Less than a month after news broke that Kanye West’s futuristic affordable housing project might face the wrecking ball, most of the Star Wars-reminiscent structures have been torn down. TMZ reported that three of the four dome-shaped prototypes, located on the 300-acre wooded plot that Kanye West and Kim Kardashians call home in Calabasas, California, were fully taken down as of yesterday after failing to comply with building codes set forth by the Los Angeles County Public Works. The project was originally slated to be shut down by this Sunday, September 15, if West’s team didn’t get proper construction permits for the buildings, and it seems that a trio of the homes were taken down ahead of the deadline. The remaining dome will reportedly also be demolished before then as well. The prototypes were part of the rapper-slash-designer-slash-producer’s grand vision to build an egalitarian community of sustainable homes, according to a Forbes writer who toured the property last month, in the style of the Tatooine settlements that debuted in the first Star Wars film. The four tall, rounded huts that West built near his Calabasas home, featured wooden frames of various sizes with holes cut in the top for natural light. Each structure was semi-sunken into the ground and included a concrete foundation. According to TMZ, the state inspector who came by twice to see the homes after receiving construction noise complaints from surrounding neighbors (construction crews were working on weekend days when they shouldn't have been) said since the concrete bases were installed, it suggested the domes were more permanent rather than temporary and different permits were required. It’s unclear whether West will build the prototypes elsewhere or if he will move the remaining home to a property he just bought in Wyoming.
Posts tagged with "Timber":
The Oregon Conservation Center (OCC) in Portland, Oregon has reopened a new 15,000 square foot nature-centered expansion and renovation courtesy of LEVER Architecture. A redevelopment project of The Nature’s Conservancy’s existing headquarters, the building better reflects the mission of the organization which acts to conserve nature for nature’s sake and to enrich human lives through conservation. The original, dull landscape and 1970’s-era building were not representative of the organization’s identity as a global nonprofit headquarters. The building’s exterior has been reenvisioned and entirely clad in a combination of materials vulnerable to weathering, such as a new steel rainscreen facade that will weather over time, Juniper siding, and Cedar decking both harvested from nonprofit’s conservation sites. With The Nature Conservancy’s commitment to sustainability, renovating the original, uninspired office building was important for the project. Targeting LEED Gold certification, the new rooftop photovoltaics produce 25 percent of its electrical supply and the use of efficient building systems and fixtures reduce electric consumption by a further 54 percent, and water consumption by 44 percent. In an effort to articulate The Nature Conservancy’s impactful work, LEVER's design reflects the ecology of the region with special attention to three of the organization’s protected habitats: the Rowena Plateau, the Cascade-Siskiyou region, and western hemlock and cedar forests. Managing partner of the renovation's developer, project^, Tom Cody, describes the project as an “ecological and innovative hub” with respect to reused and recycled materials, and landscape architecture firm Lando and Associates’ incorporation of Oregon’s indigenous plants. The new design values a connection to the region’s natural surroundings, offering visitors and staff a greater and more accessible bond to the outdoors. Central to the upgrade is a new, highly visible 2,000-square-foot building addition built with domestically-fabricated cross-laminated timber panels, the first of its kind built in the U.S. and certified by the Forest Stewardship Council. The addition contains a community room and roof garden terrace, ideal spaces to hold gatherings and public events. Additional programmatic elements include open-plan layouts, meeting rooms of various sizes, staff cafe and lounge, and dedicated storage space for equipment used in the field. “The Oregon Conservation Center truly embodies the mission of sustainability, stewardship, and inspiration that we serve at The Nature Conservancy,” said Jim Desmond, Oregon state director at The Nature Conservancy. “Against this inspiring new backdrop, we can now better convene with partners in a highly collaborative environment featuring elements of our important work around Oregon.”
