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Villa Sarabhai | FLC / ADAGP Manuel BougotVilla Sarabhai, designed by Le Corbusier in the 1950s for the Sarabhai family in Ahmedabad, India, showcases his adaptation of modernist principles to a tropical context. Part of his broader work in Ahmedabad, including the Mill Owners Association Building and Shodhan House, the villa reflects his engagement with local cultural, climatic, and material conditions, marking a departure from his European projects and exploring how modern architecture can resonate with regional traditions.Villa Sarabhai Technical InformationArchitects1-2: Le CorbusierLocation: Ahmedabad, IndiaTopics: FunctionalismArea: 4,000 m2 | 43,000 Sq. Ft.Project Year: 1951 1955Photographs: Flickr Users, See Caption DetailsThe house is a machine for living in. Le Corbusier 3Villa Sarabhai Photographs Dgen, Flickr User Panovscott, Flickr User Dgen, Flickr User Dgen, Flickr User Lebchris Dgen, Flickr User Studio Northfront Studio Northfront Stefi Idlab Stefi IdlabVilla Sarabhai Architectural Features and Design ApproachThe villas rectangular plan reflects Le Corbusiers geometric rigor, yet its articulation responds to the Indian context. Elevated on pilotis, the structure achieves both a sense of lightness and an elevation from the humid ground. The spatial layout blends openness and intimacy, accommodating the familys needs while creating visual connections between the interior and exterior.The use of exposed brick and concrete speaks to Le Corbusiers functionalist ethos and his sensitivity to local materials. The texture of the brick contrasts with the smoothness of concrete, creating a tactile interplay that resonates with vernacular construction techniques while asserting a modern aesthetic.One of the villas defining features is its roof garden, a hallmark of Le Corbusiers design philosophy. This element mitigates heat through natural insulation and fosters a seamless connection between architecture and landscape. The villas integration with its surroundings extends to its expansive verandas and shaded outdoor areas, creating spaces that respond to Ahmedabads climate.Le Corbusier skillfully balances private and communal spaces within the villa. The central living area opens to the exterior, allowing natural light and ventilation to permeate the interior. In contrast, the private quarters remain secluded, ensuring a balance between openness and privacy. This spatial organization reflects the Sarabhai familys lifestyle while addressing functional needs.Critique: A Modernist Interpretation of Indian VernacularVilla Sarabhai illustrates Le Corbusiers attempt to engage with Indian architectural traditions. Elements like courtyards, shaded verandas, and passive cooling strategies echo regional vernacular practices. Yet, the design also questions how these interpretations remain authentic versus superficial applications of cultural motifs.The villas design reflects an understanding of Ahmedabads harsh climate. Features like brise-soleil, deep overhangs, and the roof garden effectively reduce solar heat gain and promote natural cooling. However, relying on such features reveals the limitations of applying modernist principles in a tropical context. The villas success lies in its adaptability, even if certain aspects require supplementary solutions to function optimally year-round.While Villa Sarabhais spatial and material innovations are commendable, they also introduce challenges. For instance, the open plans reliance on passive cooling may not always suffice during extreme weather. Additionally, while visually striking, the elevated design introduces accessibility concerns, particularly in a domestic setting.Legacy and InfluenceVilla Sarabhai is significant because it synthesizes modernist principles with local traditions. It is a landmark in Le Corbusiers Indian oeuvre, demonstrating how modern architecture can engage with regional contexts without losing its universal aspirations.Compared to Le Corbusiers other residential projects, such as the Shodhan House, Villa Sarabhai showcases a more pronounced emphasis on blending with the natural environment. While the Shodhan House relies on monumentalism and formal expression, Villa Sarabhais design feels more intimate and grounded in its setting.Villa Sarabhai PlansFloor Plan | Le CorbusierElevation | Le CorbusierSection | Le CorbusierSection | Le CorbusierVilla Sarabhai Image GalleryAbout Le CorbusierLe Corbusier, born Charles-douard Jeanneret in 1887 in Switzerland, was one of the most influential architects of the 20th century. Renowned for his pioneering contributions to modern architecture, he was a leading figure of the International Style and a proponent of functionalism. His work spans continents, blending bold modernist forms with a deep understanding of functionality and human needs. Le Corbusiers projects consistently challenged conventional design norms, from the iconic Unite dHabitation to his city planning for Chandigarh. His philosophy of architecture as a machine for living redefined residential and urban spaces, making him a seminal figure in architectural history. Le Corbusier passed away in 1965, leaving a legacy that inspires architects worldwide.Notes & Additional CreditsClient: Sarabhai FamilyDesign Team: Le Corbusier and his studioCurtis, William J. R. Modern Architecture Since 1900. Phaidon Press, 1996.Jencks, Charles. Le Corbusier and the Tragic View of Architecture. Harvard University Press, 1987.Frampton, Kenneth. Le Corbusier. Thames & Hudson, 2001.

