CONTENTS 4 THE CULTURE OF PARKING INTRODUCTION
24
HOUSES AND GARAGES
26 RUDOLPH HOUSE ALEXANDER BRENNER ARCHITECTS 32 CASA AD25 JOÃO TIAGO AGUIAR ARQUITECTOS 38 CASA CABO DE VILA SPACEWORKERS 44 GSC SUPERLIMÃO + GABRIELA COELHO 50 PROTOTYPE: RENAULT SYMBIOZ HOUSE 33 MARCHI ARCHITECTES 56 CASA ALCALAR VÍTOR VILHENA ARQUITECTURA 62 VDB GOVAERT & VANHOUTTE ARCHITECTS 68 ZWARTE MIRROR HOUSE ICOON.BE ARCHITECTS 74 MOUNTAIN VILLA 4.0 MATTEO THUN & PARTNERS 80 HOUSE IN GUIMARÃES ES1ARQ/ELISABETE DE OLIVEIRA SALDANHA 86 PAVILION RH MORARI ARQUITECTURA 92 VILAMOURA 49 JOÃO TIAGO AGUIAR ARQUITECTOS 98 THE LIBRARY A WORK OF SUBSTANCE 104 GARDEN HOUSE AUSTIN MAYNARD ARCHITECTS 110 BY THE WAY HOUSE KWK PROMES/ROBERT KONIECZNY 116 CUMBAYA RESIDENCE DIEGO GUAYASAMIN ARQUITECTOS 122 PRIVATE CAR PARK DESIGN SYSTEMS LIMITED 128 VILLA FIFTY-FIFTY STUDIONINEDOTS 134
INTERVIEWS ALEXANDER BRENNER, JÜRGEN RUDOLPH, STEFFEN JAHN, KORN THONGTOUR
142 148 154 160
OGM PANORAMA LOUNGE WITH GARAGE ARSP ARCHITECTS BAAN AKAT-YEN RESIDENCE STUDIO KRUBKA CO. CASA OCCULTA VÍTOR VILHENA ARQUITECTURA HILLCREST II MCCLEAN DESIGN
2
166 FROM THE GARDEN HOUSE KWK PROMES/ROBERT KONIECZNY 172 CASA G EV + A LAB ATELIER 178 MOUNTAIN VILLA SNUPER DESIGN INC. 184 HOUSE IN TAKAMATSU FUJIWARAMURO ARCHITECTS 190 BASIC HOUSE BROWNHOUSES COMPANY LIMITED 196 VILLA MIMI KLAMMER*ZELENY ARCHITECTS 202 VILLA PETRA MARLENE ULDSCHMIDT ARCHITECTS 208 SKYLARK MCCLEAN DESIGN 214 VILLA SOPHIA COLLCOLL 220 WAVERTON HOUSE GARAGE KENSTRÖM DESIGN 226 HAUS GABLES JENNIFER BONNER/MALL 232 VILLA CINQUECENTO NAPUR ARCHITECT LTD. 238 THE COMPOUND HOUSE MARCH STUDIO 244 VILLA PERLWEISS ARCHITECTS LEE + MIR 250 BB GARAGE ARCHITECTS INK 256 CASA DA ROCHA LUV STUDIO 262 THE GARAGE SHIFLET RICHARDSON ARCHITECTS/MARK ASHBY DESIGN 268 THE QUEST STRÖM ARCHITECTS 274 FENCE HOUSE MODE:LINA 280 GRACE STREET LIVE/WORK RAVEEVARN CHOKSOMBATCHAI/VEEV DESIGN 286 LAZY HOUSE PETRJANDA/BRAINWORK 292 VILLA + GALLERY U/A SATOSHI OKADA
298 AUTOMOTIVE DESTINATIONS 300 ARCHITECTS’ OFFICES 304
AND ILLUSTRATION CREDITS IMPRINT
3
CONTENTS 4 THE CULTURE OF PARKING INTRODUCTION
24
HOUSES AND GARAGES
26 RUDOLPH HOUSE ALEXANDER BRENNER ARCHITECTS 32 CASA AD25 JOÃO TIAGO AGUIAR ARQUITECTOS 38 CASA CABO DE VILA SPACEWORKERS 44 GSC SUPERLIMÃO + GABRIELA COELHO 50 PROTOTYPE: RENAULT SYMBIOZ HOUSE 33 MARCHI ARCHITECTES 56 CASA ALCALAR VÍTOR VILHENA ARQUITECTURA 62 VDB GOVAERT & VANHOUTTE ARCHITECTS 68 ZWARTE MIRROR HOUSE ICOON.BE ARCHITECTS 74 MOUNTAIN VILLA 4.0 MATTEO THUN & PARTNERS 80 HOUSE IN GUIMARÃES ES1ARQ/ELISABETE DE OLIVEIRA SALDANHA 86 PAVILION RH MORARI ARQUITECTURA 92 VILAMOURA 49 JOÃO TIAGO AGUIAR ARQUITECTOS 98 THE LIBRARY A WORK OF SUBSTANCE 104 GARDEN HOUSE AUSTIN MAYNARD ARCHITECTS 110 BY THE WAY HOUSE KWK PROMES/ROBERT KONIECZNY 116 CUMBAYA RESIDENCE DIEGO GUAYASAMIN ARQUITECTOS 122 PRIVATE CAR PARK DESIGN SYSTEMS LIMITED 128 VILLA FIFTY-FIFTY STUDIONINEDOTS 134
INTERVIEWS ALEXANDER BRENNER, JÜRGEN RUDOLPH, STEFFEN JAHN, KORN THONGTOUR
142 148 154 160
OGM PANORAMA LOUNGE WITH GARAGE ARSP ARCHITECTS BAAN AKAT-YEN RESIDENCE STUDIO KRUBKA CO. CASA OCCULTA VÍTOR VILHENA ARQUITECTURA HILLCREST II MCCLEAN DESIGN