Helsinki-based architects at JKMM are designing this year's Burning Man pavilion. In true Finnish style, the installation will be a full-fledged sauna. Each year, the organizers of Burning Man, the festival-slash-anarcho-communist gathering in Nevada's Black Rock Desert, ask designers to envision and execute singular works of art. For the festival's 2019 edition, organizers tapped JKMM and Sauna on Fire to design Steam of Life, a usable installation that's intended to energize participants with a good schvitz and introduce people to Finnish sauna culture. The circular Steam of Life will be built from timber, and its spiraling program is meant to gradually transition visitors from the harsh and arid conditions outside into the moist spa bliss within. According to JKMM, a curving passage will beckon the sauna-ready through a darkened area as a soft transition from the desert's brightness. The interior, meanwhile, is furnished with wooden benches and a stove. After the session, visitors will file into the shaded atrium at the center of the pavilion for a final cool down and relaxation. JKMM CEO Samppa Lappalainen selected architects Marcus Kujala, Hannu Rytky, and Päivi Aaltio from his firm to design the project, which will be built by Burners (Burning Man attendees) at the end of this month. JKMM's collaborators at Sauna on Fire are sponsoring a camp at Black Rock City—Burning Man attendees sort themselves out into camps—districts—organized around the burning effigy for which the gathering is named. Following this year's theme of "metamorphosis," Steam of Life's core values, according to its designers, are " [co-creation], volunteerism and inclusion of diverse participant backgrounds. Through self-organizing as an organization model, we aim to empower participants to learn new skills and foster a positive spirit for learning via decentralized decision-making via the build of a sauna installation to Black Rock City. Moreover, in the long run, this way of organizing could foster new types of civic engagement and even address social problems such as marginalization in society. Ultimately, we wish to distribute our learnt [sic] knowledge about the co-created content to a wider audience." But there will be no funny business along the road to a better society. A concept packet released by Sauna on Fire maintains it is not a "party camp" or "XXX," and notes that there should be no "wild sex orgy in the sauna." Keep it clean, y'all. The earnest design of Steam of Life will complement this year's Burning Man central temple. Designed by San Francisco architect Geordie Van Der Bosch, the temple references the Fushimi Inari-taisha shrine in Kyoto, Japan. For those who have tickets, Burning Man begins next Sunday, August 25 and runs through September 2.
Cycle or stroll along the Regent's Canal in northeast London and you'll find a new addition to a mad-hat menagerie of quirky architectural interventions populating the water's edge. The Potemkin Theatre, designed by London-based studio Maich Swift, is the third Antepavilion—a yearly competition run by the Architecture Foundation and Shiva Ltd. The Potemkin Theater sits atop a warehouse and looks north over the canal. At 27 feet tall, its prominent position means it can be seen from far down the canal, rising against the post-industrial landscape like a skinny timber Torre Velasca. However, the timber intervention only truly reveals itself as you get much closer; the slender yellow structure's canal-facing facade comes into view and displays a green checkerboard pattern made from gesso-treated canvas panels. Spanning three stories, the building will serve as a performance space, with the structure itself able to be used as a prop as well as a backdrop and theater gallery for performances. The pavilion's name comes from Grigory Potemkin, a Russian who in 1787 supposedly painted the facades of buildings in a Crimean village to impress Empress Catherine II upon her visit. Maich Swift adopted the same notion, taking interest in the way the internal structure can be hidden behind a lively and colorful frontage. "We thought early on that the structure could be accessed by both an audience and performers," said Ted Swift, who cofounded Maich Swift in 2016, speaking to AN. "We wanted the structure to be something that was as flexible as possible," added fellow co-founder Paul Maich. "Stuff like this is slowly disappearing in Hackney." Maich Swift was founded in 2016, with both architects coming from the London-based practice Caruso St. John. Along with Grigory Potemkin, the pair said they were inspired by Monsieur Hulot's home in Jacques Tati’s 1958 French film, Mon Oncle, drawing on the highly visual circulation space exhibited in the film. Behind the canvassed facade, a stair linking the pavilion's three levels is clearly visible between the laminated veneer lumber structural frame. The theater was assembled in just 25 days for a mere $30,000. "We knew we had to build it ourselves (with the help of volunteers) so it had to be practical," said Swift. Furthermore, the pavilion is designed to eventually be unbolted, though before that happens, a two-month-long program of performances, discussion, and events as been planned throughout August and September. In winning the Antepavilion competition, Maich Swift beat out 187 other entries. "Not only were the jury impressed by Maich Swift's quirky design and eclectic references, but we were particularly drawn to Potemkin's potential to become a new cultural venue," said Chloe Spiby Loh, who chaired the judging panel. "This showed the maturity of their approach, which projected a future for the pavilion beyond the commission." An opening party for the pavilion was attended by more than 1,000 people, though the structure has yet to be put through its paces as a performance space; capacity is for ticketed events is 180 people. "Hopefully we'll be surprised by the way people use it," said Swift.
