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Zach Batteer and Carlyle Scott designed Field Cabin, a 288-square foot accommodation at Serana, their communal retreat in Paige, Texas. Wrapped in Yakisugi-treated pine, the cabin took 40 days and almost $46K to build.
Zach Batteer and Carlyle Scott designed Field Cabin, a 288-square foot accommodation at Serana, their communal retreat in Paige, Texas. Wrapped in Yakisugi-treated pine, the cabin took 40 days and almost $46K to build.
dwell Residency: 288
dwell Residency: 288
Tudor, tudor, tudor … Lather, rinse, repeat …
Tudor, tudor, tudor … Lather, rinse, repeat …
Guest House At 288 Back O Beyond Circle, Sedona
Guest House At 288 Back O Beyond Circle, Sedona
This 530-square-foot prefab in East Sussex, England, was designed by Michael Kendrick Architects for a family who wanted to build a woodland retreat/rental on their property. Immersing the lodge into the forest reflects the family’s intent to, as the architects explain, “enhance the ecological biodiversity of the area, protect wildlife, and enable guests … to understand and appreciate the fauna, flora, and unique history and nature of the area, while supporting and promoting the local economy.”
This 530-square-foot prefab in East Sussex, England, was designed by Michael Kendrick Architects for a family who wanted to build a woodland retreat/rental on their property. Immersing the lodge into the forest reflects the family’s intent to, as the architects explain, “enhance the ecological biodiversity of the area, protect wildlife, and enable guests … to understand and appreciate the fauna, flora, and unique history and nature of the area, while supporting and promoting the local economy.”
… the intimate Dining.
… the intimate Dining.
Lightsome, artistic, glass … stunning
Lightsome, artistic, glass … stunning
PROJECT #4 is a multi-generational tropical house designed for an Asian family nestled in …
PROJECT #4 is a multi-generational tropical house designed for an Asian family nestled in …
The standard Classic model spanned 288 square feet in size, but could be upgraded to a 396-square-foot home with two bedrooms. The interior walls and ceilings are all paneled in pine, and beveled cedar siding was used for the exterior.
The standard Classic model spanned 288 square feet in size, but could be upgraded to a 396-square-foot home with two bedrooms. The interior walls and ceilings are all paneled in pine, and beveled cedar siding was used for the exterior.
The challenge was how to site the house without disturbing the trees or imposing on their habitat - which was so interconnected to the local ecology. The house would have to be light on the land, transparent to rain and energy producing … becoming as ecologically invisible as possible. #interstice #intersticearchitects #beachhouse #beachhouses #outdoors #exterior #residential #bradlaughton #bradlaughtonphotography
The challenge was how to site the house without disturbing the trees or imposing on their habitat - which was so interconnected to the local ecology. The house would have to be light on the land, transparent to rain and energy producing … becoming as ecologically invisible as possible. #interstice #intersticearchitects #beachhouse #beachhouses #outdoors #exterior #residential #bradlaughton #bradlaughtonphotography
New York Pavilion 1964 World's Fair The massive ring of steel and reinforced concrete piers, dubbed the “Tent of Tomorrow,” once held a cable suspension roof and was clad in a terrazzo floor featuring a Texaco highway map of the state. It was a platform for New York, and homegrown companies like Kodak and CorningWare, to show off to the world, and as critic Louise Huxtable said, “a sophisticated frivolity…seriously and beautifully constructed … a ‘carnival’ with class.”
New York Pavilion 1964 World's Fair The massive ring of steel and reinforced concrete piers, dubbed the “Tent of Tomorrow,” once held a cable suspension roof and was clad in a terrazzo floor featuring a Texaco highway map of the state. It was a platform for New York, and homegrown companies like Kodak and CorningWare, to show off to the world, and as critic Louise Huxtable said, “a sophisticated frivolity…seriously and beautifully constructed … a ‘carnival’ with class.”
The installation revisits the origins of Kusama’s art, which she traces back to her childhood. "One day, after gazing at a pattern of red flowers on the tablecloth, I looked up to see that the ceiling, the windows, and the columns seemed to be plastered with the same red floral pattern. I saw the entire room, my entire body, and the entire universe covered with red flowers, and in that instant, my soul was obliterated … this was not an illusion, but reality itself," the artist explains in a press statement.
