Ne\v llütlses i11

Ne\v llütlses
i11
Antwerp, Zurich, Porto,
Upstate New York, Oregon,
Chile, Indonesia
HÄUSER 27
Wandscheiben gliedern
IN DICHT BEWALDETER BERGROCKEN mit grandiosem
Weitblick tiber das Hudsonral. Als der 'ew Yorker
Galerist und Sammler Sean
Kelly vor 7ehn Jahren das
einzigartige Grundstück in
Upstate New York gefunden hatte, musste er noch in die Baumwipfel
steigen, um den Weitblick zu genießen. Aber
schon bald darauf wurde der prominente
Bauplatz freigeschlagen. Kelly wünschte sich
ein Haus, das sowohl das spektakuläre Panorama zur Celtung bringt als auch ganz auf
seine vierl<öpflge Familie zugeschnitten ist.
Und der Bau sollte auch noch einen passenden
Rahmen für seine Kunstsammlung bieten.
Obwohl oder gerade weil Kelly mit der
New Yorker Architektin Toshiko Mori befreundet war und diese Freundschaft auf
keinen Fall gefiihrden wollte, su~hte er sich
einen anderen Architekten. Aber dessen Entwürfe konnten ihn nicht überzeugen, er entschied sich letztendlich doch für cUe vielfach
ausgezeichnete Japanerin, die neben ihrem Büro auch eine Professur
an der Harvard Uniwrslty Graduate School of Design innehat.
Im Kern ein Studiolo
die wert volbten Vintage- ~1öbelsind benutzbar und keineswegs nur
als SchaustUcke eingesetzt. Die alten Arne-Jacobsen-Türgriffe etwa
stammen aus dessen Kopenhagener SAS-Hotel, wo sie beim Umbau
DER BESUCHER, der sich heute von der Rückseite des Berges dem Haus
gerettet werden konnten.
nähert, ahnt von dem großartigen Ausblick zunächst nichts. Vom
In seiner Gesamtkomposition Ist das Haus \\·ie eine minimalistische
Parkplatz wird er erst an einer Mauer entlang und dann durch eine Skulptur konzipiert: Zwei flache Baukörper sind so übereinandergeüberdachte Passage ln den Eingang geleitet. ein Weg, der ihn garrz legt. dass das Obergeschoss um etwa zwei }.!eter über das Erdgeschoss
bewusst von der Umgebung abschirmt. Schon in dem Durchgang sind hinauskragt. Aus dem mittleren Kern des Hauses, der die Statik des
die ersten Kunst\verke von Jannis Kounellis und lan Hamilton Finlay vorkragenden Obergeschosses gewährleistet, führt an der Seite, die
angebracht, sie begleiten den Weg ins Haus, bleiben aber im Hinter- dem Hauseingang gegenüberliegt, eine schmale Treppe nach oben ,
grund. Ins Haus eingetreten, öffnetsich dann vom Entree der spekta- die von einem eigenen Oberlicht im Dach beleuchtet wird und dakuläre Ausblick durch bodentiefe Fensterflächen. Das Erdgeschoss mit keinswegs eng wirkt.
Im Obergeschoss liegt nun, direkt an dieser Treppe und ohne jeden
besteht aus einem großzügigen Wolmbereicb, einem Speisezimmer,
einer offenen Küche, Speisekammer und einem Gäste-WC, wobei die Bezug nach außen, das geistige Herz des Hauses: e ine kleine, verglaste 1>
Haupträume fließend ineinander übergehen ,
die Wände teilen den Raum in Zonen, bilden
aber keine in sich abgeschlossenen Zinuner.
Die Landschaft öffnet sich ganz in den Raum
hinein, die Architektur wird zum diskreten
Rahmen der Beobachtung.
Mori hat die Fensterfront aus nüchternen
Aluminiumrahmen entwickelt, die sonst im
Ladenbau verwendet werden. Auch der geschliffene Betonfußboden mit seinen exakten
Dehnungsfugen ist von demonstrativer
Schlichtheit, alle Wände sind weiß verputzt
und dienen so als .,White Cube" der Kunst.
i'iur die lange RUckwand des zentra:en Wolmzimmers, in der ein Fernseher und ein Kamin
eingebaut sind, ist in Holz verkleidet - sie
erinnert an die Wandscheiben, mit denen
Mies van der Roh<: seine Räume gliedert<:.
