In merging together two apartments in Moscow, one grandiose 340 square meter home has been lovingly refreshed by Agnes Rudzite Interiors who have leaned heavily into the 1970s vibe. Los planes iniciales del matrimonio tienen que ser reconsiderados debido a que la inquilina de la segunda planta, la cual tenía un alquiler protegido rechazó abandonar su apartamento. When you look at the floor plans, you can see how the walls that divide the different rooms are not drawn as single double lines, but as elements that can fold or rotate and do not follow the structural grid of the house. Pierre Chareau desafía estos valores asociados al vidrio construyendo un muro cortina translucido que desde el interior funciona como un muro de luz tamizada sin ninguna referencia al paisaje exterior, tanto sea el patio de acceso como al jardín trasero. Even today, this beautifully modern and minimal house is a true classic, imbued with countless design lessons. En la primera mitad del siglo XX, el vidrio se había convertido en uno de los emblemas del movimiento moderno (por ejemplo, Mies construye el Pabellón de Barcelona en 1929 y la Villa Tugendhat en 1930) pero asociado al concepto de transparencia y como un elemento de sinceridad arquitectónica e higienismo. La Maison de Verre was stripped of its furniture, which were hidden by a relative in a barn of the rural France. The physical boundaries in the Maison Verre are blurred by a constructive complexity of its partitions. ATLATL Coffee & Food Venue in Shanghai by Various Associates. Best In Show: Stockholm Furniture Fair 2016. The surfaces are soft to the touch and the hard edges have been rounded. Daniel Boddam's Virtual Apartment Concept Showcases His New Furniture Collection. From the interior, this glass facade works as a wall of light sifted without any reference to the exterior landscape, neither the access yard or the rear garden. Histoire. I have decided to choose and examine Maison de Verre (1928-32) by architect, Pierre Chareau which is situated in Rue Saint-Guillaume, Paris. The program of the home was somewhat unusual in that it included a ground-floor medical suite for Dr. Jean Dalsace. The design of ATLATL drew inspiration from the activities that take place in this high-tech park in Shanghai, resulting in a futuristic atmosphere. A rotating screen hid the stairs leading to the private apartment in the upper floors from patients during the day, but framed the stairs at night. The master bedroom and the secondary bedrooms are located on the third floor facing the rear garden whereas the service area is located in the north, within the new built volume. Esther da Costa Meyer, professor of architecture at Princeton University comments: “… If the exterior of the house was unusual for the time, the interior was completely another world …”. After the war, the Dalsaces returned and the house remained in the family until 2006, when it was sold to Robert Rubin, an American collector and architect who became an investor. This project was modified by the position of a former owner of the second floor who refused to sell her apartment. This effect is totally felt in the living room, the main double height space of the house. An Architect and designer of over eight years, she thrives on interpreting other people’s passions into manifested realities. El hotel se encontraba en el interior de la manzana entre dos patios que definían su volumetría. Tanto el dormitorio principal como los dos secundarios se encuentran en la planta tercera con vistas al jardín trasero mientras que el área de servicio se localiza al norte, en el nuevo volumen construido. During the late 1920s and ‘30s, domestic architecture in France was subject to a highly politicised debate. Much of the intricate mobile scene of the house was designed on site as the project developed. […] https://www.yellowtrace.com.au/maison-de-verre-paris-pierre-chareau-bernard-bijvoet/ […]. Rubin has meticulously restored and lives there with his French wife and children allowing a limited number of visits.
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