was living. The house had to provide a suitably pleasant framework for the client couple living alone, but also allow space for the full five-member family to live together at times, plus guests. As well as an attractive communications area, the building should also allow everyone there enough space to go off on their own at any time. Being by the lakeside, the client couple expected visitors mainly in summer, so the house had to adjust to suit different users at different times of the year. So they had the idea of switching between a summer house (maximum occupation) and a winter one (minimal occupation). Designing the ‚winter house‘ in particular presented a specific challenge: even when there were fewest people there when the couple was alone in the house, they did not want to feel the house was ‚empty‘ or ‚unlived in‘. The architects solved this problem by dividing the building in two horizontally. If the couple is alone, they can use the upper floor (ground level) as a complete living area, with everything they need to live on one level.
Then, if guests turn up, living can extend to the garden floor. In summer, the focus is more on the garden level, with its guest rooms and associated pool and bank area. What is special about the upper main floor is its system of flexible, full height partition walls, enabling the residents to use the complete floor as a single multifunctional space or use different spaces and functions separately. The different spaces are grouped around a central atrium: they can be combined with a wide range of uses and separated off again or rearranged at any time.
The inner atrium sliding walls are transparent, being made of glass, all other sliding sections being varnished wood. Each full height wall section runs in its own recessed tracks in the floor and ceiling, so, even when open, the frame edges retain their spatial effects as fine lines, hinting at how space breaks down. When open, the interplay with the similarly dimensioned sliding wall in the glazed outside façade gives a generous continuous space which extends to the outside and an imposing, ever-changing panoramic view over the lake. Dividing the space in this way means there are no living areas on the upper floor which are turned away from the lake: wherever you may be, you have a different panorama of the lake. However, this is less about having a direct view of the lake than about a multilayered transparency and sequential variety of spatial boundaries. Being able to demarcate space flexibility means there is more than one-floor plan, in fact, it is impossible to define a single floor plan. Moving the wall sections gives how the spaces relate to one another a dynamic quality, experiencing ‚time‘ as an element in a new and unaccustomed fashion. Combining a fixed, accentuated space situation with moving elements continues the tradition of an old and refined living culture which makes living space an experience.
Situated in Berlin, Germany, LANDHAUS (2014) by Thomas Kröger Architek. In a small village in the Uckermark, north of Berlin, a large barn has been converted into a country house with an additional independent apartment. The barn was built 140 years ago in a mixed construction of brick masonry and timber. In its time, an ultramodern functional building. After the barn was sold and divided the system was structurally converted for two settler families, and cattle, into a semi-detached home. One half has now been redesigned by architect Thomas Kröger for a young family, using the pre-existing language of the house and adapting it by its own means and rules in reinventing itself.
This former cowshed along with the barn is an extremely stable building with thick stone walls, small windows upstairs and a large wooden gate below. The inherent beauty of the crude truss and the spaciousness of the room were once again experienced only by the coring. The center of the house is a double height living room with fireplace. Three major new arched openings that can be closed by large wooden gates, open to expose the orchard, and green expanses beyond. The house is designed so that the great hall is unheated and is surrounded by an enclosed and heated body of rooms. So for cold seasons, only the smaller and more sociable areas of the house can be used, like birds’ nests.
Right next to the hall and slightly elevated are the living room and a free-standing kitchen. The dining area is topped by a wooden pyramid. Upstairs, above and surrounding the hall are three bedrooms, two bathrooms, two studies and a loggia is enclosed. At the gable end, the holiday apartment for guests is located. The apartment is accessed separately whilst additionally having a connection to the central hall. On the ground floor the living and dining area is located and on the first floor are two bedrooms and a bathroom.
A transformation also took place around the envelope of the building. The difference to the structure on the street side is barely readable. With the new openings down to the private garden, the representative gesture brings only the desired level of integration between indoor and outdoor space with them. The entire building was upgraded and a considered approach to energy was made in this careful restoration. The walls of the heated rooms are insulated on the inside with a wall heating and clay plaster. All rooms keep the same surface qualities, whether heated or unheated.
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