Building type: Residential house for two people
Builder-owners: Friedrich Ebner and Heike Kröpelin, Adnet, Austria
Design: Maria Flöckner and Hermann Schnöll, Salzburg, Austria
Location: Riedl 79, Adnet near Salzburg, Austria
Completion: June 2006
<html>Residential building in Adnet, Austria</html>
Publisher
Tisková zpráva
12.09.2008 17:15
Tisková zpráva
12.09.2008 17:15
47°40’48” S/13°8’12” E: the coordinates of the residential house in Adnet near Salzburg are also the official name under which architects know the building. And this again says something about the married construction-ownership couple: Friedrich Ebner and Heike Kröpelin travel extensively between Germany and Austria for business and are particularly striking and typical examples of the often-described "modern nomads." The selection of their house was not entirely influenced by the mountain panorama of the Tennengau region, which they can now admire every day from their terrace – but rather by the fact that the nearest highway is only two kilometers away! The downside of this conveniently located highway and the intense proximity to nature is a certain isolation brought by village life. One cannot walk to any store or restaurant from the house; all shopping is done by car.
According to architects Marie Flöckner and Hermann Schnöll, the house 47°40’48” S/13°8’12” E is "not created for a certain final destination." It could just as well be "somewhere else," they emphasize. And it certainly looks at first glance as if it were parked on the meadow just by chance and settled into a horizontal position with a gentle pressure. The structure is embedded about a meter into the southern corner of the slope; to the north, it is separated from the ground for a length of about eight meters. At first sight, it captures attention with its simplicity – a floor slab and a flat roof made of concrete cast on-site, between which the living space expands like a “refuge behind a glass curtain.” However, as is often the case, behind the apparent simplicity lie perfectly thought-out detail solutions. On the northwestern edge, the roof has an overhang of eight meters. An inverted roof structure was used, where a 16mm thick reinforced concrete slab was suspended under a steel grid.
The floor plan of the living spaces is based on the multiplication of the Farnsworth type: the room is divided by nine wooden cubes, each measuring 2.4 x 2.4 meters. They contain storage spaces and service cores, as well as steel columns that support the roof. Four of these (three bathrooms and a dressing room) are illuminated by roof windows that can be electrically opened and closed, and which also provide ventilation for the rooms. The windows are set into cubes that were created from insulated triple-layer panels and installed on the flat roof, enlivening the silhouette of the house from the outside with their playfulness. The roof windows are uniformly tilted 30 degrees horizontally; however, their orientation varies according to the type of room usage. The bathroom windows face east to catch the morning sun – the dressing room window is tilted to the north to prevent the room from becoming too hot. The fifth window above the kitchen area faces west and catches the evening sun.
All around these fixed points, the inhabitants of the house move within a room divided only by glass walls extending over 300 square meters. It consists of living spaces, bedrooms, a kitchen, a garage, and a terrace. Unlike Mies van der Rohe's glass house, however, the living room and the accessories that further subdivide it are not arranged linearly but combined into a semicircle, the curvature of which mirrors the panoramic scenery outside.
The internal openness of the house and often dark interior surfaces provide the internal rooms with a specific light atmosphere. Throughout the house, you can enjoy views of the landscape capturing the changes in light during the day. In contrast, direct sunlight enters the large room only at certain times of the day through the roof window located above the kitchen block, primarily early in the morning and in the evening when the sun is low on the horizon and warms the house's inhabitants with its rays. The interior furnishings of the house 47°40’48” S/13°8’12” E are reduced to a minimum, as is the amount of sensory stimuli, allowing the impression of the surrounding environment to stand out even more. Just as the outside world is colorful, the surfaces of the rooms inside are monochrome. The walls of the cubes and kitchen block are covered by abstract images of tree trunks placed upside down. The protruding floor and ceiling slab keep nature around within proper limits, but at the same time draw attention to individual pieces of the scenery. After sliding over the unprocessed striking concrete of the ceiling and leaving the seamless asphalt floor, the eyes travel unobstructed into the distance. A few built-in filigree pieces of furniture disturb just as little as the glass walls; they are simply a climatic shell and follow a different geometry than the floor and ceiling slabs. From the side, the continuity of the room is framed only by black curtains that stretch in tracks along the edge of the roof (and thus outside in front of the facade). When drawn, the panoramic view must yield to the moving image created by the reflections of light and shadow caused by the movement of pieces of fabric in the wind.