Eight out of the 42 venues slated to host next summer’s Olympic and Paralympic Games in Tokyo will be brand new. All were designed by Japanese architects, and it’s one of the rare times that the biennial sporting event isn’t banking on the brand recognition of a foreign-born design team for one of its main buildings. In fact, most of the architecture is old; 25 venues are already existing thanks to Japan’s plans to repurpose a number of the buildings constructed for the 1964 Summer Olympics, the last time Tokyo hosted the Games. Though Kengo Kuma’s timber-clad Olympic Stadium will be at the center of the sprawling citywide sporting campus, the other slew of structures—most of them inspired by Japanese tradition—will also put Tokyo’s architecture on the world’s stage. Take a look at some of the buildings that are coming up for 2020, as well as the ones that will return to the spotlight: Olympic Stadium Architect: Kengo Kuma Capacity: 68,000 Sport: Opening/Closing Ceremonies, soccer, track and field After almost of decade of controversy over the design of the Olympic Stadium, Kengo Kuma’s vision is nearly complete. An all wood-and-steel structure, it broke ground in December 2016 on the site of the former National Stadium which was demolished the year prior. Kuma’s design was criticized upon release, many citing its similarity to Zaha Hadid’s defunct proposal for the project, which she won in 2012. Hadid’s proposal proved too costly, so the Japanese government decided to rebid the site in late 2015, asking designers to partner with local contractors who could estimate costs and timing. Kuma won in a partnership with several major groups including the Taisei Corporation and Toyo Ito. Olympic Aquatics Center Architect: Yamashita Sekkei and Cox Architecture Capacity: 15,000 Sport: Swimming, diving, synchronized swimming Scheduled for completion in February, the Aquatics Center features a distinct and thin roof supported by four bare pillars that rise from the ground level. Its four angular all-glass facades appear to have a rib-like pattern going from end to end, drawing the eye upward to focus on the trapezoidal-shaped platform atop it. The entire 828,800-square-foot arena, located in the North Tokyo Bay, is raised on a podium and is expected to weigh 7,000 tons. Ariake Arena Architect: Kume Sekkei Capacity: 12,000 Sport: Indoor Volleyball Volleyball made its Olympic debut in 1964, coincidentally the last time Tokyo hosted the Summer Games, and the future Ariake Arena was a major part of the city’s 2020 bid. Situated in a northwest corner of Tokyo Bay next to the Ariake Tennis Park, the almost-complete project features a convex roof design that’s unlike any other venue in the athletic event. Resembling an inverted crest wave, the silver-structure boasts incredible views of the bay outside its front door. Olympic Village Architect: Unknown Capacity: 17,000 athletes Tokyo’s Olympic Village will be located on the Harumi Pier, which is at the physical center of the Heritage and Tokyo Bay venue zones—the two areas where the venues have been allocated for Tokyo 2020. Spread out over 33 acres, the village will contain 22 buildings ranging from 14 to 22 stories, as well as two 50-story residential towers. It’s another controversial project: locals are concerned about the site’s functionality after the Olympics are over. Plans call for some 5,650 apartments to be built in the next five years, which has the real estate market worried. Branded as the Harumi Flag community, the development will include commercial space, parks, and a school on the pier as well. More interestingly, it’s supposed to be the largest hydrogen-powered development in the world. Ariake Gymnastics Center Architect: Nikken Sekkei Capacity: 12,000 Sport: Gymnastics Located in Tokyo’s Koto Ward just steps away from the Olympic Village, the Ariake Gymnastics Center will feature more wood than any other venue in its bowl-shaped design. Construction is set to finish in October on the one-million-square-foot, low-lying structure which, according to the Japan Times, includes slanted walls as a nod to the engawa verandas found on traditional Japanese homes. The central element of the architecture is a massive, 394-foot-long-by-295-foot-wide wood roof that arches over the building’s core. The exterior includes a series of crisscrossed wooden poles that stretch from the overhang of the roof to the plaza below. Here's a rundown of the older venues that will host an event for Tokyo 2020: Yoyogi National Stadium Architect: Kenzo Tange Capacity: 13,000 Sport: handball Built: 1964 Known for: Its parabolic roof design and for inspiring Frei Otto’s design for the Olympic Stadium in Munich. Nippon Budokan Architect: Mamoru Tamada Capacity: 41,000 Sport: Judo Built: 1964 Known for: Its