2
166 FROM THE GARDEN HOUSE KWK PROMES/ROBERT KONIECZNY 172 CASA G EV + A LAB ATELIER 178 MOUNTAIN VILLA SNUPER DESIGN INC. 184 HOUSE IN TAKAMATSU FUJIWARAMURO ARCHITECTS 190 BASIC HOUSE BROWNHOUSES COMPANY LIMITED 196 VILLA MIMI KLAMMER*ZELENY ARCHITECTS 202 VILLA PETRA MARLENE ULDSCHMIDT ARCHITECTS 208 SKYLARK MCCLEAN DESIGN 214 VILLA SOPHIA COLLCOLL 220 WAVERTON HOUSE GARAGE KENSTRÖM DESIGN 226 HAUS GABLES JENNIFER BONNER/MALL 232 VILLA CINQUECENTO NAPUR ARCHITECT LTD. 238 THE COMPOUND HOUSE MARCH STUDIO 244 VILLA PERLWEISS ARCHITECTS LEE + MIR 250 BB GARAGE ARCHITECTS INK 256 CASA DA ROCHA LUV STUDIO 262 THE GARAGE SHIFLET RICHARDSON ARCHITECTS/MARK ASHBY DESIGN 268 THE QUEST STRÖM ARCHITECTS 274 FENCE HOUSE MODE:LINA 280 GRACE STREET LIVE/WORK RAVEEVARN CHOKSOMBATCHAI/VEEV DESIGN 286 LAZY HOUSE PETRJANDA/BRAINWORK 292 VILLA + GALLERY U/A SATOSHI OKADA
298 AUTOMOTIVE DESTINATIONS 300 ARCHITECTS’ OFFICES 304
AND ILLUSTRATION CREDITS IMPRINT
3
RUDOLPH HOUSE “For some homeowners the automobile is a practical vehicle, while others have a very emotional relationship with their treasures—mostly classic cars.” ALEXANDER BRENNER
Two things to start with: On the one hand, people in the characterful and charming valley basin that is Stuttgart’s location are constantly striving to improve rail transport, a concern that caused a stir back in Paul Bonatz’s day and is still doing so today. On the other hand, since the nineteenth century, villa after villa has sprung up without disrupting the peaceful hills all around. Everyone enjoys the beautiful view over the city; many of the houses are extremely distinctive, like the designs by Schmitthenner, Le Corbusier, and Sobek; and all of them have to cope with the hillside location. Especially true if the spatial concept is an ambitious one. In the case of the family of Porsche collector Rudolph, 1,300 square meters (14,000 square feet) were available, of which 440 square meters (4,740 square feet) were assigned to human residents and 305 square meters (3,280 square feet) for vehicles. Almost equal. The now lushly greened and highly atmospheric property is accessed from the residential street above it to the north; the three-story house is sited on the lower part of the slightly triangular plot. Its cleverly compact floors open up unobstructed views to the south through large
‹ A glimpse inside the 30-m² (322 sq ft) elevator cabin
windows, long balconies, and a delicately suspended terrace.It is part of the leisure and guest floor, above which is the master bedroom. The top floor, used for living, allows the space to flow through the house from the panoramic side and to the central courtyard or piazza behind it. From the sofa, there are views over an open space with a distinctly Mediterranean feel in summer, and directly into the spacious display garage housing the collection. For a car enthusiast, it doesn’t get any better than this. For readers wondering how up to 12 cars drive in and out: From the elevated road, a conveniently sized and meticulously designed car elevator takes the vehicle two floors down to a narrower