By Stephen Crafti
Architects' homes bargains an perception into how modern architects reside within the houses they've got designed particularly for themselves and their relations: from warehouses to residences, from a wholly new construct to a considerable maintenance. within the absence of a 'client' and a proper short, architects could be really adventurous, exploring groundbreaking, unconventional principles and fabrics in designing their very own homes. during this lavishly photographed booklet, Crafti appears to be like on the attention-grabbing information of the method concerned, up to the result. What have been the demanding situations, the hardships and the issues confronted? Did principles need to be changed to fit the price range? have been there compromises alongside the best way? What discoveries have been made? Architects' homes additionally explores the issues that didn't relatively visit plan. Their insights and trips will entice these searching for clean principles that transcend the conventional choices by way of architects.
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Certamly it is analogous in terms of its differences: in New York the old wood and iron piers enter the Hudson and are separated from the city by the old and often collapsed highways. This is what I have called a zone ofindustrial archaeology, once again using the tenn in a sense that is different from general usage. In a project designed with students in New York, houses are built on the piers, and at times the old buildings are left standing, long warehouses of iron and brick with incredible PaIladian heads.
It is like the testimony of a crime or a love affair. An architectural project is a vocation or a love affair; in either case, it is a eonstruction. One can hold oneself back in the face of this vocation or affair, but it will always remain an unresolved thing. I have experienced this in the public gardens at Ferrara or Seville, where [ have thought that any number of descriptions would have been valid; but in fact when I come to describe these garciens later. I have managed only to draw palms.
It is the Venice of Carpaccio, and I see it in the interior light, in the wood, and I am reminded of certain Dutch interiors which evoke ships ancl are near the sea. This Venice of wood is aIso closely related to the Po delta as weU as to the bridges which cross the Venetian canals, of which the Accademia bridge, although of course a nineteenth-century construction, offers a better idea than the Rialto. But the rediscovery of this Venice was possible only through the intervention of some precise, discreetly colored object, representing an elementary but sure teehnology—for example, a barge or, indeed, a theatrical machine.