Bradley Wheeler

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Fo­to­gra­fo e gior­na­li­sta di ar­chi­tet­tu­ra, ri­sie­de a Los An­ge­les; ha pub­bli­ca­to su di­ver­se te­sta­te a li­vel­lo in­ter­na­zio­na­le, tra cui The New York Ti­mes e Ar­chi­tec­tu­ral Re­cord. I re­cen­ti in­ca­ri­chi per KPF, Pei Cobb Freed, Per­kins East­man e Bank of Chi­na lo han­no por­ta­to a New York, Mi­la­no e Pe­chi­no. An ar­chi­tec­tu­ral pho­to­gra­pher and wri­ter ba­sed in Los An­ge­les, he has been fea­tu­red in nu­me­rous pu­bli­ca­tions in­clu­ding the New York Ti­mes and Ar­chi­tec­tu­ral Re­cord. Re­cent as­si­gn­men­ts for KPF, Pei Cobb Freed, Per­kins East­man and the Bank of Chi­na ha­ve ta­ken him to New York, Mi­lan and Bei­jing.

In the nei­gh­bou­rhood of Hol­ly­wood Hills, in Los An­ge­les, a vil­la de­si­gned by Frank Geh­ry in the 1970s has been re­fur­bi­shed by Dan Brunn Ar­chi­tec­tu­re to help it fit in wi­th Sou­thern Ca­li­for­nian li­fe­sty­le’s in the 21st cen­tu­ry

Se­clu­ded from the mad­ness that can be Los An­ge­les, the “Hi­de Out” hou­se re­no­va­tion li­ves up to its na­me, thanks to the de­si­gn work of Dan Brunn Ar­chi­tec­tu­re (DBA). This struc­tu­re, ori­gi­nal­ly de­si­gned by Los-An­ge­les-ba­sed ar­chi­tect Frank Geh­ry for a no­ted L.A. con­tem­po­ra­ry art-col­lec­ting cou­ple, is con­si­de­red to be the fa­med ar­chi­tect’s fir­st sin­gle-fa­mi­ly ho­me de­si­gn. De­ca­des la­ter, the new ow­ners, a well-kno­wn vi­sual ar­ti­st and fa­mi­ly, de­ci­ded the ti­me had co­me to re­boot the ori­gi­nal 1970s Geh­ry pro­ject. Their in­ten­ded goal was to ac­com­mo­da­te and al­so sof­ten the ty­pi­cal fre­ne­tic and di­gi­tal­ly over­loa­ded Sou­thern Ca­li­for­nia li­fe­sty­le in the 21st cen­tu­ry. From the street, one en­ters the struc­tu­re via an over­si­zed cop­per-clad en­try por­tal that clear­ly in­di­ca­tes in­gress. In­si­de, a wal­nut stair ele­ment screens the th­re­shold from the in­te­rior pri­va­te sanc­tum sanc­to­rum. The hand-craf­ted stair sculp­tu­re is com­pri­sed of mul­ti­ple-rib­bed uni­ts that ver­ti­cal­ly de­fi­ne ea­ch of the stair ri­sers

and di­vi­de ea­ch stair tread in half. Light pou­ring do­wn the stair­well and th­rou­gh the dy­na­mic an­gu­lar “sla­tes” ac­cen­tua­tes mo­tion and seems to lead the way in­to the spa­ce. Fol­lo­wing the en­try se­quen­ce, DBA con­cei­ved a mo­re spa­cious and light-fil­led main area. By re­mo­ving walls and reor­ga­ni­zing the Geh­ry ground floor around the ori­gi­nal cen­tra­li­zed sky­light, the firm tran­sfor­med the pre­vious li­ving area in­to a me­ga ho­me/stu­dio/gal­le­ry spa­ce, one that en­han­ces the ar­ti­st-ow­ner’s wor­kand-en­ter­tain­ment li­fe­sty­le. In­te­gral to the de­si­gn part is the am­ple wall spa­ce, whi­ch ser­ves

to ex­hi­bit the ar­ti­st’s newe­st work and other chan­ging di­splays. Th­rou­ghout the de­si­gn, DBA’s rein­ter­pre­ta­tions of re­si­den­tial tro­pes be­co­me stand-out de­si­gn fea­tu­res that mark out the key fea­tu­res of this be­spo­ke pro­ject. For exam­ple, a stan­dard par­ti­tion wall (at the far end of the main spa­ce) is re­thought as a pi­vo­ting ele­ment that crea­tes a my­riad of in­te­rior spa­tial geo­me­tries. The floor-to-cei­ling 4.3 me­ters by 3.7 me­ters (14 feet by 12 feet hi­gh) wall swings ef­for­tles­sly to and fro, al­lo­wing ar­ti­stic flow to con­ti­nue in­to an even mo­re hid­den mul­ti-pur­po­se room that can dou­ble as a gue­st be­droom (com­ple­te wi­th fold-up Mur­phy bed), and li­bra­ry wi­th a floor-to-cei­ling boo­k­ca­se

La scul­to­rea sca­la di le­gno di no­ce in­tro­du­ce al­lo spa­zio prin­ci­pa­le del­la ca­sa, un open spa­ce che com­pren­de li­ving (so­pra), zo­na pran­zo (sot­to), stu­dio e gal­le­ria (pa­gi­na ac­can­to).

The sculp­tu­ral stair­ca­se built of wal­nut wood leads to the main part of the hou­se, an open spa­ce that com­pri­ses the li­ving (abo­ve) and di­ning (be­low) areas, the stu­dio and the gal­le­ry (fa­cing pa­ge).

TXT_ BRADLEY WHEELER PHOTOS_ BRANDON SHIGETA

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