I love the contrast in this villa between the more private spaces, which are housed in a brutalist concrete structure, and the more public spaces, which sit on top and are housed in minimalist glass box that is reminiscent of the Farnsworth House.
All of this was done in order to maximize views of the surrounding mountains from this upper floor. But it also creates a certain lightness within the next landscape. And I'm sure that the views out are that much better after emerging from such a contrasting space below.
Located to the southwest of Madrid, the villa was designed by Spanish architect Alberto Campo Baeza in 2000. It's called the Casa de Blas and it's currently on the market for €850,000. Listing information over here.
But I would also encourage you to check out some of the firm's other work. It's absolutely magical. One of my favourites is the House of the Infinite, which was designed in 2014 and, in my mind, shares some similarities with the above villa.
In both the Blas House and the House of the Infinite, the rooftop spaces feel like everything. In some ways, they have been privileged over almost everything else. And so instead of wanting to be inside the houses, the architecture seems to pull you toward wanting to be on top of them.
When you go to architecture school, you are indoctrinated to appreciate certain projects, buildings, and houses. One of those pieces of architecture, at least for my generation, is the
I love the contrast in this villa between the more private spaces, which are housed in a brutalist concrete structure, and the more public spaces, which sit on top and are housed in minimalist glass box that is reminiscent of the Farnsworth House.
All of this was done in order to maximize views of the surrounding mountains from this upper floor. But it also creates a certain lightness within the next landscape. And I'm sure that the views out are that much better after emerging from such a contrasting space below.
Located to the southwest of Madrid, the villa was designed by Spanish architect Alberto Campo Baeza in 2000. It's called the Casa de Blas and it's currently on the market for €850,000. Listing information over here.
But I would also encourage you to check out some of the firm's other work. It's absolutely magical. One of my favourites is the House of the Infinite, which was designed in 2014 and, in my mind, shares some similarities with the above villa.
In both the Blas House and the House of the Infinite, the rooftop spaces feel like everything. In some ways, they have been privileged over almost everything else. And so instead of wanting to be inside the houses, the architecture seems to pull you toward wanting to be on top of them.
When you go to architecture school, you are indoctrinated to appreciate certain projects, buildings, and houses. One of those pieces of architecture, at least for my generation, is the
Completed in 1951 for Dr. Edith Farnsworth (a nephrologist), the house is one of the most celebrated midcentury modern houses in the United States. Today, the former weekend retreat is a museum owned by the National Trust for Historic Preservation. (Information on how to visit can be found, here.)
But what they don't teach you in architecture school is that the house never really worked all that well as, you know, an actual house. And that the client and architect ended up embroiled in legal battles toward the end of construction.
This is part of the story that is told in Alex Beam's new book, Broken Glass, which was recently reviewed by Witold Rybczynski in the Wall Street Journal. Now, Witold isn't a fan of modern architecture to begin with and so the Farnsworth House never stood a chance:
Despite the purposeful appearance of his architecture, Mies was not particularly interested in practical matters. The travertine on the terrace weathered badly, and a poorly designed heating system left sooty stains on the windows. The glass walls resulted in spectacular heating bills in the winter and hothouse temperatures in the summer—there were only two small openable windows. Then there was the problem of condensation on the glass in cold weather. “You feel as though you are in a car in the rain with a windshield wiper that doesn’t work,” Farnsworth complained. A film about the genesis of her house, starring Elizabeth Debicki and Ralph Fiennes, is currently in the works. It will be interesting to see if it will show the doctor squeegeeing her foggy windows.
On his blog, Witold calls Mies an aesthete. Appearance was everything. My personal view is that it's generally good practice to design houses so that they function properly. But icons are icons and the Farnsworth House is certainly an icon. Maybe we should just call it a prototype.
Completed in 1951 for Dr. Edith Farnsworth (a nephrologist), the house is one of the most celebrated midcentury modern houses in the United States. Today, the former weekend retreat is a museum owned by the National Trust for Historic Preservation. (Information on how to visit can be found, here.)
But what they don't teach you in architecture school is that the house never really worked all that well as, you know, an actual house. And that the client and architect ended up embroiled in legal battles toward the end of construction.
This is part of the story that is told in Alex Beam's new book, Broken Glass, which was recently reviewed by Witold Rybczynski in the Wall Street Journal. Now, Witold isn't a fan of modern architecture to begin with and so the Farnsworth House never stood a chance:
Despite the purposeful appearance of his architecture, Mies was not particularly interested in practical matters. The travertine on the terrace weathered badly, and a poorly designed heating system left sooty stains on the windows. The glass walls resulted in spectacular heating bills in the winter and hothouse temperatures in the summer—there were only two small openable windows. Then there was the problem of condensation on the glass in cold weather. “You feel as though you are in a car in the rain with a windshield wiper that doesn’t work,” Farnsworth complained. A film about the genesis of her house, starring Elizabeth Debicki and Ralph Fiennes, is currently in the works. It will be interesting to see if it will show the doctor squeegeeing her foggy windows.
On his blog, Witold calls Mies an aesthete. Appearance was everything. My personal view is that it's generally good practice to design houses so that they function properly. But icons are icons and the Farnsworth House is certainly an icon. Maybe we should just call it a prototype.