octagonal shape and pointed roof that references Mt. Fuji., as well as a concrete lower half that looks like a Brutalist version of a traditional Japanese temple. Sapporo Dome Architect: Hiroshi Hara Capacity: 41,000 Sport: Soccer Built: 2001, for the 2002 FIFA World Cup Known for: Its metallic exterior and futuristic form, as well as for boasting the first retractable pitch in the world. Tatsumi International Swimming Centre Architect: Environment Design Institute Capacity: 3,600 Sport: Water polo Built: 1993 Known for: Its space frame roof and all-white exterior cladding, that folds over the glass and concrete building to create curved frames for views. Tokyo Big Sight Architect: AXS Satow Size: 1.1 million square feet Sport: Planned to host wrestling, fencing, and taekwondo, but will now be the main media center Built: 1996 Known for: Its four inverted pyramids clad in titanium that together house a convention center. Izu Velodrome Architect: Gensler and Schurmann Architects Capacity: 1,800; 4,300 with temporary seating Sport: Track Cycling Built: 2011 Known for: The silver drum-shaped building holds the first 250-meter-long indoor track made of timber in Japan.
After seeing Francis Kéré’s Louisiana Canopy installation at the Louisiana Museum of Contemporary Art, Cathy and Peter Halstead were inspired to commission the Berlin-based architect to add a piece to their vast Tippet Rise Art Center in Montana. A few years on and Xylem, a piece developed in Louisiana, is now complete in Tippet Rise. The art center is home to a number of monumental art pieces, including three large concrete works by Madrid-based architects Ensamble Studio and a complex wooden construction by the New York-based artist Stephen Talasnik. While Tippet Rise stretches over 12,000 acres across southwest Montana’s broad, high plains, Xylem is located on one of the property's few intimate spaces. Rather than site the project on the top of a butte or at the base of a canyon, like many of the other monumental art pieces throughout the art center, Kéré’s pavilion sits nestled amid a stand of cottonwoods and aspens along the bubbling Grove Creek. Unlike the rest of the center’s collection, Xylem is meant to have a specific function as a gathering area for guests and a performance space for artists. “The Louisiana project was the inspiration for Cathy and Peter,” explained Kéré while walking through the new pavilion, “but Louisiana was in a museum, in a room, enclosed, protected. Here was have this landscape, which can be windy, hot, with a lot of snow. What can you do?” Kéré’s solution involved sourcing hardy local materials and playing with form and light, all while working to understand the clients' wish for an intimate, yet accessible, space. The 60-foot-diameter pavilion is comprised of thousands of linear feet of ponderosa and lodgepole pine logs. Each log was sustainably sourced from the nearby forests that had been ravaged by invasive mountain pine beetle or wildfires. Once stripped of their bark, the logs were cut to length and bound together to produce the bulk of the pavilion. These large masses of timber make up a series of lounging surfaces, as well as the expansive cantilevering canopy and the column cladding. That canopy is comprised of specially configured hexagonal bundles suspended from an AECOM-engineered steel frame. This seemingly straightforward construction method has been the focus of Kéré’s office for a number of years and involves a title collaboration between architect and craftspeople. For Xylem, Kéré worked with local architects of record Gunnstock Timber Frames, who also served as wood fabricators for the project. Gunnstock Timber Frames is also responsible for the other buildings on the Tippet Rise main campus. Spaces for small groups or individuals were shaped and carved into the masses of logs as if they were a single volume, providing a cool space to sit and lounge in any number of positions. The smoothed wood formations are dappled with light throughout the day, as sunlight slips between the gaps in the bundles of overhead timber and the steel frame. The careful positioning of the pavilion also directs views out to the often-dramatic setting sun, while maintaining a sense of enclosure in other directions. In its current state, the freshly constructed pavilion emits a fresh pine scent, which adds to the pleasant experience of being in the naturalistic surroundings. “The first instinct is not to consider this plot, why not build out there,” said Kéré as he discussed the siting of the pavilion with AN, while pointing out to the vast landscape. “We realized though, we had a chance to deal with this site, and respect the trees, and even to increase the feeling you have while listing to the water. Here you can focus on the sunset.”
