Transformer or beach hut? Positioned in a coastal erosion zone, this holiday retreat for a family of five is completely capable of being relocated. An oversized shutter allows for protection from the elements when not in use and opens to allow sun in during the winter or provide shade on hot summer days. Waikato, New Zealand. By Crosson Clarke Carnachan Architects, from the book Rock the Shack, Copyright Gestalten 2013.
Anna Hoover, founder of the non-profit First Light Alaska, sought a "thought refuge, a room with a view to sit and contemplate future projects and reflect on recent travels and interactions, plenty of ‘headspace’—tall ceilings—and the ability to host other artists for studio time," she says. A longtime resident of the Pacific Northwest, Hoover was familiar with the work of Olson Kundig and contacted the Seattle-based firm to design her abode.
The homes are painted wood, and include a shaded deck space, plus full insulation and electricity, for a price of about $29,000.
In Kulusuk, East Greenland, Haukur Sirgurdsson enjoys the reflections of a large lake speckled with floating ice chunks.
Updating the A-frame of yore, this home’s liberal use of windows makes the most of panoramic views spanning two valleys. Catalonia, Spain. Cadaval & Sola-Morales from the book Rock the Shack, Copyright Gestalten 2013.
When Oslo-based architect Marianne Borge was approached in 2004 by a client who wanted an actual cabin rather than a second home, she was instantly inspired by the challenge of working on a smaller scale. The home, called Woody35, has a distinct shape that makes it stand out from its surroundings despite the modest size of the building.
The vacation complex is designed to promote an easy flow between the two families' spaces, which include guest cabins and a shared porch for hanging out and eating.
Sebastian Heise’s wooden structure, seemingly atilt, overlooks a green valley in Oberwiesenthal, Germany. The two horizontal windows on the side and the front porch give the home its own unique sense of balance.
The interior of Jaanus Orgusaar's NOA cabin in the Virumaa region of Estonia. The walls were first plastered with limestone paste, then painted with cottage-cheese paint.
The roofs of each of the three sections of the home are constructed of zinc and are insulated for added protection.
“We did our best to tuck the buildings into the site—the goal was to get up high on a perch. It was a matter of setting that elevation and working back down with the topography.”—Riley Pratt, architectural designer
The living room's double height makes the space seem larger that its actual size. Stairs leading up to the sleeping loft are placed next to the open fireplace. The plastered wall and the soapstone tiles on the floor add some roughness to the wooden interior.
The house is divided into three sections connected by a series of outdoor galleries. “When I walk from one room to another, I have to go outdoors and feel the weather and nature—rain, cold, and sun,” says Sævik.
Instead of emphasizing the expansive panorama of oak, pine, and aspen trees, the house frames select views—a move inspired by Japanese design.
Large sliding glass doors allow daylight to fill the living room. Smaller windows are placed in the kitchen area and the sleeping loft. The exterior is clad in heart pine which needs very little up-keep and is known for its strength and hardness.
The house may appear conventional at a glance, but a closer look shows how Oostenbruggen has pushed the boundaries of the traditional gabled typology. It has an asymmetrical roof, with slate shingles that extend down the eastern side to close it off completely.