Anh House by S+Na. – Sanuki + Nishizawa architects
This house, designed for a thirty-years-old-women and her family, is built on the plot of 4m wide and 21m deep in Ho Chi Minh City, which is very typical for urban tube houses in Vietnam. The main request from the client is to realize the bright and open space filled with natural light and greenery.
Tube house, the most typical housing style in Vietnam, itself has a critical difficulty in getting enough natural light and ventilation firstly because there’s no opening on the two long boundary sidewalls and secondly because Vietnamese people tend to have lots of fixed partition walls for separating many bedrooms. Therefore, the main theme of this house is to explore the possibility of a new lifestyle in Vietnam, in which that such dark and humid space need to be improved drastically into a bright and open one.
Best transformation ever! Hulk vs bureaucracy. Here in Argentina he would live always green.
Francophiles and cartographers would probably agree that it’s impossible to adequately convey the magic of Paris on a flat, lifeless map. But French designer Antoine Corbineau has come close in his newest print—a neon vision of the City of Light that resembles pop-art stained glass. With a tangle of streets in white against buildings in bold pinks, yellows, and reds, you can try to use this map for navigation, but you’d probably be better off hanging it on the wall.
While Saint Nicholas may bring gifts to good boys and girls, ancient folklore in Europe’s Alpine region also tells of Krampus, a frightening beast-like creature who emerges during the Yule season, looking for naughty children to punish in horrible ways — or possibly to drag back to his lair in a sack. In keeping with pre-Germanic Pagan traditions, men dressed as these demons have been frightening children on Krampusnacht for centuries, chasing them and hitting them with sticks, on an (often alcohol-fueled) run through the dark streets.
Architecturally, the project is articulated by three cubes, these cubes are arranged in such a way that they generate courtyards between them, which serve to illuminate the various rooms and spaces.
These cubes house the more static part of the functional program, that is, living room, kitchen and bedrooms. These volumes have a stone and solid character, where windows are perceived as perforations.
White stone from Capri was the material chosen for these containers. With an apparently anarchic but extensively studied unfolding, it serves to increase the sense of massiveness, and decreases the time required for cutting the stone.
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