Studio Libeskind’s long-awaited vision has finally been revealed for the new Maggie’s Centre at the Royal Free Hospital in north London. Set to replace its existing Cancerkin Centre facility—with which Maggie’s merged in 2016—the sculptural structure is the product a 16-year planned collaboration with the charity and will be the 21st of its kind in the United Kingdom. While a slew of other high-profile architects including Zaha Hadid, Frank Gehry, Norman Foster, and most recently Steven Holl have completed individual Maggie’s Centres, Daniel Libeskind’s will be drastically different and more personal to his design style. He described it as a “modest building” that’s soft and intimate, according to the Architect’s Journal. Like Holl’s Maggie Centre in west London, Libeskin's center will have a minimal footprint, but will be much more subdued and will put the emphasis on a series of more natural materials, such as wood. Slated to be constructed on an underused southwest corner of the hospital’s parking lot, the Maggie’s Centre at the Royal Free will feature an undulating, prefabricated facade made of timber louvers designed to shade the exterior, maximize privacy inside, and evoke a sense of serenity for the cancer patients stopping by for drop-in support. Though it will be a small building with 26 total rooms, Studio Libeskind designed the structure to expand in form as it rises. Diffused natural light will come in through the window slats and provide patients with views of the outside gardens in the front and back of the building, as well as on the roof. To Libeskind, the upcoming Maggie’s Centre and its architecture complement the Royal Free and its role as a place of healing. He told the AJ that unlike the hospital, “this is a home,” and, “It’s not like entering an institution, it is a place where people can come and find comfort.” The Maggie’s Centre will be completed as part of a wider masterplan going on at the hospital, which includes the construction of a new emergency department and on-site research building by Hopkins Architects. A date for completion has not yet been made public, but the planning application for Libeskind’s Maggie Centre is expected to be filed in the fall, according to AJ.
If you row, row, row your boat gently down the Harlem River, you might end up at a new waterfront structure designed by global firm Foster + Partners. The boathouse was designed for Row New York, a nonprofit that offers academic programs and rowing classes to young people from low-income families. The 1,600-square-foot, almost-all-wood building in Inwood's Sherman Creek Park is meant to evoke the timber-framed boathouses that lined the Harlem River a century ago. A large wooden folding canopy will cantilever over a plaza and terrace on the shore side and provides shade, while the bottom level will be devoted to boat storage. "In envisioning a design for a boathouse that will serve a diverse population and be a resource to the community at large, I wanted to create a building that was both functional and accessible, but also one that responded to the Hudson River’s long history as a busy transportation hub," Norman Foster declared in a press release. "This timber boathouse will fit naturally into the landscape of the riverfront and will transform this stretch of the Harlem River into a lively gathering place for people from all communities." Foster + Partners is designing the project in association with Brooklyn-based Bade Stageberg Cox (BSC).
The new building will allow Row New York to serve five times as many students and to consolidate all its programming under one roof. There's a nice looking terrace on the top floor that will give early-rise-rowers a peep at the sun warming the city. (That view is well-deserved for any teen who voluntarily commits to being somewhere at 6 a.m.) Next to the terrace will be a flexible multipurpose space, plus lockers and classrooms. Wide ramps to the upper stories will make the two-story building 100 percent accessible, as well. Right now, Row New York is raising $35 million for building construction and operating costs.A press announcement from the organization states that the project will break ground in 2020. It is slated to open in 2022.
