Casa de arce / A.LUGAR

Casa de arce / A.LUGAR - Exterior Photography, Forest, GardenCasa de arce / A.LUGAR - Interior Photography, StairsCasa de arce / A.LUGAR - Interior Photography, BeamCasa de arce / A.LUGAR - Exterior Photography, Windows, Arcade+ 21


  • Area Areas of this architecture project Areas:
    280 m²

  • year Completion year of this architecture project

    Years :


    2022


  • Lead Architect :

    Julian Otálora

Casa de arce / A.LUGAR - Exterior Photography, Forest, Garden
© Simon Bosch

Text description provided by the architects. The essence of the house was to find a balance between nature and architecture through durable materials that would allow this constant connection. The main task of the couple that was going to inhabit the house was to find a refuge from the dynamics to which they are accustomed to in a city. They searched for peace, nature, silence and freedom.

Casa de arce / A.LUGAR - Interior Photography, Beam
© Simon Bosch

This is how Casa de Arce came about, architecturally it develops through two main volumes, the private and the social, which are initially hidden from the main entrance of the lot. At the access, a timid jewel is revealed,

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Where Did Don’t Worry Darling Shoot? Inside Palm Springs’ Architecture

Despite its striking architecture, Palm Springs has seldom been captured effectively on film — even the movie “Palm Springs” shot somewhere else. But no longer. The Olivia Wilde-directed dystopian fantasy “Don’t Worry Darling” makes ample use of the California resort town’s well-preserved mid-century buildings to showcase her vision of 1950s suburban bliss covering up something menacing underneath. Endless sunny skies, broad avenues lined with swaying palm trees and turquoise swimming pools are signifiers of an idealized life for the inhabitants of the fictional Victory Project, like the attractive young couple played by Florence Pugh and Harry Styles.

Production designer Katie Byron, the art and set decoration teams and location manager Chris Baugh pushed hard to be able to shoot in landmark mid-century buildings, and furnished them with period-appropriate items – despite the difficulty of filming in pristine historic locales.

Byron took inspiration from several of the architects and designers most

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Oystercatcher House / MCK Architecture & Interiors

Oystercatcher House / MCK Architecture & Interiors

Oystercatcher House / MCK Architecture & Interiors - Interior Photography, Windows, BeamOystercatcher House / MCK Architecture & Interiors - Interior Photography, SofaOystercatcher House / MCK Architecture & Interiors - Exterior Photography, Fence, Handrail, DeckOystercatcher House / MCK Architecture & Interiors - Exterior Photography, Facade+29

Oystercatcher House / MCK Architecture & Interiors - Exterior Photography, Windows, Facade
© Prue Ruscoe

Text description provided by the architects. For some years a Sydney-based family had enjoyed their holidays in a tiny pre-fabricated house on the beachfront lot but had finally outgrown it. They wanted to improve the accommodation and take better advantage of the opportunities of the location and aspect while retaining a relaxed, simple pattern of inhabiting the site.

Oystercatcher House / MCK Architecture & Interiors - Interior Photography, Windows
© Prue Ruscoe
Oystercatcher House / MCK Architecture & Interiors - Image 25 of 29
Plan – Ground Floor
Oystercatcher House / MCK Architecture & Interiors - Interior Photography, Sofa
© Prue Ruscoe

The design response was to retain the open, exposed, and windswept nature of the site, and to allow the envelope of the house to provide privacy, security, and protection from the elements, literally the house as a fence. The desire for a modest and unassuming presentation to the street drove the idea of ​​the house as an object which

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77 Housing Units / CoBe Architecture & Paysage

77 Housing Units / CoBe Architecture & Paysage

77 Housing Units / CoBe Architecture & Paysage - Exterior Photography, Facade77 Housing Units / CoBe Architecture & Paysage - Interior Photography, Facade77 Housing Units / CoBe Architecture & Paysage - Interior Photography, Windows77 Housing Units / CoBe Architecture & Paysage - Exterior Photography, Windows, Facade+ 26

77 Housing Units / CoBe Architecture & Paysage - Exterior Photography, Windows
© Luc Boegly

A new centrality. The Armagnac sector is today a huge railway wasteland and a sector of activity at the heart of which a new centrality for the city of Bordeaux is developing. Overlooking the Place d’Armagnac, the Tri Postal block, as its name suggests, includes the city’s former mail sorting building, whose activity stopped in 2016.

77 Housing Units / CoBe Architecture & Paysage - Exterior Photography, Windows, Facade
© Luc Boegly
77 Housing Units / CoBe Architecture & Paysage - Image 20 of 26
site plan

Now divided into three bodies, it will be refurbished in part by CoBe. Right next to this symbolic building, CoBe took part of the design of the first phase of the block coordinated by ECDM agency: a mixed-use building complex composed of housing units and offices standing on a shared two-story ground floor. Within this complex, CoBe oversaw the design of the two towers

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Tour a Once-Dated Tuscan-Style Home That Got a Soothing Refresh | Architectural Digest

The ’90s may be enjoying an aesthetic revival these days, but that doesn’t mean every one of the decade’s creations deserves celebration. In fact, when she first saw this house from the period, Los Angeles–based AD100 interior designer Mandy Cheng says she remembers thinking, “It looks very early-’90s Tuscan, and in a bad way.”

The home—located in LA’s Pacific Palisades—showed off what Cheng describes as “modernish Santa Barbara Mediterranean style” exterior architecture. The interior spaces, many of them double height, glowed warmly with sunlight from large windows. But that glow revealed an array of glaring 30-year-old missteps: the highly polished marble floors throughout the ground level, say, or the conspicuously anachronistic columns ending in pony walls that marked the entrance to a sunken living room.

Though the Mediterranean aesthetic appealed to Cheng and her clients—a young couple with a five-year-old daughter and a son on the way—the designer recalls, “There

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