everyday garage and from there into the glass-fronted display. The flat roof of this section has an earth covering that blends harmoniously with the hillside garden. On warm evenings, a large table in the courtyard is sometimes the scene for family and guests to gather. The glass panels on both sides of the property are then slid open so that the gleaming sports cars are part of the occasion too, probably dreaming of their next trip along the winding panoramic roads of Stuttgart’s hills.
27
RUDOLPH HOUSE “For some homeowners the automobile is a practical vehicle, while others have a very emotional relationship with their treasures—mostly classic cars.” ALEXANDER BRENNER
Two things to start with: On the one hand, people in the characterful and charming valley basin that is Stuttgart’s location are constantly striving to improve rail transport, a concern that caused a stir back in Paul Bonatz’s day and is still doing so today. On the other hand, since the nineteenth century, villa after villa has sprung up without disrupting the peaceful hills all around. Everyone enjoys the beautiful view over the city; many of the houses are extremely distinctive, like the designs by Schmitthenner, Le Corbusier, and Sobek; and all of them have to cope with the hillside location. Especially true if the spatial concept is an ambitious one. In the case of the family of Porsche collector Rudolph, 1,300 square meters (14,000 square feet) were available, of which 440 square meters (4,740 square feet) were assigned to human residents and 305 square meters (3,280 square feet) for vehicles. Almost equal. The now lushly greened and highly atmospheric property is accessed from the residential street above it to the north; the three-story house is sited on the lower part of the slightly triangular plot. Its cleverly compact floors open up unobstructed views to the south through large
‹ A glimpse inside the 30-m² (322 sq ft) elevator cabin
windows, long balconies, and a delicately suspended terrace.It is part of the leisure and guest floor, above which is the master bedroom. The top floor, used for living, allows the space to flow through the house from the panoramic side and to the central courtyard or piazza behind it. From the sofa, there are views over an open space with a distinctly Mediterranean feel in summer, and directly into the spacious display garage housing the collection. For a car enthusiast, it doesn’t get any better than this. For readers wondering how up to 12 cars drive in and out: From the elevated road, a conveniently sized and meticulously designed car elevator takes the vehicle two floors down to a narrower everyday garage and from there into the glass-fronted display. The flat roof of this section has an earth covering that blends harmoniously with the hillside garden. On warm evenings, a large table in the courtyard is sometimes the scene for family and guests to gather. The glass panels on both sides of the property are then slid open so that the gleaming sports cars are part of the occasion too, probably dreaming of their next trip along the winding panoramic roads of Stuttgart’s hills.
