subtilitas:

ofhouses:

248. Pierre Zoelly /// House for Sculptor Peter Hächler /// Blumenrain, Lenzburg, Switzerland /// 1964.

OfHouses guest curated by Jeff Kaplon (Subtilitas):
The idea of structure mimicking nature.
Pierre Zoelly’s house for the sculptor Peter Hächler is one of several projects designed by the architect referencing naturally occurring forms. A concrete “tree” sits at the core of the house, the branches extending outward to define interior partitions and support the exterior enclosure. By the architect’s own admission, the house was conceptually finalized after the construction of this core, the innocuous envelope a pragmatic necessity to enclose the home. The sculptor’s studio is situated across a rock garden from the house, creating a short but meditative separation between practice and living.
(Photos: © Andreas Fuhrimann & Gabrielle Hächler / Døgen.)

My second selection for ofhouses. 

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subtilitas:

Diener & Diener - New east wing of the Museum of Natural History, Berlin 2010. My comments on the project from my Oll+ Interview:  

“I am particularly interested in the process or renovation, rehabilitation, conversion, and expansion. While ground-up projects offer the liberty of a (mostly) clean-slate, renovations introduce the multi-faceted challenge of identifying characteristics of the original that make it relevant for contemporary purposes. The architect’s decision to respect, destroy, replicate, or reference this historical context is a heavy decision influenced by any number of factors, and an emotional history such as war can further complicate this process. While the renovation of the east wing of the Museum of Natural History in Berlin by Diener and Diener may seem like a very literal gesture, accurately rebuilding the war-damaged portions of the façade has a rather abstract result by highlighting a history of conflict. An almost forensic process of creating silicon molds for the formwork of the new concrete displays the rigorous devotion of the architects to study and understand the existing damaged structure. The new monolithic material redefines previously transparent elements such as windows, and restores original details that were removed in subsequent renovations with a single material. Functionally, the resulting renovation accommodates the programmatic needs of the building by shielding exhibits from light, and to the exterior, the concrete “bandage” serves as an homage and reminder of a more violent past.”

Via, 2, photos © Christian Richters. 

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