mobius house case study

• Random Project
• Collaborate

Moebius House

Introduction

Description.

Did you find this article useful?

Really sorry to hear that...

Help us improve. How can we make this article better?

Sorry, your browser isn't supported right now

We recommend you use one of these fantastic (and free!) browsers: Google Chrome , Mozilla Firefox , or Apple Safari

The 12th Annual A+Awards Winners are Announced! See this year's winners → View more

• Products ▼ Product Search Brand Directory
• Awards ▼ A+Awards A+Product Awards Winners Gallery Shop

Keep Exploring Architizer by Creating a Free Account or Logging in.

Membership is Free.

Mobius House

Gooi, netherlands, other projects by unstudio, echo, tu delft, jetbrains office campus, p.c. hooftstraat 138, daegu wolbae ipark – residential blocks 1 and 2, raffles city hangzhou, le toison d'or, arnhem central, unstudio tower, the ardmore residence, fairyland guorui villas, theater on the parade, theatre de stoep, the w.i.n.d. house, kutaisi international airport, mirai house at leiden bio science park, haus am weinberg, centre for virtual engineering, mumuth music and theater school, education executive agency & tax offices, product spec sheet, collaborating firms.

Please check support.architizer.com for more information.

We are here to help! Contact us at [email protected] .

Mobius House

The organizational and formal structure of the private house is based on a double-locked torus, the mobius loop. The intertwining trajectory of the loop relates to the 24-hour living and working cycle of the family, where individual working spaces and bedrooms are aligned but collective areas are situated at the crossing points of the paths. In a similar manner these unfolding lines are materialized with glass and concrete, swapping the conventional use of these materials.

• Architect's Wesite www.unstudio.com

All our texts and many of our images appear under the Creative Commons Attribution Share-Alike License ( CC BY-SA ). All our content is written and edited by our community.

Utrecht University Library

Hanns House

Mobius House

CONCEPT NOTE – MOBIUS HOUSE Mobius house is a resultant of the pursuit of the archetypal image of a pavilion in the landscape through processes that strive to accommodate contemporary building and living conditions, while in simultaneous dialogue with rich traditional and vernacular references. The intentions of re-placing lost ground and achieving forthrightness in construct for this single storey building called for a configuration of flat slabs spanning between load-bearing laterite masonry walls. Corresponding to the plot geometry, the building is configured in an ‘L’. The intensity of references from the Portuguese building forms – great churches with their bell-towers and buttresses, imposing forts and their bastions, massive houses with large volumes and big windows – offered the opportunity of adapting institutional architectonics reinterpreted/redefined to a domestic scale. The language which thus evolved is neither welcoming nor intimidating; instead, it merely frames spaces. The type – each arm of the ‘L’ – is a generous living bay open on both ends and flanked on one side by servant spaces. The few formal indulgences in a rather dormant built-form have to do with the obtuse edges of the ‘L’. While one edge forms the entrance passage to the house, the other is the right of way for the visitors moving to and from the beach. The entrance passage is flanked by the building on one side and by a compound wall on the other, which rises as one proceeds up the passage and doubles up as a bracing to the OHWT tower. While the bracing on the left hits a tower as the passage culminates at the vertex, the terrace line acting as the edifice on the right climbs down a flight of steps to reveal the arrival court – the prelude to the experience, located at the node anchoring the two arms of the ‘L’. It’s precisely between this zone that the Mobius nature of house is born, the birth of delusion between outside-inside…the illusion of threshold between landscape and the house comes alive. The edifice towards the right of way is an undulating surface, expressing a release analogous to the recoil of a stretched piece of elastic when snapped. Subsequently, the structure is un-self-conscious yet present; a presence which may appear alien at the initial glance. However, space is a greater concern here than form, which, perhaps when the ivy shrouds the edifice, one may see better. The course of action has been one of minimality in process rather than in appearance. Just as the plan has been reduced of elementality, so do the finishes employ reduction in layers/ materials. For instance, to drain the terrace valleys, sufficient measures were created within the slab while casting the RCC with required waterproofing ingredients, thus avoiding any additional layers for either waterproofing or slopes. The slab soffit has been left exposed; and the waterproof plywood sheets used as form-work were recycled to make the required furniture for the house. Paint - both from the wall and the plywood surfaces - has been done away with since the base layer of putty itself provides adequate protection. Similarly, the bedding mortar itself – when reconstituted and laid appropriately – gives the IPS floor-finish, thus avoiding the need for any further layer of stone or tile finishes. Each of these processes gives rise to its own appropriate aesthetic, just as rethinking the plan allows for a richer, if not new, spatiality. Nevertheless, both demand a shift from conventions (personal or collective), not only in the designer’s approach but also in the inhabitant’s ways of seeing. This adaptable built form attempts to accommodate the contemporary nomadic urban existence, which finds urban abrade repulsive and yet cannot survive without urban affluence. The context that this house desires to address is the Goan landscape: of consuming it and getting consumed. Oscillating between the inside and outside, between the familiarity and unfamiliarity of scales, views and textures, inhabiting this beach house is akin to movement on and about a Mobius strip.