The installation revisits the origins of Kusama’s art, which she traces back to her childhood. "One day, after gazing at a pattern of red flowers on the tablecloth, I looked up to see that the ceiling, the windows, and the columns seemed to be plastered with the same red floral pattern. I saw the entire room, my entire body, and the entire universe covered with red flowers, and in that instant, my soul was obliterated … this was not an illusion, but reality itself," the artist explains in a press statement.
The Past: Has my toolbox changed in the last 35 years? Absolutely! When I started very few people used a computer (I can count on one hand the people I knew who had any knowledge) so everything was done by hand - drawing and model building with chipboard/foamcore. Here is a look at some of the tools of my past, at least the ones that I still have laying around … What was your favorite tool of the past? If I had to pick one I would go with the electric eraser with the pointer attachment on top!
The Past: Has my toolbox changed in the last 35 years? Absolutely! When I started very few people used a computer (I can count on one hand the people I knew who had any knowledge) so everything was done by hand - drawing and model building with chipboard/foamcore. Here is a look at some of the tools of my past, at least the ones that I still have laying around … What was your favorite tool of the past? If I had to pick one I would go with the electric eraser with the pointer attachment on top!
Designed in 1959, the Faceted Form Series consists of molded fiberglass side and arm chairs with varying bases. While some dub it the “origami chair,” the Faceted series is based on the natural phenomena of cellular formation—on manmade structures such as the geodesic dome. Models include the swivel chair, stacking chair, a tapered steel tube base, and the oh-so-coveted and rare spider base. A letter dated 1960 from the sales director of the Directional Contract Furniture Group describes the chair as “an important contribution to the seating field … hailed as a totally new construction concept.” We’ll take two.
Designed in 1959, the Faceted Form Series consists of molded fiberglass side and arm chairs with varying bases. While some dub it the “origami chair,” the Faceted series is based on the natural phenomena of cellular formation—on manmade structures such as the geodesic dome. Models include the swivel chair, stacking chair, a tapered steel tube base, and the oh-so-coveted and rare spider base. A letter dated 1960 from the sales director of the Directional Contract Furniture Group describes the chair as “an important contribution to the seating field … hailed as a totally new construction concept.” We’ll take two.
Parson's Chicken & Fish Renovations, which started in October 2012, actually brought the space full circle; originally an outpost of the Chicken Unlimited fast food chain (“Tender as quail … tasty as pheasant”), the former restaurant at 2952 W. Armitage had been a bakery and even a muffler shop. For the local Land & Sea collective -- Pete Toalson, designer Cody Hudson (Struggle Inc.) and Jon Martin and Robert McAdams (design and fabrication company Mode Carpentry) -- bringing back the fryers was their second foray into the restaurant world, after the incredibly successful, Michelin-starred Longman & Eagle. Photo by Clayton Hauck.
Parson's Chicken & Fish Renovations, which started in October 2012, actually brought the space full circle; originally an outpost of the Chicken Unlimited fast food chain (“Tender as quail … tasty as pheasant”), the former restaurant at 2952 W. Armitage had been a bakery and even a muffler shop. For the local Land & Sea collective -- Pete Toalson, designer Cody Hudson (Struggle Inc.) and Jon Martin and Robert McAdams (design and fabrication company Mode Carpentry) -- bringing back the fryers was their second foray into the restaurant world, after the incredibly successful, Michelin-starred Longman & Eagle. Photo by Clayton Hauck.
What Tech Hasn't Learned from Urban PlanningIn the San Francisco Bay Area, tech companies have come under fire for failing to be good members of their respective communities. "There’s been no shortage of published laments on the changing nature of San Francisco over the past several weeks, so I’m loath to add another complaint to the list. And yet … I keep coming across instances where the tech sector flocks to the city and talks of community yet isolates itself from the urban experience it presumably couldn’t wait to be a part of," writes Allison Arieff in an op-ed piece for the New York Times. Let's not count the many missed opportunities to give back to the city....
What Tech Hasn't Learned from Urban PlanningIn the San Francisco Bay Area, tech companies have come under fire for failing to be good members of their respective communities. "There’s been no shortage of published laments on the changing nature of San Francisco over the past several weeks, so I’m loath to add another complaint to the list. And yet … I keep coming across instances where the tech sector flocks to the city and talks of community yet isolates itself from the urban experience it presumably couldn’t wait to be a part of," writes Allison Arieff in an op-ed piece for the New York Times. Let's not count the many missed opportunities to give back to the city....