A Memorial-area art collector residing in a chic modern home wanted his house to be more visible from the street. His yard was full of trees, and he asked us to consider removing them and developing a more modern landscape design that would fully complement the exterior of his home. He was a personal friend of ours as well, and he understood that our policy is to preserve as many trees as possible whenever we undertake a project. However, we decided to make an exception in his case for two reasons. For one thing, he was a very close friend to many people in our company. Secondly, large trees simply would not work with a landscape reflective of the modern architecture that his house featured.
The house had been built as story structure that was formed around a blend of unique curves and angles very reminiscent of the geometric patterns common in modern sculpture and art. The windows had been built deliberately large, so that visitors driving up to the house could have a lighted glimpse into the interior, where many sculptures and works of modern art were showcased. The entire residence, in fact, was meant to showcase the eclectic diversity of his artistic tastes, and provide a glimpse at the elegant contents within the home.
He asked us to create more modern look to the landscape that would complement the residence with patterns in vegetation, ornamentation, and a new lighted water fountain that would act like a mirror-image of the home. He also wanted us to sculpt the features we created in such a way as to center the eye of the viewer and draw it up and over the landscape to focus on the house itself.
The challenge was to develop a truly sophisticated modern landscaping design that would compliment, but in no way overpower the façade of the home. In order to do this, we had to focus very carefully on the geometric appearance of the planting areas first. Since the vegetation would be surrounding a very large, circular stone drive, we took advantage of the contours and created a sense of flowing perspective. We were then very careful to plant vegetation that could be maintained at a very low growth height. This was to prevent vegetation from behaving like the previous trees which had blocked the view of the house. Small hedges, ferns, and flowers were planted in winding rows that followed the course of the circular stone driveway that surrounded the fountain.
We then centered this new modern landscape plan with a very sophisticated contemporary fountain. We chose a circular shape for the fountain both to center the eye and to work as a compliment to the curved elements in the home’s exterior design. We selected black granite as the building material, partly because granite speaks to the monumental, and partly because it is a very common material for modern architecture and outdoor contemporary sculpture. We placed the fountain in the very center of the driveway as well, which had the effect of making the entire landscape appear to converge toward the middle of the home’s façade. To add a sense of eclectic refinement to the fountain, we then polished the granite so that anyone driving or walking up to the fountain would see a reflection of the home in the base. To maintain consistency of the circular shape, we radius cut all of the coping around the fountain was all radius cut from polished limestone. The lighter color of the limestone created an archetypal contrast of light and darkness, further contributing to the modern theme of the landscape design, and providing a surface for illumination so the fountain would remain an established keynote on the landscape during the night.
All equipment for the fountain was hidden behind the home so that it would operate silently. For lighting, we used fiber optic cables that wrapped around the circumference of the fountain’s interior. This created the appearance of light rising in a perfect circle out of the black granite base, and illuminated the water with a sparkling effect that naturally focused the landscape and all of its surrounding features onto the modern architecture of the home.
The home itself now looks almost like a modern art gallery, with the landscaping forms that surround it giving it just enough of a natural touch to create a sense of organic fluidity, and with the lit fountain as the focal point that unites curvature and angles in a sense of geometric unity, grounding, and centeredness.
By: Jeff Halper
Posts Tagged ‘Modern Art’
Modern Landscaping Design
December 28th, 2009Understanding International Architecture
December 18th, 2009The look of many high-end homes and building campuses is informed by International architecture. It’s a style few builders use to its full extent today, but one that still influences a variety of building movements, from art-deco to post-modern, and is preserved in many cities throughout the world.
International architecture has been widely studied and celebrated for introducing many innovative design aspects. Architects who developed the style also brought about new ways of thinking about design that re-shaped the building world, and modern art in general. The movement was founded on three defining principles: the expression of volume rather than mass, balance rather than preconceived symmetry, and the expulsion of applied ornament. These principles show up in features like exterior heating ducts, irregular but balanced building shapes, and architecture that takes its shape from the inside of the building, as opposed to the outside. Internationally-styled buildings are also generally more functional than other types, although new and avant building methods tend to make them seem more form-oriented. International architect Le Courbusier famously described these functional houses as “machines for living. “
Other characteristics of the International style include transparency (called the honest expression of structure), whether through glass or portals between sections of the building, adoption of steel and concrete as supplementary building materials, and use of mass-production building techniques.
Unlike other building movements that gained momentum over time, the International style has a definite and well-documented origin: the International Exhibition of Modern Architecture in New York City in 1932, which showcased only works done in the new International style. A book titled The International Style: Architecture Since 1922 by Henry Russell Hitchcock and Philip Johnson recorded the exhibition, and identified the new movement’s three founding principles. While many architects had been working with various aspects of the style for decades, the 1932 exhibition and its accompanying book provided the outline and principles that identified the new architectural style.
International architecture was so-named because it was defined by such a broad base of architects from around the world. The style became more worldly as it grew, particularly in the late 1930s when many high-profile German International architects left their country for Turkey, France, Venezuela, Kenya, and India. International architecture’s lack of a central national or historic reference is also one of its strengths.