Project Title : Mobius House Location : Anjuna, Goa Client : Neil D’Souza Area :2200 Sq Ft Structural Consultant : Shekher Bhagwat, Mumbai Text : Siddhartha Singh Photography : Piyush Rana & Vikram Ponnappa

Girish Dariyav Karnawat and Punit Mehrotra

• make your fridays matter with a well-read weekend

• Architecture

• Books & Movies
• Conversations
• View Listings
• Submit Entries
• STIRpad.com

Every day is unlike yesterday: The life inside the Möbius House

by Vladimir Belogolovsky Published on : Jan 01, 2024

When a young Amsterdam -based architect Ben van Berkel was asked to design a house for a professional couple with two toddlers, their interest was not in building just another dwelling. In addition to a house where it would be easy and joyful to live, their brief challenged the architect to push for a real breakthrough, namely to design “a house that would be recognised as a reference in terms of a renewal of the architectural language.” However, the couple’s initial task was to find the right architect. The project started in 1993, a recession time when many architects were starving for work. After weighing their options and interviewing some talented architects, including Rem Koolhaas —not yet the megastar he is today, still, after 15 years of practice, he had many thought-provoking projects under his belt and completed his seminal Villa dall'Ava on the outskirts of Paris two years earlier—the couple settled on hiring Ben van Berkel.

Why do you think your clients chose you and not Koolhaas? I ask van Berkel straightforwardly. It is our second one-on-one conversation. The first was a bit about everything but now I want to focus specifically on this one project, a manifesto of sorts, as it defined a whole direction in the architect’s subsequent research. And just like the clients had hoped for, the Möbius House, as it was christened, did expand the field of architecture . 

I believe what made a difference — explains the architect— is that I went to the site and studied it carefully and already had ideas about it. I knew what kind of house it would be. I could see clearly where different rooms would go, how they would be shaped, and how they would relate to each other. They specifically liked that I wanted to understand their lifestyle and express it in the design of the house.

Ultimately, it was about whether to hire an architect with experience or to work with someone younger for whom this project could open new possibilities. It was also about building a livable house. Van Berkel was then just starting; he co-founded his eponymous practice with his then-wife Caroline Bos five years earlier (they later relaunched it as UNStudio , now a 300-member force working out of six cities in Europe , Asia , the Middle East , and Australia ) and apart from a villa and a small office building had been working on only a handful of projects, although his Erasmus Bridge in Rotterdam , a swan-shaped iconic structure, not yet completed, was already talked about and a strong symbol of a promising career.

The Möbius House—on a suburban lot in Naarden, a small town less than half an hour's drive southeast of Amsterdam—is designed around the idea of a walk in the countryside, a movement organised along an elongated figure eight, or mathematically speaking, the Möbius strip or a loop, a half-twisted continuous surface. The architect overlaid the interior spaces of the house following this fluid configuration taking into account the family’s daily activities from the morning to daytime, evening, and night. He then organised these as a clockwise movement. Thus, the spatial organisation of the house, a double-locked torus made up of two intertwining paths, traces how the inhabitants can live together, yet apart, meeting at certain points and parting at others. This geometry was closely attuned to different aspects of the family’s private life—sleeping, working, playing, and eating. Various adjacencies are planned in the residential design to reflect the inhabitants' daily routines, expressing moments, both anticipated and incidental.

To make sure I fully understand the way the house was conceived, Van Berkel picks up a heavy blue marker and quickly starts drawing the Möbius loop diagram with two main axes slicing it into four corner areas.

Here it is —he points to the sketch— The Möbius House came out of the four quadrants layout; it is a landscape design idea. Every quadrant has a dedicated zone for each of the four people in the house. Those four zones are combined with a number 8-shaped path in the natural landscape . So, I wanted to combine clockwise the experience of exploring the four quadrants of the landscape into one organizational entity.

Where did the idea of utilising the Möbius loop come from? I enquire.

From my interest in mathematics, science, complexity theory, chaos theory, and topological surfaces. Working with mathematical and organisational diagrams was a result of my interest in such works as The Endless House by Frederick Kiesler, the work of John Lautner in LA, and other examples in which houses literally grow out of the ground. The design process was continuous editing. The challenge was to take all the programmatic requirements and express them in a single gesture.

Another project that may come to mind is Konstantin Melnikov’s home and studio in the heart of Moscow . This freestanding structure consists of two intersecting cylindrical towers, almost entirely punched with an array of small equidistant hexagonal apertures. In its plan, the residence is outlined by number eight. When I bring it up, my vis-à-vis admits the originality of that project and its virtues as a spatial and intellectual play but rejects it as an influence— in the Möbius House we are dealing with a different level of complexity— he insists. I agree and we move on. After all, I attentively follow diagrams, floor plans, and photos with both my eyes and fingers just to try to better imagine what the space inside may feel like. The continuous flow, a fluid collision of different zones is an alluring dance of volumes and surfaces made primarily of two contrasting materials— concrete and glass . They twist and change places again and again. You look from one vantage point and the glass appears to be the skin wrapping a concrete house. You look in another direction and you see a glass house framed by concrete masses.

I wonder, what was the initial design brief like?

They had very specific requirements. This is a professional couple, publishing executives; both intended to work from home. So, each would have an independent working space. This idea of living together and having private spaces was clearly articulated. Another interesting request was that they wanted to see the kids without necessarily hearing them, not all the time, anyway. [Laughs.] 

The clients must have also really liked the idea of living very close to the landscape, right?

Absolutely! And not in a traditional way but submerging under it, floating over, and literally in between the trees.

What are your favorite moments in the house?

I particularly like one cantilever over the entry below as it leads to the master bedroom. That’s the moment of suspension where the landscape opens up in a very spectacular way. Suddenly, you step into the landscape through the residential architecture . Then there is a concrete table in the living room that cantilevers almost eight meters from the fireplace. It just floats. Understandably, it is hard for the architect to select just a few elements in the house where everything is custom-designed: cast-concrete furniture, carpets, curtains, and so many details in bedrooms and bathrooms, all fully integrated and interrelated. Every detail is unique.

There are some traditional-looking straight-up columns in the house. What is the reason for combining two support systems—folds and columns?