In remote Northern Maine, Norway-based Saunders Architecture has designed Tekkpimk Contact Station, a new visitor center that will serve the Katahdin Woods and Waters National Monument, a nearly 90,000-acre nature preserve that was donated to the National Park Service by Roxanne Quimby, a cofounder of Burts Bees. Saunders Architects collaborated with the Wabanaki Tribe, a local Indigenous community, and New Englandbased landscape architects Reed Hilderbrand on the design of the visitor center, delivering a series of dramatic cantilevered forms that respond to the natural slope of the site and were constructed using carbon-sequestering timber. The Tekkpimk Contact Station will serve as a public entry point to Katahdin Woods and Waters National Monument. (James Florio)Perched atop Lookout Mountain, one of the parks many natural peaks, the center offers sweeping views of the Penobscot River and Mount Katahdin, the tallest mountain in Maine. These stunning views are what afforded the project its name, Tekkpimk (pronounced deh gah-gah bee mook), which translates to as far as one can see in the Penobscot language. The Penobscot tribe, a member of the larger Wabanki Nation, has inhabited the region for more than 11,000 years. Out of respect for the National Monuments Indigenous history, the design team and client worked closely with the Wabanaki Advisory Board to develop a scheme for the visitor center that would center the groups identity and unique cultural perspective. This included specific input into the massing and layout of the structure. To provide a physical sense of the design prior to construction, the architects staked out a life-sized floor plan of the building on the site. From this exercise, as well as other discussions, a series of beveled corners were implemented to better situate the wings of the building, each of which looks out toward a different direction.We wrote off all of the work that had gone before, said Todd Saunders, founder of Saunders Architecture. For if we were really serious that this project was to be a partnership and not an imposition, a genuine product of and celebration of Wabanaki culture both then and now, we needed to start again, to learn to carry only what was needed, wanted, and wished for.An exhibition within the building was designed with input from local Indigenous groups. (James Florio)Inside, an exhibition illustrates the ecological features of the park. It was carefully constructed to present this information from a Wabanaki perspective. Project elements and exhibition content related to the Wabanaki, including its intellectual property and cultural knowledge, is owned outright by the Nation.Jennifer Neptune of the Penobscot tribe, who wrote the displays text, said of the exhibition, I hope that Wabanaki tribal members are able to see themselves reflected in the exhibits and be proud of who they are and the culture that our ancestors saved for us. I hope that all visitors come away with a deeper understanding, respect, and relationship to these woods and waters and to the places they call home, she added.Locally sourced cedar shingles wrap the exterior envelope. (James Florio)Tekkpimk Contact Station is designed to meet extremely rigorous sustainability standards. The building is almost entirely composed of timber, from its Maine cedar shingle cladding to the large Douglas fir glulam columns that comprise its structure. Situated on a slope, the center is upheld by rock anchors in the hillside, allowing the timber corridors to cantilever over the site. In addition, the building operates completely off-grid, relying on solar and thermal power for its energy needs. Passive design strategies were implemented throughout the project to lower energy use, including radiant floor heating, a Trombe wall heat capture system, a reduced glazing ratio through the use of selective punched windows, and an air-source heat pump.All of the materials used in the sites landscape and trail design were repurposed from the construction of the building. For example, rip rap removed from demolitions on the site were used to build trails and displaced soil was redistributed nearby.Tekkpimk Contact Stationis highly efficient in terms of energy use and embodied carbon. (James Florio)Elliotsville Foundation, the nonprofit that operates the center, anticipates that the completion of the project will bring renewed economic investment to the region by attracting tourists to the National Monument. By involving the Wabanaki Advisory Board, the organization has taken important steps to make sure that the groups centuries-old culture and history is not forgotten and is rather a focal point within the park.

