Frances Butler, Quilted Coat, c. 1969–70. Fabric, dye, dimensions variable. Photograph by Marc Treib
Frances Butler, Quilted Coat, c. 1969–70. Fabric, dye, dimensions variable. Photograph by Marc Treib
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@ostygle
Arctic Silence | Jan Erik Waider
Janet Stevens and Sabine Weber by Genevieve Naylor, 1947
“Wallflower” by Deborah Turbeville, 1978
House Komazawa Park | miCo Japan. 2011.
Roomroom by Takeshi Hosaka
Angela Lindvall by Mark Borthwick . Comme des Garçons s/s 1997
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modernhomes
A commission for Paul Smith’s “ideal shed” by Nathalie de Leval:
The whole shed was made in a single material, rough sawn thermo-treated ash, a new type of heat-treated timber that allows ash to be used outside, with just one strip of bright green metal as a magnetic stop for the door. The traditional joinery and shiplap cladding are reminiscent of beautiful barns, and the huge house shaped Crittall window at the end frames the view. The whole shed was put on a pivoting base, to allow the shed to be rotated so it can follow the sun.
Photographed by Petr Krejci
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Secret studio installed under a bridge in an undisclosed location
Contributed by Fernando Abellanas / @lebrelfurniture
I would like to present my latest project related to huts. Not the type of idyllic hut you would find in the middle of the woods but rather tiny spaces recovered from the city itself were you can hide from the city’s hectic pace. These are locations that due to its architecture, location or size have become useless and people hardly notice when walking by. When we discover, analyze and inhabit these places it reminds us of the feelings of isolation, peace and protection we experienced during childhood when hiding under the dining table surrounded with a long table cloth all around.
This project is just one of a long list of spaces I have discovered along the years and acted upon in some way.
In this case I wanted to make use of the structure under a bridge and use it as rails to drive a simple hut along the beams. At the end of the route the moving hut structure meets the furniture that makes it a useful and homely space.
In this way the approaching action creates a dialogue between isolation and protection (5 meters above ground) and the joining of hut and furniture, house and home, body and soul.
All of this in an environment where vegetation and concrete live together.
Video, Photos: José Manuel Pedrajas