DAS MOBILIAR besteht großtells aus skandinavischen Vlntage-Stücken und untermauert
das Grundthema des gesamten Hauses:
Schlichtheit und Funktionalität. Jedes Einrichtungselementist überlegt platziert, selbst
'
Bibliothek, in der der Hausherr seine SamrnJung von seltenen James-Joyce-Ausgaben
und Archivalien aufbewahrt, darüber hinaus
sämtliche Penguin Classics. Es ist wie das
Studiolo in einem Renaissance- Palast, ein fast
geheim wirkender Ort des geistigen Rück zugs. hier jedoch ohne Sitzmöglichkeil, ein
nochternes Arbeitsarchiv.
Um diesen Kern herum sind die Schlafraume der Eltern, der Kinder, die Arbeitszimmer
und ein Gästezimmer verteilt, alle mit beeindruckendem Blick in die Landschaft.
ALS ARCHITEKTUR SCHAFFT DAS HAUS KELLY den
0
Obergeschoss
spannungsvoUen Djalog zwischen der Natur,
cUe es umgibt, und der Kunst , die es tehaust.
Der sogenannten Klassisc hen Moderne in
vieler Hinsicht verpflichtet, den Häusern eines Pierre Koenig oder Mies van der Rohe,
bezieht es seinen spezifischen Charakter aus
der fein kalkulierten Balance von angemessenen Proportionen, einfachen Details und
dem sensiblen Wechsel von offenen u.nd geschlossenen Bereichen.
Gegenüber den privaten Bedürfnissen bietet es die notwendige Intimität und der Kunst
gcgcml.bcr die erforderliche Abstraktion, um
den herausragenden Werken einen eleganten
Rahmen zu geben. :\ichts ist darin zu ' i el und
nichts zu wellig- eine Architektur, cUe die
hohen Anforderungen und Erwartungen eines anspruchsvollen Auftraggebers in eine
abwechslungsreiche räumliche Bezieh•.mg mit
der Umgebung setzt und seiner Kunstsammlung einen perfekten Rahmen gibt .
Wie gut die Balance zwischen Architektur,
Kunst und Natur auf allen Ebenen gefunden
ist, spiegelt sich nicht zuletzt darin, dass Architektin und Auftraggeber auch nach dem
Bau noch Freunde geblieben sind.
0
TOSHIKO MORI
HAUS IN COLUM3:A COUNTY/USA
Erdgeschoss
MÖBEL UND HERSTELLERADRESSEN AUF SEITE 126
32 HAUSER H l
Architekt: Tosldc:o Y!ori Archtect, 199 Lafaye:te
Stree~Suite sA, New Yorl<~ NY 10012, USA,
Tel • 1-212-337 96 '-4, ...ww.onarch.com Baube!Jinn:
2005 F•rtig•tallung: "009 Wolmß.ächQ: 1.74 rr.2
Grunrlstücksgröße: 3 1-.a Bauweise: massiv, Stahlbeton Fassade: Aluminn:mscl>.aur.:platten Dach:
Flachdach Raumh.öbe: 3,17 m (EG), 2,8o m (CG)
Decken- und Wandob..nläehe: Gipskanonplatten,
Waln.lssholz-Paneele, Stehtbeton und Aluminiumscha.:mplatten (::ingan<;~sbereich) Fußboden:
'Beton, Kalkste:n, Holzdielen Gartengestaltung:
Gregg Blearr. Landscape Architect, llob Secon<i
Streel NE 202, Chailortesville, VA 22902, USA,
Tel. +:·434-9773232, www.gbla.net
HÄUSER·AWARD
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ORtGlNAL PLANS 1/11
The original plans for the houses do not only
pro,.;d., det~information l'IOOut thP N>spective property, they also s:1o"' the arc:utec:s'
personal form of expression.
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- which brings us to the theme of
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We are looking for exemplary
solutions that show how; with costconscious concepts and creative
ideas, it is possible to build not just
surprisingly inexpensive homes but
highly individual, aesthetically ambitious dwellings of outstanding
functional quality - without economising in the wrong places or having
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comfort. The prizes will be awarded
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costs of less than 1,500 eures per
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We are holding the HÄUSER
AWARD 2012 in collaboration with
the InformationsZentrum Beton and
the Verband Privater Bauherren e.V.
(VPB). Prize money of 15,000 euros
is at stake. Thc rc!:ult~ of thc competition are scheduled for publkation
in HÄUSER in March 2012. The best
projects will also be presented in a
book to be published by Deutsche
Verlags-Anstalt, Munich (OVA) at
the same time.
CO D - ONS OF ENTRY
Architects from all over Europe are
eligible to enter the competition.