When a fire rages through a forest, it carves the opportunity for a fresh start. There was no fire at the Sarah Myerscough Gallery, but the inaugural exhibition, Scorched, signals a new life for the former Boathouse in Barnes, West London. The exhibition showcases an array of artists, designers, and makers who all work with wood—in this case, scorched wood. The exhibition was originally commissioned by the London Craft Week 2019 for the Fitzrovia Chapel (Central London) but has now moved to the Western banks of the River Thames, where gallerist Sarah Myerscough’s new permanent space can be found. “We want to show people the relevance of contemporary, craft, art, and design in the UK,” Myerscough told AN. “Putting on curated shows like this, it’s quite fitting to bring [Scorched] here to show how it's possible to curate something which allows us to look at individual artists, their unique skills, their innovative approaches, processes involved in making like lathe work, carving and CNC cutting. Designers David Gates and Helen Carnac have produced the most architectural piece, of which there are 17. Using elm, ash, quilted maple, cedar wood from Lebanon, and vitreous enamel on mild steel, the Gates and Carnac have created a cabinet that riffs on the industrial landscapes they draw inspiration from; particularly the former, now-derelict Tate & Lyle factory in East London’s docks. Rust has been used to form decorative patterns while the structural elements, the joints and drawer mechanism, of the cabinet are celebrated and made very apparent. If Lebbeus Woods were to design a cabinet, this is what it would look like. With a background in fine art, Myerscough founded her own gallery in 1998, setting up shop in Mayfair on London’s West End. “All the rents went astronomical,” she explained. “We had to decide to do exhibitions of fares. We chose fares so we could go out and reach our audience.” Then came the opportunity to do both, in Barnes. Supported by the landlord, Myerscough has renovated a former boathouse. Timber beams have been exposed, wood flooring has been put in, and the brick walls were painted white. On the Friday before the gallery opened on June 10, the smell of fresh paint still lingered in the air. “When we first got it, it was like a 1960s office space,” said Myerscough. “It's changed completely.” Where the opening for boats to come and go once was, is now a window which looks out onto the street. Today it advertises the contents of the gallery, offering a view into the relatively small, linear space. “We wanted to bring back its character and the original state of the place. Everything you are shown is full of character, narrative.” Despite being outside of Central London, Myerscough isn’t worried about a drop in visitor numbers. “It's probably more modest in the West End, but I don’t think that really matters, it's more what you do in the space,” she said. “I think we were slightly shackled by place. People say, 'Oh you're a West End gallery' and you immediately have this kind of profile. I don't think it should be like that; what you do in the space should determine how successful you are as a gallerist.” "In the art world, you need to have a specialization to be noticed. But it won't just be timber on display here. There are so much more exciting things going on — with organic materials, sustainability." Scorched runs through August 18, 2019. Other artists featured include Max Bainbridge, Alison Crowther, Christopher Kurtz, Eleanor Lakelin, Malcolm Martin and Gaynor Dowling, Gareth Neal, Jim Partridge & Liz Walmsley, Benjamin Planitzer, Marc Ricourt, Wycliffe Stutchbury and Nic Webb.
Carney Logan Burke Architects (CLB) has dropped an all-in-one performance venue, sculpture, and gathering space for the public in front of the Center for the Arts in Jackson Hole, Wyoming. The austere Town Enclosure, installed on June 27, 2018, was designed to have a minimalist footprint and will be repurposed for installation elsewhere (to be decided) by the end of October. The airy enclosure was the winning entry in a 2018 competition to design a pavilion for the Jackson Hole Public Art and Center for the Arts’ 2018 Creative in Residence program. CLB was selected from a pool of local artists and architects. Rather than an enclosed space, as one might expect from the name, Town Enclosure was built as a porous circle. Sustainably sourced timber panels were arranged four feet apart from each other and angled towards the center of the circular base to form the “walls” of Town Enclosure, with one side of each panel left raw and the other painted black. The openness of the pavilion is thus dictated by the viewer’s angle. Approaching the structure parallelly, from the Center and the adjacent Snow King Mountain, makes it appear totally porous, but approaching from a perpendicular angle gives the impression of a solid, closed design. Although the pavilion is simple, the movement of the sun across the slabs creates dynamic shadows over the course of the day, and as the seasons change. Even the base was intended to have a minimal impact. Instead of using concrete for the foundation, CLB opted to anchor the pavilion with reusable steel panels covered by gravel. Besides improving the installation’s portability and minimizing the impact to the site’s grounds, the base references local fencing and corrals from the surrounding mountains. Town Enclosure is also first and foremost a performance venue for the Center’s residents, and talks, classes, dance and music performances, and visual art shows from the Center and community groups have all been staged there.
