A Striking Monolithic and Sculptural Design Element in Creative Retreat its Mountain Home Serves as a Creative Retreat

A striking monolithic and sculptural design element in Creative Retreat its Mountain home serves as a creative retreat—The base of the Tetons and Creative retreat of Mountain home serves as a creative retreat, a striking monolithic and sculptural design element that also features the coolest geological relics in the landscape, conceived as a geological relics are coolest.

 

 

▏The base of the Tetons and Creative retreat of Mountain home serves as a creative retreat, a striking monolithic and sculptural design element that also features the coolest geological relics in the landscape, conceived as a geological relics are coolest.

 

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▎A series of undulating tectonic structures set against an aspen grove near Wilson, Wyoming, creative retreat his mountain home serves as a creative retreat for a California-based couple. The 35-acre property is set at  the base of the Tetons and encompasses several ecosystems, with old-growth forests merging into stands of young pine and aspen trees before transitioning into rolling meadows.  The homeowners, authors who also own and manage an independent record label out of Mill Valley, California, were looking for a nature-oriented outpost in Wyoming in which to pursue their writing practice.

 

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▎Composed of three buildings (main house, guest house, and writer’s studio), the home is arranged as a set of simple box-like volumes, each designed in response to its specific location. The 6,000-square-foot main house is conceived as a geologic remnant in main of geologic remnant the landscape, located on the edge between the field and forest. The 1,577 square-foot guest house and 580 square-foot writer’s studio are nestled more intimately within the wooded environment. A fourth, spiritually focused structure has yet to be built and will be sited further to the south.  The architecture is open, with sweeping views of mountain vistas of the Grand Tetons, natural fauna, forests, and meadows.

 

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▎Rectilinear in plan, the main house appears to grab surrounding trees as anchors, sinking in the center, and pulling upward toward the sky at the corners. Working in concert with the landscape, this dynamic quality is further through the building’s charred shou sugi ban exterior,  tugged and carved to create overhangs and openings. The entrance to the home is located where the structure reaches out over a lowland creek, the relationship revealed by a moment of transparency in the floor. The wood exterior wraps into the interior as light Atlantic cedar, which then dissolves into subtle plaster and floor-to-ceiling glass.

 

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▎Each window frames a view of the prairie and Teton range beyond. An east-facing fireplace provides a counterpoint to the views, and an intimate courtyard allows southern light to penetrate the center of the home. In addition to the common kitchen, living, and dining spaces, the home includes three bedrooms, four bathrooms, a laundry, and an expansive mudroom for the client’s Irish wolfhounds. Wood, steel, bronze, custom-cast white concrete, bleached cedar, and oversized slabs of travertine and onyx define the material palette. Italian limestone is highlighted as floors in the primary bath and is also highlighted for the custom bathtub, which was water jet cut from a single block of limestone to create a striking monolithic and sculptural design element.

 

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▎This makes the second time the interior designer has worked with the clients, the first instance at their home in Mill Valley. The client’s bohemian lifestyle and love of music, literature and the great outdoors were the inspiration behind the interior design. They love comfort, layers and texture, vintage pieces and a home that is inviting to family and friends and laid back enough for their dogs. Every surface has been elevated, with artisan details like the custom-designed, tattoo-inspired bas-relief concrete on the fireplace surround, hand-painted custom wallpaper murals, and the geometric motifs carried throughout the design. The earth-toned palette—with pops of mustard, blush and deep Burgundy—is punctuated by collectible pieces, vintage finds, and contemporary art.

 

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▎The three-bedroom guest house is located steps away from the main house and features a similar carved-away entry and rectilinear form. The writer’s studio is positioned just beyond and provides a formal contrast to the other structures. A two-story sentinel surrounded by fledgling aspens, the structure includes a first-floor living space and a second-floor studio where the occupant can be immersed in contemplation among the tree canopies. Wood, steel, bronze, custom-cast white concrete, bleached cedar, and oversized slabs of travertine and onyx define the material palette. Italian limestone is highlighted as floors in the primary bath and is also highlighted in the custom bathtub, which was water jet cut from a single block of limestone to create a striking monolithic and sculptural design element.