I love columns! I also like spaces that combine two systems into one, as in the case of our Arnhem Central Station where a single element, a cross between a column and continuous surface, a sort of sliced mushroom-looking support that carries all the loads. But in the Möbius House, there was a need for occasional columns because of the big volume and extensive cantilevers.

There is a situation where you placed two bulky columns very close to each other. Intentionally?

I prefer doubling columns. When you have a pair, you tend to look in between them, which I like. These columns are integrated with furniture elements that create interesting spatial moments. 

Encountering such moments is what makes the experience of living in the house unique every day and every moment. The architect is still in touch with the family. They told him repeatedly that every day the house gives them a new life. Every day is different. Every day is unlike yesterday. Everything changes, both inside and outside—there are new vistas, juxtapositions, reflections, sunlight patterns, shadows, and framed views of the surrounding trees that also change all the time.

I imagine when the house was being designed Gilles Deleuze was discussed a lot. He expressed such notions as the idea of radical freedom, instability, continuous unfolding, movement, being in flux, and a possibility of newness. All of these sensations can be experienced in the house quite dramatically, right?

Sure, I was fascinated by Deleuze for a long time. In the 1990s there was a strong interest in computational design and Deleuze was very popular then. He defined spaces more than other space-time thinkers. Sigfried Giedion and Le Corbusier were about the linearity of experiencing architecture. But Deleuze introduced a kaleidoscopic reading of space as if you were in many places at once.

Of course, to build such a complex space van Berkel needed new design tools. They came just in time. In the early-mid 1990s parametric design was still in its infancy. For example, the groundbreaking Columbia University’s paperless studio was initiated in 1995. Van Berkel was one of the teachers there along with Hani Rashid, Stan Allen, Greg Lynn, Jesse Reiser, and Alejandro Zaera-Polo among others. The cohort constituted the new wave of architectural thinkers. 3D modeling tools were still marginally used in the industry and had to be developed by offices largely on their own. The initial drafts of the Möbius House were freehand sketches and hand-made models, but by the time technical drawings were being developed in 1995, computers were in use. In fact, the first computer van Berkel’s office bought was to work on the design of the Möbius House.  

We started this dialogue: What new tools could be used to bring new visual effects to architecture? How could such tools stimulate and envision the new role of a contemporary architect? How could new tools give architects new creative freedoms? How could new spatial effects be achieved? That’s what you can taste in the design of the Möbius House because conceptually it is a house that anticipated 3D computer modeling tools and it was refined once these tools became available.

To be sure that was a very exciting time. Architects were playing and testing how computational design could be manipulated by parametric variants. It was a very special moment for parametric design, very fresh and very promising. In one of van Berkel’s texts, I read how he likened his design process to mixing music . He responded: The beauty of music is that it touches you so quickly and so powerfully. I hope architecture too could rise to that level.

Walking through the Möbius House, for sure, is an emotional experience. Yet, its geometric complexity falls into the logic of a system. As you navigate your way through the house there are just three angles along the entire path—7, 9, and 11 degrees. Repeated in a variety of ways this play with the repetition of just a few elements evokes listening to one piece of music with a characteristic rhythm. So, music is an appropriate metaphor for architecture and we can feel it emotionally through movement.

What makes the Möbius House interesting is not only that it follows the configuration of a diagram but also because of the presence of many layers that overlap here. A clockwise day cycle along the number 8-shaped loop corresponds to various rooms. The path connecting them is a sequence of concrete and glass facades that define both exterior and interior volumes. Sometimes we see a floor-to-ceiling glass wall separating adjacent interiors. They create moments where you can see other inhabitants but can’t hear them, just like the clients originally envisioned. The same happens with the continuous concrete wall which transitions from the façade to interior splitting and extending into furniture elements cast in concrete.

Was this house the first project in which the Möbius strip was used?

It was. Later we used it again and again. Mercedes-Benz Museum in Stuttgart was perhaps the most well-known example. Experiencing space in the movement was the key design principle. My architecture is diagrammatic, logical, and people-oriented. The idea is to create a kaleidoscopic experience of spaces. I always want to see where I come from. I never believed in the linearity of the organisational layout. I believe in the experiential quality of architecture. In the Möbius House, we tested our ideas to use them as prototypes for new thinking.

In other words, it is the spatial organisation, not the image that drives van Berkel’s projects. That’s how he conceives all his structures. Architecture follows this logic and, it is in this process that it finds ways to express itself. Was the house built exactly the way it was intended —I ask at last—were there any changes?

No changes. That’s what was so wonderful. We built exactly what we had in mind. This couple still lives there; of course, the children have grown up.

• Ben Van Berkel
• Concrete Architecture
• Parametric Architecture
• Residential Architecture
• Residential Design
• The Netherlands

What do you think?

Booking.com's new campus in amsterdam: a village within the city.

by Jeroen Junte Aug 04, 2023

Caroline Bos of UNStudio: “Your role is what you make of it”

by Vladimir Belogolovsky Oct 20, 2023

About Author

Vladimir Belogolovsky

Vladimir is an American curator, critic, and columnist with STIR. He graduated from the Cooper Union School of Architecture (1996) and after practicing architecture for 12 years, founded New York-based Curatorial Project. It focuses on the curation and design of architectural exhibitions. He has interviewed over 400 architects; written 15 books, including  Conversations with Architects  and  China Dialogues ; curated over 50 exhibitions, and has lectured in more than 30 countries.

Recommended

Historical continuity meets contemporary design in Crete’s Drakoni House

by Pooja Suresh Hollannavar Jul 09, 2024

Athens-based Doriza Design preserves the charm of this 1864-built residence in Elounda while adding modern touches to it to create a unique holiday retreat.