In September, I had the privilege of being invited by the Frank Lloyd Wright Foundation to screen a film of my 2004 play,Private Jokes, Public Places,at the newly renovated Hillside Theater at Taliesin, Wisconsin. Before the presentation, I was shown to my quarters for the night, which, to my surprise, were in Frank Lloyd Wrights actual house where he had lived with his third wife, Olgavanna Lloyd Wright, and their daughter, Iovanna. Youll be staying in his daughters room, I was told as I was led up a set of narrow stairs, through a secret door (embedded in a row of six false doors), before finding myself in what might be described as a separate one-bedroom loft apartment, complete with small kitchen, bathroom, reading area, living room, and bedroom. There were also two terraces, facing east and west, which, given the houses siting on the propertys highest point, offered spectacular views over the rolling green Wisconsin hills. It took some time to fully digest my surroundings. Like a great work of drama, the subtleties of the space reveal themselves slowly, unfolding as day turns into night. Every windows location, each slant of the roof, or choice of material born out of a real purpose. For example, the surface around the two fireplaces is laid in stone, which preserves heat longer than wood and avoids sparks setting the wood floor on fire. Floor levels are at different heights, sometimes by just an inch, which emphasizes the separation of spaces. The living area faces west and is enclosed with an entire wall of mullioned glass, enabling an unobstructed sunset view. In the morning, I thought the light in the bathroom was on, only to discover that Wright placed a tiny window high above the toilet where a sloping shaft draws in the sun and showers the bathroom in a glow of light. (The walls are painted yellow to enhance the effect.) To my eyes, every gesture and each detailincluding the furniture was designed with an acute sense of functionality. The overall effect was stimulating: I felt I was transposed into a different world.Wright deliberately used the spatial tactic of compression and release. (Courtesy Oren Safdie)I was the only occupant of the house, so I decided to go exploring. Right outside my door, I discovered a strategically placed cubby door set in the wall. Upon opening it, I found myself looking down over Frank Lloyd Wrights bed. This likely was for when Iovanna needed to communicate with her father, saving her a trip down the stairs or yelling at the top of her lungs.Downstairs, Wrights commitment to function was evident at every turn. A guided tour was unnecessary, because the house answered every question with a responding gesture. Wandering through a hallway that is the length of a small bowling alley, I began to wonder whether people of that era were indeed much shorter because the ceiling was so low, but then I was spit out into a larger space and realized that Wright was deliberately using the spatial tactic of compression and release to augment the dramatic effect of being thrust into these more public double-height spaces. The sense is enhanced when compared with an exterior horizontal best captured by the Prairie-style roof that makes inhabitants feel like they are actually out in the landscape.For most architects, what Im describing is nothing new. Despite being born in 1867, Frank Lloyd Wright is still a household name and prominent figure in architectural discussions. (His large model for Broadacre City is even currently on view at MoMA in New York.) In practice, however, the lessons of his work seem absent from the contemporary American architecture scene.Wrights daughters room is located up a set of narrow stairs, through a secret door embedded in a row of six false doors. (Courtesy Oren Safdie)Maybe by now its clear to say that rather than taking up the American stylings offered by Wright and his mentor, Louis Sullivan, much of what we see as the architecture of our time takes its roots from various flavors of European modernism and Bauhaus adherents, with a spattering of Russian constructivist precedent and a nod to various theoretical and technological anxieties. The organic Americana homegrown by Wright and Sullivan seems to have been tossed in the trash can of the 20th century, along with so much else. In the first quarter of this 21st century, architects have made progress in creating architecture that is more environmentally conscious and people friendly rather than being focused on the fantastical, like some of the high-wire starchitect acts of the early 2000s. But at its core, American architecture continues to remain fixated on form rather than function: A buildings shape primarily originates from outside constraints rather than internal occupation. This follows in how our cities have taken shape, with little concern for occupants and activities who are overlooked to focus on appearance and market