each character inhabits the landscape in wearable sculptures made from natural materials.
the structure's curvature lends it incredible strength and allows for a thin façade without the need for internal load bearing walls or steel frames.
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The Arnold Home on Detroit’s Seven Mile Road opened in 1931, and was the final iteration of a succession of “Arnold” elder care homes dating back to 1899. Reverend Charles Arnold conceived the idea of a live-in care home after noting that the soon-to-be-Motor-City’s industrial boom was a bust for the old, the ill, and others in need of a social safety net.
The penultimate Arnold Home was designed and built by Weston and Ellington, a Detroit-based architectural firm whose portfolio included the Metropolitan Building, The Wardell hotel (now the Park Shelton condominiums), and the New Light Baptist Church. The two-story tall Arnold Home featured four wings housing up to 115 residents, a dining hall, and hospital facilities. 1938 saw the addition of two more stories, increasing patient capacity to 235 beds.
Detroit’s demographics began to change in the late 1950s and early 1960s, however. Middle-class retirees were moving to the suburbs and new residents tended to rely more heavily on Medicare and other government assistance programs. As this trend progressed, the Arnold Home began experiencing funding and budgeting issues that resulted in a steadily declining standard of care.
it took three years to make.
the scheme is characterized by the internal courtyard, which functions to bring an abundance of light and nature into the house.
My commitment to pavilions—to the idea of making constructional follies—is connected with needing to develop prototypes and carry out constructional research away from the normal practice of architecture. Without being subject to a client’s brief, the pavilions give me an opportunity to develop and test different methodologies, which is something that has always interested me about teaching. They are investigations into various kinds of context, dealing with urban scenarios and landscapes—they are about making something in space for its own sake, when the guiding idea comes from a reading of place. The pavilions fine tune my engagement with a specific situation, allowing me to see what is essential in terms of an action or construction. I did not set out with the idea of working in series, but as different opportunities came up, the process of designing them became more organic, the language seemed to make sense, and as one thing reinforced another, they took on a life of their own.
jeff bark merged a hazy, idealistic past of romance and rebirth with plastic buckets, cigarettes and home security cameras.
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