The engineering of House Ray 1’s load-bearing structure was extremely complex. Since the house had to be built on top of an old building, the architects opted for lightweight steel skeleton construction. The living/dining area has sliding glass walls that open to the back terrace and pool.
The biggest challenge for the architects in building House Ray 1 was to create a home for themselves. They transformed the ideas of their architectural philosophy into the architectural reality of each detail, designing each element of or within the house on their
own, ranging from door handles to the light switches to the furniture. Here we see the view from daughter Nora’s bedroom down the length of the penthouse interior.
The “culinary cockpit” (a.k.a. the kitchen) stands at the center of the apartment on a raised platform. A long, white slanted counter contains hi-fi speakers and a BUS-system panel of 18 buttons for controlling lights, curtains, heating, ventilation, etc.
The long floating counter is a sculptural element that continues the line of duct-like exterior elements. The sloping floors are made from a rich-looking African cherry wood called Doussie. The metal disks beside the ramp are smoke and heat vents. The architects aimed to create an interior without any barriers or columns in order to have an uninterrupted spatial continuum. They appear to have succeeded in their efforts.
Converging lines of sheer glass, sloping floors, and ceiling planes create the impression of multiple perspectives and vanishing points. There are no interior walls except for those around the bedrooms (as seen here, in the master).
Meissl and Delugan’s favorite part of the house is definitely the “relaxation zone,” which features a black leather platform of their own design that appears to float between layers of tempered glass. The pillows are by Herman Miller.