performance. Looking at some of whats being proposed, it feels like there has been little advancement from the problematic International Style of the 1950s and 60s. Just take a look at Hudson Yards or a dozen other similar projects that have recently been built across our countrys cities. This is progress?!A Prairie-style roof makes inhabitants feel like they are actually out in the landscape. (Courtesy Oren Safdie)Sure, we now have more skylights and glass roofs that bring in natural light, and some architects have attempted to integrate nature by covering facades in succulents or planting a garden on the roof, but it all feels symbolic and lacks any deeper meaning. Likewise, new technologies have gone into producing some incredibly impressive structures but whether it is a symptom of scale, speed, capitalism, cheap developers, strict buildings codes, or just the fast-paced world we live in, it often lands as soulless. Were too busy to pay attention to the art of craft, which used to be an important element of architecture.It feels like architects are under so much pressure that they often cant sweat the small stuff. If you scan through what is being published lately, its almost like details dont matter. After spending a weekend in Frank Lloyd Wrights house, I beg to differ.Oren Safdie is a playwright, screenwriter, and teaches at Interlochen Center for the Arts.

A house in the mountains near Brisbane by Atelier Chen Hung is a contemporary and generous take on the picturesqueThis project was commended in the 2024 AR House awards. Read about the full shortlist hereThe Blackall Range is formed out of dormant volcanoes, articulated by deep ridges carved from millennia of cascading water. There are three small towns dotted along the ridge line of the mountain range: Maleny, Montville and Mapleton. On the eastern escarpment of Mapleton, a zincclad house sits nestled in its terrain.Reaping the rewards of a subtropical climate with relatively high rainfalls, the Blackall Range was historically used for growing various crops, especially bananas and pineapples. Neighbours and longterm residents have affectionately likened the house by Atelier Chen Hung to the gabled, Zincalumeclad banana packing sheds that once populated the region. The house proposes a new architectural picturesque: a resistance to symmetry; a strong connection between the building and the natural landscape; and an architectural form reminiscent of another time.The traditional custodians of the unceded lands that the house now occupies, the Gubbi Gubbi people, maintain important connections to this ancient landscape. The two mountains that feature in the view from the house are Mount Ninderry and Mount Coolum. The Gubbi Gubbi people tell a story of a feud between Ninderry and Coolum over a woman named Maroochy; Ninderry knocked off Coolums head and was turned into stone as punishment. A grieving Maroochy fled to the Blackall Range and her tears flooded down, creating the Maroochy River. Designing the house was not merely about capturing a view but, as architect Melody Chen describes, orienting the house around lines of refuge and prospecting.An obvious form for a house on this site would have been an elevated volume with the longest edge of the building facing towards the view. The architects have challenged this response and shaped the house to engage with the site in every possible way. The act of rotating the form, so that the longest side of the building faces north (as is desirable in Australia) achieves many things in one stroke of brilliance. A short side facing east maintains views from the internal living spaces as well as the outdoor areas around the house the entry garden, the external courtyard and deck between the garage and the house.This move also means that the view of the landscape is not blocked from the street, allowing pedestrians to catch a glimpse of the scenery beyond, framed in the opening between the house and the garage. The house is also skewed away from a public stairway running down one of its sides, generating a view cone for pedestrians to enjoy as they descend the steep site. As architect James Hung points out, there are no fences that bound the site; it is a house that seeks to engage with its context and democratises access to the view. There is a generosity in this gesture, supported and promoted by the client, to maintain public access to the view of the coastline, Mount Ninderry and Mount Coolum.Sinking the house into the site is a response to several conditions. It provides acoustic retreat from the busy main road, while also navigating the terrain to support the clients desire for an accessible dwelling a second storey with steep stairs would have betrayed this requirement. In early conversations between architect and client, they collectively identified Step House (2001) by Tezuka Architects as a key reference. Both Step House and