27
MOUNTAIN VILLA 4.0 “This private house does not reveal its secrets right away. It conceals its innovative, complex technology that organizes the owner’s life.” MATTEO THUN
A beautiful spot in the mild climate of the gently rolling countryside around St. Gallen, perched on a hill among meadows and trees, not far from the northern shore of Lake Constance. And the perfectly proportioned house is equally beautiful, looking down at the landscape of mountains and lakes at its feet. The building material is local wood: Larch shingles cover the outside walls, ash is used for the interiors, and the simple gabled roof eschews an overhang to highlight the building’s striking silhouette. From a distance, though, the clean-cut lines are somewhat deceiving. Even the way the building is set into the softly undulating lawn hints at a complex floor plan and entices the viewer to take a closer look. Two recesses at the gable front and southeast side indicate that the house extends downward in an interesting way, “underground” in its most positive sense. This is where the two generously proportioned bedrooms are, foregoing neither light nor a connection to the lovely surroundings. The master bedroom opens up with wide French doors, while the guest suite extends under the terrace. The unique interior layout, already hinted at above, also
shapes the ground floor, which opens out to the pool deck and grassy terraces.A large open kitchen serves as the main living space, taking up the southwestern third. The living area is tucked away as a retreat behind the slim staircase that runs through the middle. Two stories high, it has a functional extension in the attic in the form of a large gallery which takes in the top four gable windows. The overall calmness of living here comes from the minimalist aesthetic, achieved by smart ideas such as hiding light switches, lamps, and speakers out of sight. The sound system is part of the design’s sophisticated technical side. That side further includes the three underground levels of the seven-story building, among them the floors of the underground garage, stacked like a narrow box under the house, which are accessed by the residents via an elevator and staircase. The cars, which span collectors’ items and daily runabouts, drive onto a platform; when closed, only the cover is visible. The elevator rising from the ground then conveys them down into the three-story parking rack. A turntable lines up the cars for parking and driving out.
‹ The gable faces southwest. The master bedroom is in the basement.
75
MOUNTAIN VILLA 4.0 “This private house does not reveal its secrets right away. It conceals its innovative, complex technology that organizes the owner’s life.” MATTEO THUN
A beautiful spot in the mild climate of the gently rolling countryside around St. Gallen, perched on a hill among meadows and trees, not far from the northern shore of Lake Constance. And the perfectly proportioned house is equally beautiful, looking down at the landscape of mountains and lakes at its feet. The building material is local wood: Larch shingles cover the outside walls, ash is used for the interiors, and the simple gabled roof eschews an overhang to highlight the building’s striking silhouette. From a distance, though, the clean-cut lines are somewhat deceiving. Even the way the building is set into the softly undulating lawn hints at a complex floor plan and entices the viewer to take a closer look. Two recesses at the gable front and southeast side indicate that the house extends downward in an interesting way, “underground” in its most positive sense. This is where the two generously proportioned bedrooms are, foregoing neither light nor a connection to the lovely surroundings. The master bedroom opens up with wide French doors, while the guest suite extends under the terrace. The unique interior layout, already hinted at above, also
shapes the ground floor, which opens out to the pool deck and grassy terraces.A large open kitchen serves as the main living space, taking up the southwestern third. The living area is tucked away as a retreat behind the slim staircase that runs through the middle. Two stories high, it has a functional extension in the attic in the form of a large gallery which takes in the top four gable windows. The overall calmness of living here comes from the minimalist aesthetic, achieved by smart ideas such as hiding light switches, lamps, and speakers out of sight. The sound system is part of the design’s sophisticated technical side. That side further includes the three underground levels of the seven-story building, among them the floors of the underground garage, stacked like a narrow box under the house, which are accessed by the residents via an elevator and staircase. The cars, which span collectors’ items and daily runabouts, drive onto a platform; when closed, only the cover is visible. The elevator rising from the ground then conveys them down into the three-story parking rack. A turntable lines up the cars for parking and driving out.
‹ The gable faces southwest. The master bedroom is in the basement.
