Patrzcie jaki ładny dom

[Gość: pstryk]

www.nextroom.at/data/media/med_media/big/1139401961.jpg

[Gość: arch.1234]

Trochę szary :-) ... ale to sprawa gustu.
Może już za bardzo nie zszarzeje .

[bruner4]

Owszem, zgrabnie wyglada, ciekawe zestawienie kolorów.

[Gość: mif]

Ładna bryła, kolory już mniej.

[Gość: q]

dokladnie odwrotnie-kolory super, bryla ujdzie..kocham plaskie, ale on jest za..

[calo]

pryzwoity, ale nie nadzwyczajny. aczkolwiek zyczylabym sobie takich
przyzwoitosci wiecej w naszych miastach:))

[Gość: pstryk]

No właśnie. Nie jest nadzwyczajny bo i po co? Nie musi. To tylko mała,
sympatyczna mieszkaniówka a nie muzeum.
Gdyby ten budynek powstał w Polsce, zaliczyliby go do I ligi.

[Gość: słoweniec]

a w Słowenii do której ?? ;-)
pzdr

[Gość: pstryk]

Racja, to jest po prostu bardzo dobry dom. Wszystko jedno gdzie się znajduje.
A tu jest jeszcze jeden fajny, słoweński

www.nextroom.at/data/media/med_media/big/1139395816.jpg

[Gość: bob]

Hmmm... a wtym dużym oknie mieszkała Ewa Braun?

[Gość: aaaaaaaa]

brzydki

[rozbudowa]

to samo powiedziala mi kolezanka z pracy jak jej ten dom pokazalem - spytala czy
to biurowiec, czy szkola, a moze sklep - bo ludzie w czym takim na codzien
mieszkac nie powinni - to jej slowa

Moim zdaniem zas - nic nadzyczjnego - prosta forma - o dobrym budynku decyduje
nie tylko fasada ale takze co wsrodku. Z ladnosci - tak jak z gustami w
kobietach - po prostu sie nie dyskutuje.

R

[opiniodawca]

Brzydki?

Tobie pewnie domki katalogowe podobaja sie najbardziej :-)

opiniodawca.

[rozbudowa]

po co tak mowisz - przeciez wiesz jak mieszkam
www.fotki.com/budowa
journals.fotki.com/budowa/
Ja nie rozrozniam na katalogowe lub indiwidualne tylko na ladne/funkcjonalne lub
brzydkie/niefunkcjonalne.

Piotr

[opiniodawca]

Czyli Form Follows Function?

opiniodawca.

Jako Laik

[rozbudowa]

Pozwole sobie zacytowac Frank Lloyd Wright “Form follows function – that has
been misunderstood. Form and function should be one, joined in a spiritual
union.”
Architektura to przedewsztkim sztuka urzytkowa. To nie rzezbiarstwo, to nie
malarstwo, to nie muzyka - gdzie nawet "dziwne" formy moga byc bezurzyteczne i
dalej pociagc.
W architekturze mysle ze jest odwrotnie. Najpierw funkcjonalnosc a potem
skorupa. Buduje sie by urzywac a nie patrzec na to sie wybudowalo.
Takze nawet "najciekawsza" forma ktora nie spelni wymogow urzytkowych bedzie
stala pusta, a ta co moze i nie jest "najladniejsza" ale za to bardzo
funkcjonalna bedzie ciszyc urzytkownika.
Specjalnie napisalem "najciekawsza" i "najladniejsz" bowiem gusta sie zmieniaja
i stare jest zastepowne nowym - lepszym, ladniejszym, ciekawszym - codziennie.
Niektore formy staja sie klasykami - np center hall colonial czy tez domy w
stylu Wrighta, a niektore style przemijaja na zawsze i odchodza w zapomnienie.
Oczywiscie ze forma jest wazna - wiadomo ze przy duzej konkurencji i dwoch
domach ktore spelniaja jednakowo warunki urzywalnosci bardziej przyciagnie oko
(i portfel) ten ktory ma ciekawsza forme.

[opiniodawca]

Zgadzam sie z Panem.

Dodam do "form follows function": "less is more" i "less is more but bore". I
co Pan na to?

opiniodawca.

[rozbudowa]

Obecna moda to powrot do przeszlosci - za Budka Suflera (dawno dawno temu) -

Wszystko się już dawno gdzieś wydarzyło,
Nowe wciąż wraca raz po raz.
Nie łudź się że gdzieś tam czegoś nie było,
Wszystko już prawie widział świat.

Less is more - Ludwig Mies van der Rohe - prawda ale tylko do pewnego stopnia -
w pewnym momencie - less is just less - i powstaje stodola a nie dom,
laboratorium a nie kuchnia. Prostota projektu bez funkcjonalnosci - stodola.

Less is more but bore - nie wiem kto to powiedzial - ale nie koniecznie sie z
tym zgadzam - jezeli to less nie jest stodola to moze byc interesujace

I tak troche smiechem troche zartem - less is more zostalo wymoslone przez
bogatych ludzi zeby biednym nie bylo smutno.


Preserving a Modernist Masterpiece

By FRED A. BERNSTEIN
Published: February 26, 2006 in NYTimes.com

LAST summer, Ron Witte and Sarah Whiting, husband-and-wife architecture
professors, found themselves head-over-heels for a house in Princeton, N.J., a
rare modernist masterpiece in a sea of trite colonials. "So we scraped together
every last penny for our offer," Ms. Whiting recalled.

HEAD-OVER-HEELS Ron Witte and Sarah Whiting, both architects, plan to make no
changes to their midcentury home, acquired last year. The original owners of
the house, designed by Thaddeus Longstreth, left behind much of their old
furniture.

The original owners of the house, designed by Thaddeus Longstreth, left behind
much of their old furniture.

