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Eric ReinholdtHouzz Contributor, Residential Architect, Founder 30X40 Design Workshop... More 2
t a basic level, our homes are little more than pragmatic containers for our everyday lives,
charged with holding the assortment of objects that define who we are and the specifics
of how we interact with the world. This is because home design often prioritizes functional
requirements above all else.
But what if your home’s design was derived from the unique place where you live rather than
simply rational solutions to functional necessities? What if the places you retired to for
relaxation, the living spaces, even the bathrooms, were arranged according to a larger order?
If that were the starting point, the result might look something like this.
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Design Workshop: Connecting OurBuilt and Unbuilt WorldsRenderings of an unbuilt project in California show how using place to inspire architecture isworth getting right
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Though unbuilt, these renderings imagine a project with a grander plan in mind. Termed
the Four Eyes house, it was dreamed up by Edward Ogosta Architecture of Culver City,
California, a firm that believes in “making buildings with experiential depth.” It was
conceived as a weekend retreat in the Coachella Valley east of Los Angeles for a family of
four.
In this rendering, an apparently simple, minimalist composition of rectilinear forms appears
stationed in an austere landscape.
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Outward appearances can be deceptive though. Simple forms conceal complex spatial
variety and experience. The design consists of four mysterious vertical towers, each with a
different orientation linked informally on the ground floor by the primary living spaces.
These four sentinels rise above the flat, shadowless landscape marking distinct
constructions in the natural environment. Each tower houses a single private bedroom
positioned to capture views while offering shade, creating an oasis of sorts.
By modulating between solid and void, open and closed, the architect designed primitive
forms along with our most basic building elements — the floor, the roof, the wall and the
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window — to forcefully
manipulate the inhabitant’s
experience. The sitting room
seen here is bound by two
angled walls and faces
southwest. The angle of the
walls correlates to the human
field of view — roughly 60
degrees, connecting the
interior with the exterior and a
broad, panoramic view.
By angling the walls this way,
the architect allows the interior
space to capture light during a
greater portion of the day and
suggests there are larger
forces at work in the design.
Clipping the walls in a
rectangular arrangement
would’ve precluded this
relationship and an opportunity
to control the light entering
the home. The angle along
with the strong contrast between the windowless interior and the sun-washed exterior move
the eye outward.
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Located between towers are the public spaces — the kitchen, dining, living, porch and
entry. This in-between area, accessed via grade level, is also the most permeable. Situated
between floating roof and floor planes, it feels impermanent — almost as an encampment
beneath a tarp, sheltered from the sun but little else. It’s positioned to allow the inhabitants
to experience the changing winds, the storms, the night air.
Traditional notions of enclosure, privacy and shelter have been eschewed to heighten a
connection to the land. There’s a friction between the structure, the user and the
environment. They all feel vulnerable in different ways.
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The living spaces are primarily bound by walls of glass. The solid bases of the towers and
the roof planes modulate the light. Crisp shadows delineate the time of day on the interior
surfaces, creating moving pools of shade along with an ever-changing hue of sunlight.
Circumscribing the passage of time enriches the interior spaces and marries the inhabitants
to the circadian rhythms of the site. It’s a powerful gesture because it’s rooted to deeper
ideas about place. It’s asking deeper questions of its inhabitants. This deferential attitude I
find quite appealing. The project reacts to the environment rather than subjugating it.
Each tower is named not for the bedroom or owner of that bedroom but for its position and
2Edward Ogosta Architecture
http://www.houzz.com/photos/3426429/Four-Eyes-House---Coachella-Valley-modern-living-room-los-angeleshttp://www.houzz.com/photos/3426429/Four-Eyes-House---Coachella-Valley-modern-living-room-los-angeleshttp://www.houzz.com/pro/edward-ogosta-architecture/edward-ogosta-architecture
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orientation. The “sunrise
bedroom” (seen here) with a
slot window faces east; the
“mountain bedroom” faces a
mountain range visible to the
south; the “cityscape
bedroom” faces the city lights
to the west; and the “sky
bedroom” replaces the roof
with a plane of glass to reveal
the cosmos.