75
PRIVATE CAR PARK “From the marble entrance and the lit driveway to the lighting arrangement throughout, the designers have orchestrated a theatrical setting for the owner to appreciate and scrutinize the uniqueness of each automobile.” DESIGN SYSTEMS LIMITED
There is obviously something staged about this setting. The atmosphere feels apocalyptic, yet highly artificial, artistic. The large room, whose dimensions are difficult to judge due to the deliberately mysterious lighting, is low-ceilinged. A hall, yes, but one with an oppressive solidity created by the heavy ceiling beams and, above all, the rough concrete plaster of the heavy pillars. A bunker. But a unique scenario that is actually fun to dive into. Not least because the architects describe themselves thus: “We are functionalists, minimalists, realistic romanticists.” Romance rooted in reality definitely starts with the location and its architectural features. The ground floor of a high-rise in the midst of the densely populated Kowloon Bay district, it is functional and solid, but also somewhat gloomy. The other main players are the cars. No faceless everyday vehicles, but supercars—real, arrogant, selfish, loud, and demanding space to show themselves off. Hence, the focus was less on a construction that created space and more about the ambience. This shifts between the feel of a secure storage facility or “safe room” with appropriate amenities such as a car wash
station and lobby, and a stage that does justice both to the car as an exhibition piece and to the owner, who wishes to move, but also view and admire the vehicles. And thus, an emotionally charged scene with a hint of steampunk was brought to life. The floor is dominated by a loop of five stylized tire tracks; the broad support pillars hold shieldlike metal discs from which dimmable light radiates. The main lighting comes from a few ceiling lights, but mostly from a continuous light strip surrounding the space. It illuminates the roughly sprayed concrete walls and their grid-like formwork of corrugated structural steel plates. On one side, the wall opens up to arched passageways, closed off with expanded metal grilles. However, the automobiles stored in this warehouse, seemingly so deeply underground, stand about freely in the twilight, or have been driven onto the stage between the central pillars. There, they are illuminated by three expressively designed light bowls with adjustable color and intensity. When focused on the car, they are reminiscent of dangerous laser cannons or magical transmitters—like something straight out of “Metropolis.” But really, what could ever hurt a supercar?
‹T he evocative design of the parking deck is a response to the solid support pillars and concrete walls, creating a mysterious wonderland.
123
PRIVATE CAR PARK “From the marble entrance and the lit driveway to the lighting arrangement throughout, the designers have orchestrated a theatrical setting for the owner to appreciate and scrutinize the uniqueness of each automobile.” DESIGN SYSTEMS LIMITED
There is obviously something staged about this setting. The atmosphere feels apocalyptic, yet highly artificial, artistic. The large room, whose dimensions are difficult to judge due to the deliberately mysterious lighting, is low-ceilinged. A hall, yes, but one with an oppressive solidity created by the heavy ceiling beams and, above all, the rough concrete plaster of the heavy pillars. A bunker. But a unique scenario that is actually fun to dive into. Not least because the architects describe themselves thus: “We are functionalists, minimalists, realistic romanticists.” Romance rooted in reality definitely starts with the location and its architectural features. The ground floor of a high-rise in the midst of the densely populated Kowloon Bay district, it is functional and solid, but also somewhat gloomy. The other main players are the cars. No faceless everyday vehicles, but supercars—real, arrogant, selfish, loud, and demanding space to show themselves off. Hence, the focus was less on a construction that created space and more about the ambience. This shifts between the feel of a secure storage facility or “safe room” with appropriate amenities such as a car wash
station and lobby, and a stage that does justice both to the car as an exhibition piece and to the owner, who wishes to move, but also view and admire the vehicles. And thus, an emotionally charged scene with a hint of steampunk was brought to life. The floor is dominated by a loop of five stylized tire tracks; the broad support pillars hold shieldlike metal discs from which dimmable light radiates. The main lighting comes from a few ceiling lights, but mostly from a continuous light strip surrounding the space. It illuminates the roughly sprayed concrete walls and their grid-like formwork of corrugated structural steel plates. On one side, the wall opens up to arched passageways, closed off with expanded metal grilles. However, the automobiles stored in this warehouse, seemingly so deeply underground, stand about freely in the twilight, or have been driven onto the stage between the central pillars. There, they are illuminated by three expressively designed light bowls with adjustable color and intensity. When focused on the car, they are reminiscent of dangerous laser cannons or magical transmitters—like something straight out of “Metropolis.” But really, what could ever hurt a supercar?
‹T he evocative design of the parking deck is a response to the solid support pillars and concrete walls, creating a mysterious wonderland.