Ron Witte and Sarah Whiting bought a house designed by Thaddeus Longstreth.
But their scrapings were less than the asking price. So, along with their bid,
the couple submitted a letter explaining their attraction to the house.

The sellers, Estelle and Harold Kuhn, had commissioned the house in 1960. "We
had a lot of anxiety about selling a place that we loved so much," Ms. Kuhn,
now 79, recalled. But when the Kuhns read the letter from Ms. Whiting and Mr.
Witte and met them a few weeks later, "this lump of misery inside of me melted
away," Ms. Kuhn said.

The Kuhns accepted the couple's offer, although another bidder had offered
several thousand dollars more.

"The lesson of the story is that words really matter," said Ms. Whiting, who
has spent 20 years writing about architecture.

She and Mr. Witte bought the house in August, just before they began teaching
at Princeton's architecture school. They did not bring a lot of furniture from
their last house, outside Boston, but it turned out not to matter. The Kuhns
left much of their furniture, the kind of midcentury pieces that now command
astonishing prices at auction.

The couple already owned a pied-à-terre near Lincoln Center, which is now their
full-time residence. "We had everything we needed here," Ms. Kuhn said. "And we
don't like clutter." Once their three sons took everything they wanted, the
Kuhns asked the buyers for a token payment for whatever remained in the house.

They said they were happier thinking the house would stay the way it was than
making a few (or even more than a few) thousand dollars selling their pieces.

The living room contains chairs by Eero Saarinen and Ludwig Mies van der Rohe,
and a large print by Louise Nevelson, all in excellent condition. There are
built-in cabinets and original light fixtures. "Most of the room is exactly how
it's been for more than 40 years," Mr. Witte said.

That is how they plan to keep it. The Kuhns (he was a Princeton math professor,
she a community activist) had worked with a distinguished architect, Thaddeus
Longstreth, to design every element of the house. When it came time to furnish
it, "they responded to Longstreth's choices with equally enlightened choices of
their own," Mr. Witte said.

"For architects," he said, "it's terribly affirming, exhilarating even, to see
that kind of commitment to design. We felt like we were taking on an almost
curatorial role."

The house treads lightly on its wooded 2.2-acre site. The main level has a
large living room with floor-to-ceiling glass, a kitchen with a bubble skylight
and a dining room big enough for two large tables. The master bedroom, also on
the main level, is only about 160 square feet, which is small by today's
standards. But to Ms. Whiting and Mr. Witte, the room's architectural
qualities, including walls of wood (instead of Sheetrock) and two facing
ribbons of glass, are compensation.

Downstairs are three small bedrooms — designed for the Kuhns' children — and a
former playroom that is now the office of the Witte-Whiting firm, WW
Architecture. (As if by fate, the carpet that the Kuhns left has a design based
on repeating W's.) Large expanses of glass lead to terraces on both levels.

Mr. Witte, 45, and Ms. Whiting, 41, met in 1987, when they were architecture
students at Princeton. Since then, they have taught simultaneously at the
University of Florida, the University of Kentucky and Harvard. They are known
as theorists. But they are also at a stage of their careers where their designs
for actual buildings are beginning to get noticed. (Their proposal for an art
museum at San Jose State University has been widely praised and could be built
in a couple of years.)

When they were offered jobs at Princeton, one of their concerns was whether New
Jersey was a place where they could build a practice. But as their own studies
had shown, architectural innovation often originates in the suburbs.

Houses like the ones the Kuhns built prove the point. In the 1950's and 1960's,
Mr. Longstreth, a disciple of the Austria-born, California-based architect
Richard Neutra, designed houses for a number of Princeton professors, including
the world-renowned physicist J. Robert Oppenheimer. "Back then, especially if
you were in math or science, modernism was part of your ethos," Mr. Witte said.

Last spring, Stan Allen, the dean of Princeton's School of Architecture, was
determined to lure the couple from Harvard, where they had taught since the
late 1990's. But Princeton real estate is notoriously expensive. "And Sarah
doesn't drive, so we were worried about how far we'd have to be from campus,"
Mr. Witte said.

Mr. Allen took the couple to see some of the more interesting houses on the
market. "Stan would say, 'There's a nice modernist house just around the bend,'
and then we'd turn the corner and we'd see a lot where the house had just been
torn down," Ms. Whiting said. "The market pressures are that great."

They were particularly excited when they saw the Longstreth house. The Kuhns
had been spending more time in their apartment in the city. They decided to
live there full time after negotiating the long driveway to their Princeton
house became a problem. Because the driveway isn't paved, plowing is extremely
difficult, the Kuhns explained.

That same driveway helped Ms. Whiting and Mr. Witte. The real estate agent,
according to Ms. Whiting, said, "The driveway's impossible — make them a low-
ball offer."

Since Ms. Whiting and Mr. Witte could not afford the full asking price, they
did make a low offer of around $800,000. But another bidder offered more, and
he was also an architecture lover. (The Kuhns were determined to weed out
buyers who would tear the building down.) But the Kuhns didn't know if he would
live in the house full time.

By contrast, Ms. Whiting and Mr. Witte were committed to making the house their
home. Although they don't have children, they do have two cats, Odette and
Yvette. "We loved Ron and Sarah," Mr. Kuhn, 80, said.

"There was a familial inheritance thing about the whole process," Mr. Witte
said.

The other night, Mr. Witte and Ms. Whiting had some of their students over for
dinner. They cooked on the original appliances (including an electric range
with controls that l

[Gość: Doradzacz]

Toż to plebania chyba jest...i pewnie w NRD...sprytnie wkomponowano kościół w
bryłę wielkopłytowych bloków które kiedyś go zasłaniały, niezły pomysł.