ICLEI World Congress 2024 looks at 'the power of our networks in a changing world'

by Mrinmayee Bhoot Jul 08, 2024

Over 1,500 urban leaders from 96 countries addressed critical issues on climate action and urban resilience at the biannual World Congress in São Paulo.

Bait Ur Raiyan: A mosque in Bangladesh composed of abstracted Islamic semiotics

by Almas Sadique Jul 08, 2024

The mosque, designed and built by Cubeinside Private Limited, hosts a formidable demeanour in a semi-rural region in Bangladesh, despite its modest size.

QARTA Architektura’s ‘Fragment’ straddles architecture, art and the history of Karlin

by Anushka Sharma Jul 06, 2024

The Prague-based architecture firm designs a new residential block that pays homage to the urban fabric of Karlin while experimenting with integration of sculpture in architecture.

Asian Paints' new Beautiful Homes studio presents luxury decor at its most personal Jul 05, 2024 by Mrinmayee Bhoot Jul 05, 2024 Debt in Venice: Christoph Büchel’s quietly monumental show 'Monte di Pietà' Jul 04, 2024 by Huma Kabakci Jul 04, 2024 Choreographing spaces: Martino Gamper on design, art and light Jul 04, 2024 by Aarthi Mohan Jul 04, 2024 An indoor sports arena in India integrates into its landscape, delicately asserts its form Jul 04, 2024 by Pooja Suresh Hollannavar Jul 04, 2024 'Agonistic Assemblies' asks, if it is possible to design a politics of, by and for the people Jul 05, 2024 by Mrinmayee Bhoot Jul 05, 2024 5853,5892,5893,5894,5895

make your fridays matter

make your fridays matter with a well-read weekend

Exclusive preview for subscribers. Learn More

Make your fridays matter. Learn More

Try searching for

Sign in with email

Enter your details to sign in

Don’t have an account?

Or you can sign in with

Forgot Password?

Please confirm your email address and we’ll send you a link to reset your password

No account found with this email address.

Already have an account?

Don't have an account?

a single account for all STIR platforms

• Engage, track and save content on STIRworld
• Connect with brands, designers, and galleries on STIRpad
• Free subscription to STIRfri – the weekly newsletter

All your bookmarks will be available across all your devices.

Stay STIRred

Password must be 8 characters long including one capital letter, one digit, and one special character (!@#$%^&).

• Includes one capital letter
• Includes one one digit
• Includes one special character(!@#$%^&)
• At least 8 characters

Your preferences will help us serve you better in the future.

By creating an account, you acknowledge and agree to the Terms of Use and Privacy Policy by STIR.

Or you can sign up with

Your preferences have been successfully saved to your profile.

Tap on things that interests you.

Conversation Categories

Select the Conversation Category you would like to watch

Please enter your details and click submit.

Enter the code sent to

Verify your email

Enter the 6-digit code sent at

Single account access for STIRworld.com, STIRpad.com and exclusive STIRfri content.

Don’t have an account? SIGN UP

Verification link sent to check your inbox or spam folder to complete sign up process

