In a rich juxtaposition of material and color, a sea of peachy pink and teal green is peppered on marble tabletops, velvet seat cushions, a hand-tufted wall tapestry, and other furnishings and finishings in this art moderne inspired interior. ART HAUS—an installation at the 36th edition of Bueno Aires's premier interior design exhibition Casa FOA—is the lucid Rioplatense rationalist dream conjured by a local trio: interdisciplinary studio Arenal Estudio, color specialist Marina Christe, and furniture purveyor La Feliz. Taking cues from the subconscious of Argentina's post-war reaction to European avant-garde (an era from which European stylistic tropes traveled with those seeking refuge between both World Wars), ART HAUS features a distinct art moderne inspired flavor. Referencing the aforementioned historic style, the overall aesthetic emphasizes the horizontal. Namely, the metal screening framed by an arrow-like cutout seemingly gestures itself along the wall towards the "La Feliz" neon light. This articulation of movement pushes itself further into the space with a pronounced geometry found in the exuberantly shaped furniture, the graphic patterned wall tapestry, and the symmetrical painted shapes on the walls and floors. Meanwhile, the robust palette of colors handpicked by Marina Christe was were meticulously paired all the materials and finishes to accentuate the objets d'art, built-in furniture, and the La Feliz furniture. Read the full article on our interiors and design website, aninteriormag.com.
Posts tagged with "Buenos Aires":
Starting March 21, the Americas Society will host the exhibition The Metropolis in Latin America, 1830-1930. The exhibition is a leading feature of Pacific Standard Time: LA/LA, an exploration of Latino and Latin American art across 70 cultural institutions in Southern California. Pacific Standard Time: LA/LA is an initiative led by the Getty Research Institute, where The Metropolis in Latin America was previously on display. The exhibition presents a century-long narrative of six Latin American capitals: Buenos Aires, Havana, Lima, Mexico City, Rio de Janeiro, and Santiago de Chile. Within this arc of time, these cities transformed from provincial seats of power in the Spanish empire to full-fledged republican capitals. This shift from Iberian urban regulations to independent national authority was expressed through a diverse set of novel and imported models of architectural design and urban planning. The cities of Latin America maintained most of their colonial structures until the mid-nineteenth century. The gradual adoption of modern architectural repertoires, coupled with massive rural migration to the cities, encouraged the removal of colonial-era vestiges in favor of new civic buildings, burgeoning residential quarters and centers of industrial production. Cocurated by Maristella Casciato and Idurre Alonso, The Metropolis in Latin America will display the dramatic transformation of these six Latin American capitals in a number of mediums, including maps, plans, prints and photographs. The historical scope of featured pieces range from Hernan Cortes’ Map of Tenochtitlan (1524) to the modernist utopia depicted in Le Corbusier’s drawings of the City of Buenos Aires (1929).
Argentinian firm Estudio Besonia Almeida has published their recently constructed Casa Berazategui residence on their website. Located in Buenos Aires, the dwelling is formed from concrete planes that intersect in perpendicular arrangements that allow for the creation of voids pertaining to both interior and exterior space. As a result, two facades at the front and rear of the building evoke two different Bauhaus-esque qualities. At the front, hints of Marcel Breuer (who trained at the Bauhaus) can be seen with concrete massing that provides privacy. Meanwhile, an L-shaped plan allows for a much more open style to look onto the garden in a Mies van der Rohe (who taught at the Bauhaus) style that makes use of horizontal planes and decking. Timber and glass are also interspersed throughout the building and serve mostly as detailing and furnishings. Glass panes also cut through the building in a similar fashion, often horizontally to form clerestory windows. Floor-to-ceiling windows and sliding glass doors are also used extensively to the rear of the building, opening it up and visually connecting interior spaces such as the kitchen and dining room to the garden. The intersectional planar and massing strategy derives mostly from the study of light. "This is a topic that interests us particularly, so there is, in all the projects, a special intention addressed both to control the incidence of sunlight on glass surfaces as to improve natural light as a project material which brings wealth to the living spaces," the firm said. "If we understand the openings as such, not as standardized elements with preset measures and positions, but rather as carved into the buildings which, of course permit ventilation and lighting environments, but also leave undefined the indoor-outdoor relationship, framing the landscape, filtering light, reflecting it on a wall, etc., these perforations will be the result of the special way in which we want to establish these relationships. The L-shaped plan also facilitates a variety of programs within the building too, accommodating for community and social-based areas. These are situated along the lengthier axis of the plan while bedrooms and offices are situated on the other. As a result the house is clearly divided into private and semi-private sections with the bedrooms being able to gain a view over the garden. According to the firm, the client required room for family growth. "It was clear they needed a generous gathering place with an integrated kitchen, a veranda with barbeque and a swimming pool that should be protagonist," they say on their website.
Tower of Babel. Argentinian artist Marta Minujin has created an 82-foot tall "Tower of Babel" in Buenos Aires after the city was named UNESCO's World Book Capital for 2011. Readers, libraries, and 50 embassies donated over 30,000 books in a variety of languages to fill the twisting structure. The Guardian has a slideshow and we posted a video of the tower after the jump. High Line Caution. Witold Rybczynski penned an op-ed for the NY Times cautioning the many would-be High Line copy cats that the success of the New York wonder-park (and a Parisian predecessor) aren't because of the parks themselves, but because of their unique situations in dense, thriving cities. Tower Trouble. The Wall Street Journal writes that skyscraper construction has dropped off drastically from decades past to the tune of 14 million fewer square feet per decade than the period between 1950 and 1990. Can New York maintain its global competitiveness without ramping up construction? Twin Lions. Two stone lions, Leo Astor and Leo Lenox, have been standing sentinel at the New York Public Library's main entrance on Fifth Avenue since 1911. Ephemeral New York posted a little more history on the backstory of the big cats.