Each tower is roughly of equal size and accommodates only a bed. The experience is
meditative and monastic in the way it deprives the senses. It forces a quiet reflection. These
deeper connections to places are possible only when we remove ourselves from the
expected, everyday experience of life.
2Edward Ogosta Architecture
http://www.houzz.com/photos/3426433/Four-Eyes-House---Coachella-Valley-modern-bedroom-los-angeleshttp://www.houzz.com/photos/3426433/Four-Eyes-House---Coachella-Valley-modern-bedroom-los-angeleshttp://www.houzz.com/pro/edward-ogosta-architecture/edward-ogosta-architecture
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It’s not unlike the experience
of travel. When we’re removed
from a known and comfortable
environment, we’re more
sensitive and open to new
experiences, and those create
powerful lasting memories.
Moving upwards into each tower is also a carefully designed experience. The sky and
mountain towers are accessed via scissor stairs of differing configurations traversing
intermediate spaces. The cityscape bedroom is reached via a circular stair, and the sunrise
bedroom via the ladder seen here.
2Edward Ogosta Architecture
http://www.houzz.com/photos/3426442/Four-Eyes-House---Coachella-Valley-modern-bedroom-los-angeleshttp://www.houzz.com/photos/3426442/Four-Eyes-House---Coachella-Valley-modern-bedroom-los-angeleshttp://www.houzz.com/pro/edward-ogosta-architecture/edward-ogosta-architecture
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In this way, vertical movement
is celebrated. It enhances the
perceived physical
disconnection of these private
spaces from others and from
the earth. It also creates a
morning and evening ritual
specific to each bedroom.
Going to bed at night and
rising in the morning are
heightened, celebrated
events. These aren’t merely
rooms collected and presented
for use; rather they contain
surprise gifts of experience.
Each bedroom was designed
to be used by anyone. There’s
no distinction between master
bedroom or guest bedroom or
child’s bedroom — they’re
meant to be appreciated by all
depending on mood or whim.
2Edward Ogosta Architecture
http://www.houzz.com/photos/3426432/Four-Eyes-House---Coachella-Valley-modern-bedroom-los-angeleshttp://www.houzz.com/photos/3426432/Four-Eyes-House---Coachella-Valley-modern-bedroom-los-angeleshttp://www.houzz.com/pro/edward-ogosta-architecture/edward-ogosta-architecture
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The exterior of the home is rendered in bright white. It’s the canvas against which we can
appreciate the infinite variability of the sun’s light, from the welcoming and warming early
morning light, to the harsh and unrelenting light of mid-day and finally transitioning to the
relaxing, contemplative light of early evening.
Views to the exterior from inside the towers are tightly controlled, as visible here in the
carefully positioned openings on the exterior facades.
I find that the most appealing architectural solutions leverage the latent, unappreciated and
often mundane aspects of our world — the passage of time, the changing of seasons, the
weather, capturing breezes, creating darkness and embracing light. This project resonates
deeply on all of these accounts.
2Edward Ogosta Architecture
http://www.houzz.com/photos/3426424/Four-Eyes-House---Coachella-Valley-modern-exterior-los-angeleshttp://www.houzz.com/photos/3426424/Four-Eyes-House---Coachella-Valley-modern-exterior-los-angeleshttp://www.houzz.com/pro/edward-ogosta-architecture/edward-ogosta-architecture
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Yet, it remains unbuilt.
Perhaps it will remain just that,
a collection of ideas in digital
space, on paper and in the
imagination. A dream. Or
perhaps the inspiration and the
ideas about place and creating
deeper connections
represented here can find life
in your projects and your
practice.
More: Design Workshop:
Materials That Tell a Story
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2Edward Ogosta Architecture
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