• Arches Balconies Bearing Walls Bookcases Bricks Facades Canopies Ceilings Ceramic Floors Chairs & Sofas Columns Concrete Structures Courtyards Curtains Curved Roofs Daylighting Design Objects Doors Engawa Entrances External Pavings Facade Cladding Systems Fireplaces Fountains & Reflecting Pools Furniture Gates Glass Facades Glass Partitions Glass Roofs Green Roofs Handles Hanging Walkways Indoor Stairs Interior Lighting Lamps Massive Walls Metal Claddings Outdoor Stairs Patios Points of View Porches Private Indoor Stairs Private Pools Public Indoor Stairs Railings Ramps Roof Gardens round windows Shop Windows Skins Skybridges Slat Facades Sliding Elements Sloping Roofs Solar Shading Systems Spiral Stairs Steel Structures Stone Facades Stone Floors Stone Walls Tables Terraces Terracotta Facades The architecture of the corner Urban Furniture Vaults Vertical Gardens Window Frames Windows Wooden Facades Wooden Floors Wooden Partitions Wooden Structures
• Aarhus Abu Dhabi Ahmedabad Alicante Amsterdam Antwerp Athens Bangkok Barcelona Basel Beijing Beirut Berlin Bilbao Bologna Bordeaux Brasília Brussels Budapest Buenos Aires Chandigarh Chengdu Chicago Ciudad de México Coimbra Copenhagen Córdoba Doha Dresden Dubai Dublin Florence Frankfurt Geneva Ghent Göteborg Granada Hamburg Hangzhou Havana Helsinki Hong Kong - Shenzhen Istanbul Jerusalem Krakow Kyoto Lausanne Lille Lisboa London Los Angeles Lyon Madrid Málaga Malmö Marseille Melbourne Miami Milano Montreal Moscow Munich Nantes Napoli New York City Osaka Oslo Paris Porto Prague Reykjavik Rio de Janeiro Roma Rotterdam San Francisco Santiago de Chile São Paulo Seattle Seoul Seville Shanghai Singapore Stockholm STRASBOURG Stuttgart Sydney Tarragona Tbilisi Tehran Tel Aviv Tokyo Toronto Turin Valencia Venezia Vienna Warsaw Washington Yokohama Zaragoza Zürich
• African Houses American Houses Argentinian Houses Australian Houses Austrian Houses Balkan Houses Baltic Houses Beach Houses Belgian Houses Brazilian Houses Brick Houses British Houses Canadian Houses Chilean Houses Chinese Houses Concrete Houses Country Houses Croatian Houses Czech Houses Danish Houses Dollhouses Dutch Houses East-European Houses French Houses German Houses Greek Houses Holiday Houses Houses by Artists Houses for Architects Hungarian Houses Icelandic Houses Indian Houses Irish Houses Israeli Houses Italian Houses Italian Rural Houses Japanese Non-Urban Houses Japanese Urban Houses Korean Houses Latin-American Houses Mediterranean Houses Mexican Houses Microhouses Middle-east Houses Mountain Houses Narrow Urban Houses New Zealand Houses Paraguayan Houses Peruvian Houses Pet Houses Polish Houses Portuguese Houses Restored Houses Romanian Houses Scandinavian Houses Single-family Houses South-East Asian Houses Spanish Houses Swiss Houses Tree Houses Turkish Houses Uruguayan Houses Villas Windowless Houses Wooden Houses Woodland Houses
• Alberto Campo Baeza. Varia Architectonica Alfredo Pirri. Make and Remake Álvaro Siza. Time is the Best Architect Beniamino Servino. Monumental Need Bolles + Wilson. Tacuit et fecit Curves Dario Passi. Architecture Drawings DOMESTIC SCENES. HOMAGE TO JULIUS SHULMAN Explosions Fascinations for Structures Giorgio Grassi Drawings Grammar of the Limit Ideas for Bridges Ideas for Burial Ideas for Civic Buildings Ideas for Coastal Redevelopment Ideas for Conservation and Reuse Ideas for Cultural Centers Ideas for Domestic Interiors Ideas for Health Facilities Ideas for Hospitality Ideas for Houses Ideas for Housing Blocks Ideas for Industrial Facilities Ideas for Installations and Exhibitions Ideas for Interiors of Libraries Ideas for Kindergartens Ideas for Landmarks Ideas for Landscape Design Ideas for Libraries Ideas for Memorials Ideas for Micro Architecture Ideas for Mixed-Use & Business Districts Ideas for Mountain Huts Ideas for Museums Ideas for Office Blocks Ideas for Performing Arts Buildings Ideas for Performing Arts Spaces Ideas for Public Interiors Ideas for Public Parks Ideas for Religious Buildings Ideas for Sacred Spaces Ideas for Schools Ideas for Spaces for Art Ideas for Sport Venues Ideas for Stadiums Ideas for Stairs Ideas for Streets & Squares Ideas for Town Halls Ideas for Transportation Facilities Ideas for Universities Ideas for Urban Planning Il Cerchio - Homage to Bruno Munari Il Quadrato - Homage to Bruno Munari Il Triangolo - Homage to Bruno Munari Imaginary Landscapes Insistence of Nature Isometric. Oblique Drawing Luca Galofaro. Atlas of Notes Montages Orthogonal Radical Resistance Reality and Fantasy Renato Rizzi. Anger of Form Scrapbook Steven Holl. Working with Doubts Topographies Topology of Neighborhoods Urban Visions
• Bamboo Black Blue Bricks Cardboard Carpets Coloured Concrete Colours Concrete Cor-ten Cyan Diaphanous and Translucent Exploring Patterns Fabric Glass God is in the Details Gold Green Grey Ice Marble Membranes Metals Orange Perforated Pink Plaster Polycarbonate Purple Rammed Earth Red Stone Terracotta The Importance of Being Material Tiles Timber Wallpapers White Yellow
• Details of Facades Details of Frames Details of Interiors Details of Outdoor Spaces Details of Roofs Details of Stairs Details of Structures Plans of Apartment Blocks Plans of Apartments Plans of Bars and Restaurants Plans of Civic Buildings Plans of Cultural Centers Plans of Health Facilities Plans of Hotels Plans of Kindergartens Plans of Libraries Plans of Museums Plans of Office Blocks Plans of Offices Plans of Performing Arts Centers Plans of Public Spaces Plans of Religious Buildings Plans of Schools Plans of Shops Plans of Single-family Houses Plans of Sport Facilities Plans of Transportation Facilities Sections