Each participant may submit a maximum of two projects. Further Information is available on our website.
2 HÄUSER 1·11 ENGLISH SUPPLEMENT
THE PRIZE MONEY
The total prize money of 15,000
euros wi ll be allocated as follows:
1st PRIZE: 7,000 euros
2nd PRIZE: 5,000 eures
3rd PRIZE: 3,000 euros
The jury may choose to allocate the
prize money differently.
The VPB will pay the owner/client
of each award- winning house an
additional bonus of 1,000 eures.
This does not apply if the owner is
also the architect of the house.
THE JUR"\'
The works submitted will be judged
by an Independentjury made up as
follows:
Donatella Fioretti, Bruno Fioretti
Marquez Architects, Berlin
Thomas Kaczmarek, Chief Executive of InformationsZentrum Beton
Thomas Penningh, Board Chairman
ofVPB
Michael Frielinghaus, President of
the BOA (Association of German
Architects)
Wolfgang Nagel, Editor-in- Chief of
HÄUSER
Detailed information on the conditions of entry and the documents to
be submitted, as weil as the entry
forms, are available online at
WWW.HAEUSER.DEIAWARDS
The closing date for entries is Monday, May 23•d 2011 (date as per postmark).
The jury's decision is final.
You can now download ground-plnns. sections
and viewt: from HÄOS:ER 1/u frec of chargc
as a PDF d<><:ument.
In addition, our archive contains plan material
from earlier issues of HÄUSER - up to ten
pages per house. The plans can be downloaded
Moreunder:
www.haeuser.de/grundrusse
PAGE 24
The Staged Vie"r
In a top location above the Hudson River,
the house Toshiko Mori designed for a
New York gallery owner celebrates the
panoramic view of the vast plain and
provides an exquisite setting for the
owner's art collection.
A densely wooded mountain ridge with a magnificent view over the Hudson Valley. When
New York gallery owner and collector Sean
Kelly found the unique property in Upstate New
York ten years ago, he still had to climb into the
treetops to enjoy the vista. Soon afterwards,
however, the prominent site was cleared. Kelly
wanted a house that doesn't just show off the
spectacular panorama to full advantage but is
perfectly tailored to his family of four as weil.
On top of that, the building was to provide an
appropriate setting for his art collection too.
Although or perhaps precisely because Kelly
is friends with New York architect Toshiko Mori,
he didn't want to endanger their friendship and
set about looking foranother architect. But he
didn't find the designs convincing and ended up
asking Mori to take the project on after al l. The
multi-award-winning Japanese architect, who
holds 11 professorship at Harvard University
Graduate School of Design besides running her
architectural practice, was happy to oblige.
As you approach the house from the back of
the mountain, nothing hints at the magnificent
view that awaits. From the parking area you
follow a wall before walking through a roofed
passageway and into the entrance, a path that
very deliberately 5hields the surroundings from
view. You already encounter the first artworks
in the passageway, pictures by Jannis Kounellis
and Ian Hamilton Finlay that accompeny you on
your way into the house whilst remaining
discreetly in the background. Once you step
into the house proper, the spectacular view
opens up before you through tloor-to-ceiling
windows. The grou,d floor consists of a spacious living area, a dining room, an open-plan
kitchen, pantry and guest toilet. The tr.ansitions
between the main rooms are fluid, the walls
divide the space into zones without creating
self-contained rooms. The Iandscape seems to
open into the space, the architecture becomes
a subtle frame for oDserving it.
Mori created the glazed facade out of downto-earth aluminium frames that are otherwise
used by shop fitters. The polished concrete
floor with its meticLious expansion joints is of
the same demonstrative simplicity, the plastered walls serve as a "White Cube" for the
artworks. Only the lang rear wall of the central
living room, which holds a built-in toelevision
and fireplace, is panelled with wood - and
evokes t he wall sections Mies van der Rohe
used for structuring spaces.
The furnishings mainly consist of vintagc
Scandinavian pieces and underscore the basic
theme that runs throughout the entire hause:
s implicity and functionality. Thc position of
every single item has been carefully considered,
even the most valuable pieces of vintage furniture are usable and by no means just for show.
The old Arne Jacobsen door handles, for instance, originate from the latter's SAS Hotel in
Copenhagen, from where they were rescued
during alteration work.