British architecture studio Morris+Company has designed Wildernesse, a timber-vaulted restaurant in Sevenoaks in the southeast of England. The restaurant boasts a metal skin that features a series of arches—a nod to the adjacent landmarked Dorton House, also known as Wildernesse, which dates back to 1669. The restaurant is part of a wider development serving the public with eight new mews houses containing 53 apartments set within five free-standing villas. Grade levels differ across the site and so a plinth clad in ragstone was created to bring the restaurant up to ground level and connect it to the house, the rest of the site, and the new coterie of housing, as well as to nestle the building into an area steeped in history. "It needed to be simple, sensitive to the historic context, and act as a focal point within the landscape that you can look out from," Harriet Saddington, associate at Morris+Company and project architect, told The Architect's Newspaper. This approach has resulted in a relatively simple structure that manages to achieve a lot on a tight budget ($2.5 million, much of which was dedicated to a basement to house plants for the Wildernesse estate). To keep costs down, the building made use of off-site construction and repeating elements. Previously on site was a 19th-century glass conservatory. The architects wanted to bring the pavilion typology back to the area and create a modern take with a perforated metal–skinned glass house. "Unlike many sterile air-conditioned restaurants we wanted to use natural ventilation," added Saddington. In addition to the perforated facade elements, operable panels negate the necessity for air conditioning. The delicate skin, meanwhile, contrasts with the restaurant's interior where unfinished timber has been used extensively to create a warm, tactile environment. A structural timber frame, composed of spruce glulam and CLT has been used, but more notably, an array of timber vaults define the facade's glazing elements. Covered in birch-faced ply, the vaults are arranged in a grid formation measuring 13 feet square, mimicking the archways of the exterior. The archway motif continues at a smaller scale too, with fluted timber lining employed on interior walls, in patterned floor tiles, and in applied machined timber moldings and beads. Despite this, Saddington stressed the detailing on the project was minimal—a decision taken to make the restaurant all about views onto the rolling landscape it looks out onto.
Following a soft opening last June, Modus Studio’s hovering Tree House has been captured amid its fully-installed landscape in the firm’s native Arkansas. Tree House sits above the Garvan Woodland Gardens, a 210-acre botanical garden owned by the University of Arkansas—frequent Modus collaborators. Rather than sitting at the base of the oak and pine trees found in the Evans Children’s Adventure Garden, Tree House has been elevated to the top of the forest, allowing for expansive views of the canopy. The L-shaped treehouse snakes through the trees, ballooning from a child-sized opening at one end to a two-story observation area, capped with a steel screen, fabricated in-house by Modus, that mimics leaflike capillaries. Other than its biomorphic shape, the treehouse is strongly defined by its central steel spine and 113 timber ribs, which were sourced from local Southern Yellow Pine. The fins simultaneously allow the elements to pass through the treehouse while potentially obscuring the forest and adding a sense of mystery for the occupants. The first of three planned treehouses, the structure was envisioned as a refuge for children to explore the outdoors while learning about nature. Everything from the infrastructure, to the programming, to the intricate finishes, reference dendrology, the study of trees. Visitors can access the treehouse either from an elevated trail or directly from a staircase at the forest’s floor. The Fayetteville-based modus, an Emerging Voices 2018 winner, cited its deep ties to Arkansas’s rural landscape in designing Tree House and were directly involved in every step of the project's process.