Mapleton House enjoy views from each internal space over the Pacific Ocean, albeit in very different contexts. While Step House plays with a parallelogram volume cascading across the site, Mapleton House folds out like tented bellows towards the view through a trapezoidal prism. Descending from the entrance, past the kitchen into the living room and out to the deck, the view is revealed dynamically as the space expands both vertically and horizontally.The house offers various places for comfort and patterns for inhabitation. The timber deck organises the site, negotiating the connection between inside and out, framing the view and acting as the central node for navigating the house. It is partially sheltered from the easterly winds by the skewed form of the house, increasing the surface area of the building that faces over the escarpment and distributing the wind forces, acting as a windbreak.The covered outdoor space situated at the heart of the plan opens to the deck to the north to allow in daylight. In the cooler seasons, this outdoor room allows for passive solar heat gain deep into the interior. In summer, it can be enclosed by meshed sliding screens that promote natural ventilation and evaporative cooling, while providing privacy and security. An outdoor room like this is often used in hot and humid climates and can be traced to southeastern states of the US, where it is known as a dogtrot; it is known colloquially in Australia as a possum trot. Atelier Chen Hung have experimented with outdoor rooms like this in previous houses, including their first the Keperra House in 2012.Spaces are demarcated by stepped platforms and separated by centrally organised service spaces for storage and ablutions, which organise the plan along an axis that separates more public spaces to the north from private spaces along the southern side of the house. For now, the plan facilitates one bedroom and an office space; future uses could see the office used as a second bedroom, which even has its own entry. The plan accommodates several circulation paths and points of entry, creating varied opportunities for occupation. Hung suggests that it could even be a regional art gallery one day.Town planning requirements included restrictions on the roof form, favouring hipped or gabled roofs. The pitch of the roof is perpendicular to the long edge of the building, which does two things: it elevates the highest point of the roof over the central outdoor room; and it provides expression to the southern facade, which faces the public stairway and has fewer openings for privacy reasons. Planning restrictions also placed limitations on colour Hung describes the options as grey, grey or grey. The decision to use zinc cladding, rather than locally popular Zincalume, complied with this requirement but also contributes to reducing the carbon footprint of the house because zinc has a longer material lifespan and requires a less intense process for recycling and reuse than alloy metals.The cladding system applied to Mapleton House involves a simple clipping mechanism, meaning that panels can be replaced and repaired as needed. There are no excess cappings or flashings that may require replacement over time. The mellow grey of the cladding also responds to its context, blending in like a watercolour wash to the view beyond, where the ocean meets the sky. There is a careful approach to material selection inside the house too; internal walls are lined in boards of silver ash timber, sourced from farnorth Queensland, which meet ply sheets at a datum line set out from door and window openings. The woods colour complements the sandstone steps that connect the levels.Mapleton House is a lesson in how to take away to give back, preserving views that can be enjoyed by many. The house rests lightly in its site, in terms of both environmental and social impact, carefully curating a view instead of boastfully monopolising it. The efficient plan, its connection to an ancient landscape, formal and material hints to an agricultural past, and its openness to varied forms of inhabitation, all contribute to a new and sitespecific reading of the picturesque.2024-12-16Reuben J BrownShare AR December 2024/January 2025Good rooms + AR HouseBuy Now

Located next door to the William H. Glover House on Talbot Avenue in Rockland, Maine, this equally impressive Second Empire style Victorian residence stands as one of the finest in town. The abode was built in 1874 for Captain Albert Franklin Ames (1831-1887) by the architectural firm of Kimball & Coombs of Maine. Albert F. Ames was a sea captain and merchant who would later own many ships to distribute his manufacturing of lime casks which were sold and transported all down the east coast to build American cities. The stately home would later be the subject of one of artist Edward Hoppers paintings in Rockland, titled, Talbot House after a later owner.

