Ho­me sweet ho­me

ELLE Decor (Italy) - - ENGLISH TEXT - By Va­len­ti­na Rag­gi

The ico­nic A-fra­me ar­chi­tec­tu­re is all the ra­ge on the cur­rent crea­ti­ve sce­ne. From art to ar­chi­tec­tu­re, used play­ful­ly, as well as with so­cial com­mit­ment and col­lec­ti­ve sym­bo­li­sm. As the crea­tors tell us

Four sim­ple li­nes and you ha­ve a cot­ta­ge. It’s one of the fir­st dra­wings that we learn to do as a child, but that sim­ple, ico­nic sha­pe has a com­plex mea­ning. In 2008, the Israe­li de­si­gner Ron Gi­lad had to lea­ve his apart­ment in New York and found him­self ho­me­less all of a sud­den. He had al­rea­dy used the house-sha­pe for ob­jec­ts and small sculp­tu­res, and so now he be­gan a se­ries ma­de from brass tu­bing: ‘20 Hou­ses for 20 Friends’. So­me il­lu­strious exam­ples of de­si­gner cot­ta­ges fol­lo­wed over ti­me, su­ch as the Vi­traHaus by Her­zog & de Meu­ron, and Dio­ge­ne, the eco mi­cro-house by Ren­zo Pia­no, bo­th on the Vi­tra Cam­pus in Weil am Rhein. To­day the idea of ho­me is a key to­pic of the col­lec­ti­ve de­ba­te that is al­so re­flec­ted in the crea­ti­ve de­ba­te. “My ‘Holiday Ho­mes’ se­ries aro­se from an of­fer I re­cei­ved to sell my house in Fol­ke­sto­ne High Street be­cau­se the­re was a lot of de­mand the­re from Lon­do­ners for holiday ho­mes on the coa­st. I thought about whe­re people would mo­ve to if they sold their ho­mes and about the Lon­do­ner who would co­me up for the wee­kend; and I al­so thought about im­mi­gra­tion,” ex­plains ar­ti­st Ri­chard Woods. In de­si­gning the fir­st pre­fa­bri­ca­ted house for the Klein brand, Bjar­ke In­gels ex­plains: “The design evol­ves from the ty­pi­cal A-fra­me struc­tu­re, well-kno­wn for the trus­sed roof and an­gled walls that are ea­sy to build. We ha­ve em­pha­si­zed the qua­li­ties of this classic sty­le of ar­chi­tec­tu­re.” Mi­che­le De Luc­chi has al­ways been a master of “lit­tle hou­ses”: “They’re small hou­ses ma­de of so­lid wood, ta­ken from in­si­de the trunks of dead trees that ha­ve been blo­wn over by the wind. I’m still won­de­ring about why I ma­ke the­se lit­tle hou­ses and why they’re beau­ti­ful when they’re so small and twi­sted, but would be ugly if they we­re ma­de to real life sca­le, all straight and perfect.”

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