The overall composition of the house reminds you of a minimalist sculpture: two tlat
volumes are laid one on top of the other so that
the upper storey projects about two metres
beyond the ground floor. From the central core
of the house, which guarantees the stability of no suitablel>roject at hand. Then he has to wait.
the cantilevered upper storey, a narrow stair- Or he takes a deep breath, plucks up the necescase on the side opposite the front door Ieads sary courage and takes the daring step of
upstairs. A skylight in the roof of the stairwell playing a dual role. That is precisely what Alvaro Leite Siza did. Not seeing an appropriate
stops it feeling cramped.
Upstairs, right next to this staircase and opportunity in the projects on his books, he
without any link to the outdoors, is the intel- granted his architect ego the longed-for freedom
lectual heart of the house: a small, glazed libra- by making hirnself his own dient. The result is
ry where Kelly keeps his collection of rare James his new home, a spectacularly armoured whltlshJoyce editions and papers, as weil as a complete grey block in Foz, an oceanside suburb of Porto.
collection of Penguin Classics. lt is like the lt teils of the architect's desire for self-expresstudiolo in a Renaissance palace, an almost sion and the external pressure that hispersonal
secret-seeming place of intellectual retreat, but style has had to assert itself over.
totally devoid of seatlng, an austere archive for
Leite Siza, born in 1962, is a gentle, commuworking.
nicative man with youthful features. "I imprinSpread areund this core are the parents' and ted my hause with the external pressure;' he
chlldren's bedrooms, the study and a guest says, "in an abstract way, because it was a
room, all of them with formidable views of the question of pressure in general: pressure from
landscape.
the neighbours, the regulations, politics, and
As a piece of architecture, the Kelly residence the tamily:' The pressure of expectation no
creates a suspenseful dialogue between the doubt played a part as weil; Leite Siza is after
natural Iandscape that surrounds it and the art all the son of Alvaro Siza, the famous Porthat it accommodates. lndebted in many ways tuguese architect and Pritzker Prize winner. The
to Classic Modernism, to the houses of ar- name may weil be somethi ng of a burden. The
chitects like Pierre Koenig or Mies van der Rohe, hous;e contains; various pieces of family-owned
it owes its specific character to the delicately furniture from the 19th century - you could
calculated balance of appropriate proportions, almest call it a double inheritance: the ghost of
the simple details and the sensitive alternation Siza's ancestors is in the furnishings, the spirit
of open and closed zones.
of his father in the constructed setting. But the
lt provides the intimacy necessary to meet son waves the suggestion aside: "No, one's
the family's private needs and the abstraction individual style always reflects one's individuaf
required to create an elegant setting for the experiences. And my fathe r's experiences are
outstanding artworks. Nothingis too much and very different to my own:•
nothing too little - a piece of architecture that
But one thing is certain: the son's wealth of
establishes a richly varied spatial rel<ltionship experience includes his father's architecture.
between the high expectations and require- And indeed, confronted with the jagged dyncsments of a demanding dient and the surroun- mism of the mighty white throw that covers
dings, as weil as creating the perfect setting for Leite Siza's home, you, cannot help butthink of
Siza senior's penchant for expressive wall and
his art collection.
And there's something else that indicates roof angles that jut into the space. At the same
just how weil Mori succeeded in striking a ba- time, however, the organic bulge and envelolance between architecture, art and nature on ping gesture of the punctuated armour reveal a
all Ieveis: the architect and her dient are still different sensitivity. Leite Siza based the design
of this outer skinon a drawing of a Harlequin
firm friends.
in a dassie chequered costu me. The abstraction
PAGEJ4
of this costume now swathes the upper of the
two storeys. "The Harlequin envelope is like a
protective skin against the onslaught of the
outside world;' says the architect.
Leite Siza ~akes a dear stand against this
Constructed energy by the son of Pritzonslaught on the street-facing side of the
ker Prize laureateA.tvaro Slza: the viHa
house. To the "public': it shows nothing but a
Alvaro Lette Stza butlt for hlmsell and his wide piece of white, windowless tacade. Only
family near Porto braces itself against the those with access to the property get to wltoutside world with powerful dynamism,
ness its mighty appearance. This stand against
whilst the interior reveals a delightful
the surroundings is easier to understand if you
Iook back at the building's history. Fortostart
succession of fa.irytale perspectives.
with - twelve years ago - Leite Siza only
Sometimes a would-be home owner can't find bought the rear section of the property, a small
the right architect. But sometlmes it's the ar- strip of green land, lined with trees and with no
chitect who can't find the right dient. He'd like access to the street. At the time, all he wanted
to go one step further in his work but there's was a garden. Years later, the architect found 1>
In the Force Field
ofldeas
ENGLISH SUPPLEMENT 1-11 HAUSER 3