 

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A striking monolithic and sculptural design element in Creative Retreat its Mountain home serves as a creative retreat—The base of the Tetons and Creative retreat of Mountain home serves as a creative retreat, a striking monolithic and sculptural design element that also features the coolest geological relics in the landscape, conceived as a geological relics are coolest.

 

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Per essere insostituibili bisogna sempre essere diverso.
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Chuk Heritage咖啡館

Chuk Heritage 在胡志明市轉化日常飲食為文化空間

Chuk Heritage 將咖啡館轉化為一種城市介面,使日常飲食成為連結人、自然與城市的空間經驗。     Chuk Heritage 是一個傳統咖啡館,獨特的文化和美食目的地。這個綜合空間匯集了兩個品牌:CHUK TEA & COFFEE 和 BÁNH MÌ ƠI,該項目闡明了品牌的故事,它不僅僅是一家咖啡館,更是一個提供多樣化體驗並將人們與自然聯繫起來的文化中心。它反映了永續發展的願景,並有助於在快速城市化過程中保持特色。 Chuk Heritage 位於胡志明市草田區38 號街與春水路的交匯處,這是一個充滿活力的地區,以其熙熙攘攘的咖啡館和餐廳而聞名。 Chuk Heritage 是一個獨特的文化和美食目的地。這個綜合空間匯集了兩個品牌:CHUK TEA & COFFEE

材料如何被石油體系重新定義

材料從來沒有中性過,只是我們習慣把它當作中性。 混凝土、鋼、玻璃——它們被討論時,總是停在強度、結構或形式。但那只是最後一層。 在那之前,它們已經被決定過很多次。 材料之所以看起來中性,是因為大部分決策已經在它出現之前完成。當我們開始討論材料時,其實已經太晚。     石油的影響並不止於能源供應,它進一步進入建築的物質層,重新塑造了我們對材料的理解,使材料不再只是被選擇與組合的元素,而是與能源體系緊密連動的結果,其生成、性能與使用方式都在石油系統的框架之中被重新定義。     材料在這樣的條件下不再被視為中性的建築構成元素,而是帶有明確來源與技術背景的產物,從塑膠、塗料、防水層到各類合成材料,其背後皆指向石油提煉與化工工業的生產鏈,使建築的物質基礎逐漸從天然轉向人工合成,這種轉變不僅改變了材料的物理性能與施工方式,也使材料本身成為一種可被標準化、複製與大量生產的結果,並在其生成與應用的過程中,逐漸依賴於隱藏地下的基礎設施與能源系統,進而影響建築形式與空間表現的可能性,使設計不再完全由形態決定,而是受制於材料系統的供應與限制 隨著這些材料被廣泛應用於建築之中,空間的生成邏輯也隨之發生改變,輕量化、高強度與高延展性的特性使結構得以突破原有的限制,建築可以更快速地搭建與擴張,同時也更加依賴隱藏於表面之下的材料層次來維持其功能,然而這些看似提升效率與性能的材料,實際上將建築更深地嵌入石油體系之中,使其在生命週期的每一個階段都與能源消耗與資源轉換緊密相連,從生產、運輸到維護與替換,都構成了一個難以脫離的依附關係 當材料被納入這樣的系統之後,建築便不再只是設計者操作的結果,而是成為一種由能源、技術與工業流程共同塑造的產物,其物質性不再純粹,而是混合了多重不可見的生產過程與資源流動,使我們難以單純以形式或功能來理解建築本身,而必須進一步追溯其背後的材料來源與生產邏輯,才能看見這些看似穩定的構成元素,實際上如何在石油體系之中被持續生成與重構   這些物質層面的轉變,最終仍回到同一個問題——建築如何在能源與基礎設施的系統之中被持續塑造與運作。     來源 材料來自哪裡,其實比它長成什麼樣子更重要。 開採、運輸、加工,每一個環節都在消耗能量,也在重新分配成本。這些過程不會出現在圖面上,但它們決定了什麼可以被建造。 Material is not chosen, it is

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