William Hurd Glover (1834-1910) was a prominent lumber dealer and builder in Rockland, Maine, and would built this house as his residence on Talbot Avenue. Mr. Glover hired architect Charles F. Douglas, to furnish the plans for the Second Empire style mansion. While covered in vinyl siding, the handsome residence features a slate mansard roof, central tower, delicate projecting portico over the entrance, and decorative window hoods and brackets. The house is one of the best examples of the style in Maine, even with the later siding.

All images courtesy of Franois Prost, shared with permissionQuirky Facades of Japans Love Hotels Feature in Franois Prosts Vibrant PortraitsDecember 16, 2024Kate MothesLove hotels are a unique and deeply ingrained part of Japanese culture, says photographer Franois Prost. These venues have a very talkative quality visuallytheyre expressive in their design, reflecting aspects of local culture, values, and even fantasies.During a trip to Japan in 2023, when Prost was exhibiting an earlier series of works called Gentlemens Club at a gallery in Tokyo, he embarked on a road trip from the capital city to Shikoku Island in the southeast of the country. With the gallerys urging, he undertook a new project while visiting, documenting the facades of love hotelsalso sometimes called boutique or fashion hotelsthat offer rooms at cheap rates for brief stays.Prost, who is based in Lyon, France, approaches his subjects as features of the landscape that characterize a specific vernacular and highlight quirky or taboo facets of local culture. Gentlemans Club, for example, documented American strip clubs along a southerly route from Miami to Los Angeles in 2019. He has also sought out Ivorian, French, and Spanish nightclubs in series like After Party and discoteca.I choose specific types of venues in each countrythose with distinct, often kitschy or roadside architectureand photograph them across the region with a consistent framing style, Prost says. Im drawn to the aesthetic of these places, and how their facades reveal something about the people who inhabit or frequent them.His latest series, Love Hotel, captures the unmissably colorful designs of roadside lodging, ranging from ships and castles to flowers and a pink whale. The venues aim to evoke a sense of romance, escape, and fantasy, yet they also need to feel safe and invitingnot tacky or sordid, Prost says. Its why some of these places have an almost Disney-like aesthetic, playful yet carefully curated. Estimates of how many love hotels dot Japan range from 10,000 to 40,000.Prost has launched a new book for the series on Kickstarter that highlights the creativity and occasional hilarity of these infamous destinations. I hope viewers are struck by the incredible attention to detail and devotion to design that defines these spaces in Japan, Prost says.You can support the book on Kickstarter until January 10, and stay updated by following Prost on Instagram. Explore all of his projects, including more books, on his website.Next article

From single sheets of green paper, Los Angeles-based designer Maho Motoyama devises a veritable forest of Christmas tree-shaped boxes. Ranging from a few basic folds to elaborate, multifaceted constructions, each evergreen has a personality of its own based on its tiers and twists. Every one, of course, is topped with a bright yellow star.Motoyama has built a following for his intricate box-folding templates, creating tiny, hollow structures in a wide range of geometric shapes. Through painstaking precision and a puzzle-like approach to creating unique pieces, form takes precedence over function. Find tutorials on YouTube, detailed templates on X, and more fun shapes on Instagram.Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $7 per month. The article Paper Christmas Trees by Maho Motoyama Take Holiday Boxes to a New Level appeared first on Colossal.