• Apartment Renovations Australian Interiors Austrian Interiors Austrian Interiors - Vienna Bathrooms Bedrooms Belgian Interiors Brazilian Interiors Brick Interiors British Interiors British Interiors - London Chinese Interiors Chinese Interiors - Beijing Concrete Interiors Dining Rooms Duplex Dutch Interiors Dutch Interiors - Amsterdam East European Interiors French Interiors French Interiors - Paris German Interiors German Interiors - Berlin Greek Interiors grid-like interiors Home Offices Indian Interiors Interiors Irish Interiors - Dublin Italian Interiors Italian Interiors - Apulia Italian Interiors - Campania Italian Interiors - Emilia-Romagna Italian Interiors - Friuli Venezia Giulia Italian Interiors - Lazio Italian Interiors - Liguria Italian Interiors - Lombardy Italian Interiors - Marche Italian Interiors - Milan Italian Interiors - Piedmont Italian Interiors - Rome Italian Interiors - Sardinia Italian Interiors - Sicily Italian Interiors - Trentino Alto Adige Italian Interiors - Turin Italian Interiors - Tuscany Italian Interiors - Umbria Italian Interiors - Veneto Italian Kitchens Japanese Interiors Japanese Interiors - Tokyo Japanese Kitchens Kitchens Latin-American Interiors Living Rooms Lofts and Penthouses Machine à Habiter Middle-East Interiors Middle-East Interiors - Tel Aviv Mountains Interiors North-American Interiors North-American Interiors - New York Portuguese Interiors Portuguese Interiors - Lisbon Portuguese Interiors - Porto Reused for Living Saunas Scandinavian Interiors Southeast Asia Interiors Spanish Interiors Spanish Interiors - Barcelona Spanish Interiors - Madrid Spanish Interiors - Valencia SPANISH KITCHENS Stone Interiors Swiss Interiors Tropical Interiors Un-private Interiors Vernacular Interiors wardrobe Wooden Interiors
• Archives Art Galleries Art Studios and Workshops Atriums Auditoriums Beauty Salons Canteens Classrooms Clinics Clubs & Discos Coffee Shops Coloured Interiors Corridors Co-working Day Centres Delis & Fast food Entrance Halls Gyms Interior Voids Italian Bars Libraries Lobbies Locker rooms Offices and Studios Offices of Architecture Post-industrial Interiors Receptions Reused for Culture Reused for Hospitality Reused for Learning Reused for Recreation and Training Reused for Working & Trading Sacred Spaces Showrooms and Shops Space for Art Toilets Wellness Facilities and Spas
• Additions Architects' Notebooks Architectural Drawings Architectural Models Architecture and Water Architecture Goes Wild Art and Architecture Bell'Italia Below Ground Zero Beyond Minimal Brutalism Building High Building in Between building in historical context Building in Landscape Building in Urban Context Building Together By Night Cantilevers: Dialogues with Gravity Concrete Expressions Containers Critical Conservation & Transformative Reuse Dialogues with History Don't get Lost Enfilades Ephemeral Existenzminimum Extra Small Folding Architecture Forgotten & interrupted Going Places Handmade Inflated Architecture Inside Modernism Into the Wild Is Ornament a Crime? Italian Beach Houses Italian Drawings Italian Modern Heritage Italian Restorations La Biennale di Venezia Labyrinths La Piazza Italiana Less is More, More or Less Light & Shadows Lite Made in Italy Metropolis Milano Design Week Modern Heritage Mountains Architecture Nervi Factor Old Masters Pets Photo Essays Piranesi Factor Playgrounds Portraits Post-industrial Architecture Public Sitting Redundancy Reflections Repurposed Recycled Reused Restored and Reused Rural Modernity Schools of Architecture Seashore Architecture Sequences Silos Social Subtraction SUSTAINABLE ARCHITECTURE SUSTAINABLE HOUSES Temporary Gardens The Fifth Facade The Informal City Turning from Brown to Green Typography & Architecture Un Certain Regard Urban Corners Urban Facades Urban Graffiti Vernacular Volumes! Walking and Cycling WIP - Work in Progress
• Administrative Centers Airports Apartment Blocks Archaeological Parks Arenas Bars Beach Facilities Bike Stations Boathouses and Marinas Bus Stops Camping Car Parks Catwalks Chapels Churches Cinemas City and Town Halls Civic Centers Colleges and Universities Concert Halls Convention Centers Convents, Monastries, Parishes Courthouses Covered Squares Cultural Centers Deck Access Blocks Exhibit Design Exhibition and Fair Centers Expo Pavilions Fair Stands Fire & Police Stations Floating architecture Footbridges Funerary Funerary Chapels Garages, Depots and Warehouses Garden Studios Gas Stations, Rest Areas and Toll Gates Green and Scenic Walkways Greenhouses Headquarters Hospitals & Health Centers Hostels and Guesthouses Hotels Industrial Buildings Installations Italian Churches Kindergartens and Pre-schools Landscape Design Libraries and Mediatheques Maritime Facilities Memorials Metro Stations Mosques Mountain Huts Museums Music Schools and Art Academies nursing and care homes Office Blocks Outdoor Performing Arts Venues Outdoor Sports Fields Pavilions Power Plants Primary Schools Prisons & Detention Centres Private Gardens Public and Social Housing Research Centers Residential Complexes Restaurants Retail Markets Row Houses Scenographies Secondary Schools Shopping Centers Skateparks Small Apartment Blocks Small Urban Gardens Sport & Country Clubs Sport Halls Squares & Streets Stadiums Student Halls Student Houses Swimming Pools Synagogues Tea Houses Temples Theaters Tourist Routes Tower Blocks and Skyscrapers Traffic Bridges Training Centers Train Stations Transportation Hubs Urban Parks Visitor Centers Waterfronts and Coastal Redevelopments Wineries and Distilleries Zoos and Animal Shelters