123
VILLA SOPHIA “The villa is like the center of the universe, around which all life revolves.” COLLCOLL
Some people simply can’t understand why today’s luxury vehicles urgently need ambient lighting for a pink, green, or purple-hued interior. But it’s a whole different story when it comes to architecture. This is not about dynamic mobility or a functional metal and plastic capsule. The true essence is the ambience, the place for living. And that is where the play of lighting comes into its own. Admittedly, most of the time all that is needed is brightness or a warm, relaxing glow. But the collcoll team worked with the young owners of Villa Sophia pushed the atmosphere further—and had a ball. The new family home perched in the Trója hills above Prague was intended to be complicated in concept, quirky in shape, and ultra-cool in attitude, and a chilly, distanced blue was perfect as the corporate color. But now a smart home system not only allows the aircon and doors to be controlled automatically, but also switch those colors up to chime with the controller’s mood. “It’s built for living,” proclaim the architects in their description, aiming to attract owners who want their new home to be a hub of active living, socializing, and focused work—
all at once. The 480-square-meter (5,170 square feet) building was a planning tour de force, with all its openings and offsets, and was built of reinforced concrete. Its structural, formal, and spatial design plays around with complexity and genuinely enhances the living experience. Starting from the broad garage, the nine zones of the house—connected directly at the entrance by a spiral staircase—unfold upwards in a spiral, which is reflected in the building’s bold, solid shape. Alongside smaller utility spaces in the background, the bright living area with open kitchen, dining table, seating group, and grand piano takes center stage. Inside, stretching up to the central skylight, a ramp that rises at an angle—reminiscent of dotted topographic contour lines—leads up to the slightly elevated bedrooms. The top of the villa is occupied by the optimized workspace for working from home. The interior design also received special care and attention— as is immediately clear. Here, white plaster walls and light-colored polyurethane floors meet exposed concrete and high-quality veneer woodwork, with sumptuous grain that counters the coolness of the architecture.
‹A dark monolith, subtly skewed, with a shimmering blue interior complete with a ready-to-drive Huracán. What a performance!
215
VILLA SOPHIA “The villa is like the center of the universe, around which all life revolves.” COLLCOLL
Some people simply can’t understand why today’s luxury vehicles urgently need ambient lighting for a pink, green, or purple-hued interior. But it’s a whole different story when it comes to architecture. This is not about dynamic mobility or a functional metal and plastic capsule. The true essence is the ambience, the place for living. And that is where the play of lighting comes into its own. Admittedly, most of the time all that is needed is brightness or a warm, relaxing glow. But the collcoll team worked with the young owners of Villa Sophia pushed the atmosphere further—and had a ball. The new family home perched in the Trója hills above Prague was intended to be complicated in concept, quirky in shape, and ultra-cool in attitude, and a chilly, distanced blue was perfect as the corporate color. But now a smart home system not only allows the aircon and doors to be controlled automatically, but also switch those colors up to chime with the controller’s mood. “It’s built for living,” proclaim the architects in their description, aiming to attract owners who want their new home to be a hub of active living, socializing, and focused work—
all at once. The 480-square-meter (5,170 square feet) building was a planning tour de force, with all its openings and offsets, and was built of reinforced concrete. Its structural, formal, and spatial design plays around with complexity and genuinely enhances the living experience. Starting from the broad garage, the nine zones of the house—connected directly at the entrance by a spiral staircase—unfold upwards in a spiral, which is reflected in the building’s bold, solid shape. Alongside smaller utility spaces in the background, the bright living area with open kitchen, dining table, seating group, and grand piano takes center stage. Inside, stretching up to the central skylight, a ramp that rises at an angle—reminiscent of dotted topographic contour lines—leads up to the slightly elevated bedrooms. The top of the villa is occupied by the optimized workspace for working from home. The interior design also received special care and attention— as is immediately clear. Here, white plaster walls and light-colored polyurethane floors meet exposed concrete and high-quality veneer woodwork, with sumptuous grain that counters the coolness of the architecture.
‹A dark monolith, subtly skewed, with a shimmering blue interior complete with a ready-to-drive Huracán. What a performance!
215
Houses and Cars is an absolute must for car lovers and fans of spectacular architecture. 44 innovative examples show ways of presenting a four-wheeled buddy—or even an entire collection—and providing it the attention it deserves. This book is about parking, but so much more. It’s about creating an architecturally outstanding space for a car, where it has its own special place as an integral part of life. All projects are presented with stunning photos and clear plans. They are complemented by interviews with car enthusiasts and fascinating facts.
• 44 spectacular ideas for creative garages • New technologies and innovative solutions • Absorbing interviews with car enthusiasts • The ultimate collection of the best international examples