From the street, the house 47°40’48” S/13°8’12” E gives the impression that it has just been temporarily placed in the grass. Its flat silhouette is disturbed only by "light shafts" with roof windows.
> www.velux.cz
According to architects Marie Flöckner and Hermann Schnöll, the house 47°40’48” S/13°8’12” E is "not created for a certain final destination." It could just as well be "somewhere else," they emphasize. And it certainly looks at first glance as if it were parked on the meadow just by chance and settled into a horizontal position with a gentle pressure. The structure is embedded about a meter into the southern corner of the slope; to the north, it is separated from the ground for a length of about eight meters. At first sight, it captures attention with its simplicity – a floor slab and a flat roof made of concrete cast on-site, between which the living space expands like a “refuge behind a glass curtain.” However, as is often the case, behind the apparent simplicity lie perfectly thought-out detail solutions. On the northwestern edge, the roof has an overhang of eight meters. An inverted roof structure was used, where a 16mm thick reinforced concrete slab was suspended under a steel grid.
The floor plan of the living spaces is based on the multiplication of the Farnsworth type: the room is divided by nine wooden cubes, each measuring 2.4 x 2.4 meters. They contain storage spaces and service cores, as well as steel columns that support the roof. Four of these (three bathrooms and a dressing room) are illuminated by roof windows that can be electrically opened and closed, and which also provide ventilation for the rooms. The windows are set into cubes that were created from insulated triple-layer panels and installed on the flat roof, enlivening the silhouette of the house from the outside with their playfulness. The roof windows are uniformly tilted 30 degrees horizontally; however, their orientation varies according to the type of room usage. The bathroom windows face east to catch the morning sun – the dressing room window is tilted to the north to prevent the room from becoming too hot. The fifth window above the kitchen area faces west and catches the evening sun.
All around these fixed points, the inhabitants of the house move within a room divided only by glass walls extending over 300 square meters. It consists of living spaces, bedrooms, a kitchen, a garage, and a terrace. Unlike Mies van der Rohe's glass house, however, the living room and the accessories that further subdivide it are not arranged linearly but combined into a semicircle, the curvature of which mirrors the panoramic scenery outside.
The internal openness of the house and often dark interior surfaces provide the internal rooms with a specific light atmosphere. Throughout the house, you can enjoy views of the landscape capturing the changes in light during the day. In contrast, direct sunlight enters the large room only at certain times of the day through the roof window located above the kitchen block, primarily early in the morning and in the evening when the sun is low on the horizon and warms the house's inhabitants with its rays. The interior furnishings of the house 47°40’48” S/13°8’12” E are reduced to a minimum, as is the amount of sensory stimuli, allowing the impression of the surrounding environment to stand out even more. Just as the outside world is colorful, the surfaces of the rooms inside are monochrome. The walls of the cubes and kitchen block are covered by abstract images of tree trunks placed upside down. The protruding floor and ceiling slab keep nature around within proper limits, but at the same time draw attention to individual pieces of the scenery. After sliding over the unprocessed striking concrete of the ceiling and leaving the seamless asphalt floor, the eyes travel unobstructed into the distance. A few built-in filigree pieces of furniture disturb just as little as the glass walls; they are simply a climatic shell and follow a different geometry than the floor and ceiling slabs. From the side, the continuity of the room is framed only by black curtains that stretch in tracks along the edge of the roof (and thus outside in front of the facade). When drawn, the panoramic view must yield to the moving image created by the reflections of light and shadow caused by the movement of pieces of fabric in the wind.
From the street, the house 47°40’48” S/13°8’12” E gives the impression that it has just been temporarily placed in the grass. Its flat silhouette is disturbed only by "light shafts" with roof windows.
> www.velux.cz
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