May be because we wanted to distinguish divisare from the web that is condemned to a sort of vertical communication, always with the newest architecture at the top of the page, as the "cover story," "the focus."

Content that was destined, just like the oh-so-new architecture that had just preceded it a few hours earlier, to rapidly slide down, day after day, lower and lower, in a vertical plunge towards the scrapheap of page 2.

So we began to build divisare not vertically, but horizontally.

Our model was the bookcase, on whose shelves we have gathered and continue to collect hundreds and hundreds of publications by theme. Every Collection in our Atlas tells a particular story, conveys a specific viewpoint from which to observe the last 20 years of contemporary architecture. A long, patient job of cataloguing, done by hand: image after image, project after project, post after post. Behind all this there is the certainty that we can do better than the fast, distracted web we know today, where the prevailing business model is: "you make money only if you manage to distract your readers from the contents of your own site." With divisare we want to offer the possibility, instead, of perceiving content without distractions. No "click me," "tweet me, "share me,” "like me." No advertising. banners, pop—ups or other distracting noise.

It is a different idea of the web, which we might call slow web.

• Selected Projects
• General Index
• Albania Algeria Angola Argentina Armenia Australia Austria Bahrain Bangladesh Belarus Belgium Bosnia and Herzegovina Brazil Bulgaria Canada Chile China Colombia Costa Rica Croatia Cuba Cyprus Czech Republic Denmark Dominican Republic Ecuador Egypt El Salvador Estonia Finland France Georgia Germany Ghana Greece Guatemala Hong Kong Hungary Iceland India Indonesia Iran (Islamic Republic of) Ireland Israel Italy Japan Jordan Korea (Republic of) Kuwait Latvia Lebanon Lithuania Luxembourg Malaysia Malta Mexico Montenegro Morocco Netherlands New Zealand North Macedonia Norway Pakistan Panama Paraguay Peru Poland Portugal Puerto Rico Romania Russian Federation Rwanda San Marino Saudi Arabia Serbia Singapore Slovakia Slovenia South Africa Spain Sweden Switzerland Syrian Arab Republic Taiwan, Province of China Thailand Tunisia Turkey Ukraine United Arab Emirates United Kingdom of Great Britain and Northern Ireland United States of America Uruguay Venezuela (Bolivarian Republic of) Viet Nam
• A Coruña Ahmedabad Amsterdam Antwerpen Athens Bangalore Bangkok Barcelona bari Basel Beijing Beirut Belgrade Bergamo Berlin Bogotá Bologna Bordeaux Braga Bratislava Brescia Brooklyn Brussels Brussels Bucuresti Budapest Buenos Aires Cagliari Caserta Chicago Copenhagen Córdoba Curitiba Delft Dublin Ferrara Firenze Genève Genova Gent Ghent Granada Graz Guadalajara Hamburg Helsinki Hong Kong Innsbruck Istanbul Köln Kraków Kyiv Lausanne Lima Lisboa Lisbon Ljubljana London Los Angeles Lugano Lyon Madrid Marseille Mendrisio Mexico City Milan Milano Montevideo Montpellier Montreal Moscow München Munich Nantes Napoli New York Oslo Padova Palermo Pamplona Paris Porto Prague Praha Quito Riga Rio de Janeiro Roma Rome Rotterdam San Francisco Santiago São Paulo Seoul Sevilla Shanghai Shenzhen Singapore Stockholm Strasbourg Stuttgart Sydney Taipei Tehran Thessaloniki Tirana Tokyo Torino Toronto Toulouse Valencia Valladolid Venezia Verona Vibo Valentia Vienna Vilnius Warsaw Zagreb Zurich Zürich
• Search designers
• Argentina Australia Austria Bangladesh Belarus Belgium Brazil Bulgaria Canada Chile China Colombia Croatia Cuba Cyprus Czech Republic Côte d'Ivoire Denmark Ecuador Estonia Finland France Georgia Germany Greece Guatemala Hong Kong Hungary Iceland India Indonesia Iran (Islamic Republic of) Ireland Israel Italy Japan Korea (Republic of) Kuwait Latvia Lebanon Lithuania Luxembourg Malaysia Mexico Netherlands New Zealand Norway Paraguay Peru Poland Portugal Puerto Rico Romania Russian Federation Serbia Singapore Slovakia Slovenia South Africa Spain Sweden Switzerland Taiwan, Province of China Thailand Tunisia Turkey Ukraine United Arab Emirates United Kingdom of Great Britain and Northern Ireland United States of America Uruguay Venezuela (Bolivarian Republic of) Viet Nam
• A Coruña Ahmedabad Amsterdam Antwerp Antwerpen Athens Atlanta Auckland Bali Bangalore Bangkok Barcelona Basel beijing Beijing Beirut Belgrade Bergen Berlin Bern Bilbao Billings Bogotá Bordeaux Braga Bratislava Brooklyn Brussels Bruxelles Bucharest Bucuresti Budapest Buenos Aires Cape Town Caracas Chiang Mai Chicago Chongqing Ciudad del Mexico Cologne Conegliano Copenhagen Cordoba Córdoba Curitiba Delft Denver Dhaka Dortmund Dublin Düsseldorf Edinburgh Firenze Forlì Geneva Genève GHent Ghent Glasgow Göteborg Granada Graz Guadalajara Guangzhou Haarlem Hamburg Hangzhou Hanoi Heidelberg Helsinki Hong Kong Innsbruck Istanbul Jakarta Kalmthout Karlsruhe Kerala Kiev København Köln Kortrijk Kuala Lumpur Kyoto Lausanne Leipzig León Lima Lisboa Lisbon Ljubljana London Los Angeles Lugano Lyon Maastricht Madrid Malmö Manchester Mannheim Mantova Marseille Melbourne Mendrisio Merida Mexico City Miami Milano Minsk Monterrey Montevideo Montpellier Montreal Montreuil Moscow Mumbai München Munich Nantes New Delhi New York New York City Osaka Oslo Palma de Mallorca Pamplona Paris Perm Perth Porto Prague Praha Quito Reykjavik Reykjavík Riga Roma Rome Rosario Rotterdam San Francisco Santiago São Paulo Seattle Seoul Sevilla Shanghai Singapore Sofia Stockholm Strasbourg Stuttgart Suzhou Sydney Taipei Tallinn Tasmania Tehran Tel Aviv Tel-Aviv Tokyo Torino Toronto Toulouse Trento Utrecht Valladolid Vancouver Venezia Venice Victoria Vienna Vilnius Warsaw Washington Zagreb Zaragoza Zurich Zürich
• Search photographers

Möbius House

With its low-slung, elongated outlines the private house forms a link between the different features of the surroundings; the spatial loop enables the house to take in the extreme aspects of the landscape. By being stretched to the maximum, rather than displaying a compact or tall shape, the house conveys from the interior the idea of a walk in the countrysite.

The Möbius loop, the spatial quality of which means that it is present in both plan and section, translates into the interior into a 24-hour cycle of sleeping, working and living. As the loop turns inside out the materialization follows these change-overs; glazed details and concrete structural elements swap roles as glazed facades are put in front of the concrete construction, dividing walls are made of glass and furniture such as tables and stairs are made of concrete.

The diagram:

PRIVATE The diagram of the double-locked torus conveys the organization of two intertwining paths, which trace how two people can live together, yet apart, meeting at certain points, which become shared spaces. The idea of two entities running their own trajectories but sharing certain moments, possibly also reversing roles at certain points, is extended to include the materialization of the building and its construction. The instrumentalization of this simple, borrowed drawing is the key. The two interlocking lines are suggestive of the formal organization of the building, but that is only the beginning; diagrammatic architecture is a process of unfolding and ultimately of liberation. The diagram liberates architecture from language, interpretation, and signification.TC \l 4 "The diagram of the double-locked torus conveys the organization of two intertwining paths, which trace how two people can live together, yet apart, meeting at certain points, which become shared spaces. The idea of two entities running their own trajectories but sharing certain moments, possibly also reversing roles at certain points, is extended to include the materialization of the building and its construction. The instrumentalization of this simple, borrowed drawing is the key. The two interlocking lines are suggestive of the formal organization of the building, but that is only the beginning; diagrammatic architecture is a process of unfolding and ultimately of liberation. The diagram liberates architecture from language, interpretation, and signification."

The diagram for the Möbius house consists of two interlocking lines. The double-locked torus integrates programme, circulation and structure seamlessly. As the diagram unfolds, the interlocking lines come to stand for the two main materials used for the house, glass and concrete, which move in front of each other and switch places.

The abstraction of the diagram facilitates different interpretations, such as working with two materials and using time in relation to the distribution. As a graphic representation of 24 hours of family life, the double-locked torus acquires a time-space dimension, which leads to the implementation of the Möbius band. The unfolding of time and the internal regulation of the program relate to the concept of the double-locked torus. Equally, the site and its relationship to the building are important for the design. The site covers two hectares, which are divided into four areas distinct in character. Linking these with the internal organization of the Möbius band transforms living in the house into a walk in the landscape.

The mathematical model of the Möbius is not literally transferred to the building, but is conceptualized or thematized and can be found in architectural ingredients, such as the light, the staircases, and the way in which people move through the house. So, while the Möbius diagram introduces aspects of duration and trajectory, the diagram is worked into the building in a mutated way.

UN Studio: Ben van Berkel with Aad Krom, Jen Alkema and Matthias Blass, Remco Bruggink, Marc Dijkman, Casper le Fevre, Rob Hootsmans, Tycho Soffree, Giovanni Tedesco, Harm Wassink

West 8, Rotterdam

Structural Engineering: ABT, Velp

• Concrete Interiors
• Dutch Houses

Sign up to receive our monthly newsletter and start discovering all the best videos from our platform, be updated on all our news, events and our Public Sessions. Are you an independent video author or an architect who makes films for introducing new projects? By signing up you will be allowed to access your personal profile page and submit your works for possible publication and exposure to our readers.

• Terms of service

This Agreement documents the legally binding terms and conditions attached to the use of the Architecture Player website at www.architectureplayer.com

www.architectureplayer.com is referred to hereunder as “the Architecture Player” or “Site”. By using or accessing the Site in any way, viewing or browsing the Site, or adding your own content to the Site, you (referred to hereunder as “you” or “User”) are agreeing to be bound by these Terms of service.

What is the Architecture Player

The Architecture Player is a web platform, specialized in architecture videos. Its contents are curated by Image (via Venti Settembre 84, 50129 Firenze, Italy). Image offers to all authors of architecture videos the possibility of submitting their videos for possible publication on the Architecture Player. The Architecture Player collects information provided by the video authors interested in publishing their work on the Site. The editorial staff at the Architecture Player elaborates additional original editorial contents what will be associated to the videos selected for publication, in order to comment them and introduce them to its audience, in accordance with the criteria that inspire the editorial philosophy of the Site.

Your privacy rights are set forth in our Privacy Policy , which forms a part of this Agreement. Please review the Privacy Policy to learn about: - what information we may collect about you; - what we use that information for; - with whom we share that information.

Access to the Site

Access to the Architecture Player website is free and open to the public.

Registration. To submit videos to the Architecture Player, you must register either via Facebook or Google+ or by providing a valid email address and a password. By registering on the Site and completing the sign up form, you agree to provide correct, precise and complete personal information to the Architecture Player. If there are any changes to this personal information you will update the details held by the Architecture Player to ensure that they remain correct, complete and up-to-date. You agree not to use another person’s identity or to use a false name. If some of the information you provide is false or imprecise, the Architecture Player reserves the right to suspend or cancel your access to restricted areas of the Site.

Newsletter. The newsletter published by the Architecture Player is sent on a regular basis to all who register on the Site. Users may opt out of subscription to the newsletter by ticking the opt-out box on their Profile page or by following instructions provided in the newsletter.

Account security. You are responsible for all activity that occurs under your account, including any activity by unauthorized users. You must not allow others to use your account. You must safeguard the confidentiality of your password. If you are using a computer that others have access to, you must log out of your account after using the Architecture Player. If you become aware of an unauthorized access to your account, you must change your password and notify us immediately.

Video submission guidelines

- You can upload videos that you helped create (as director, editor, musician, motion graphics artist, actor, etc.) as long as you have the necessary permissions from the copyright holders.

- You agree that Content you submit to the Architecture Player will not contain any third party copyright material, or material that is subject to other third party proprietary rights (including rights of privacy or rights of publicity), unless you have a formal licence or permission from the rightful owner, or are otherwise legally entitled to submit the material in question.

- The Architecture Player reserves the right (but shall have no obligation) to decide whether the Content you submit complies with the content requirements set out in these Terms and may remove such Content and/or terminate your access for uploading Content which is in violation of these Terms at any time, without prior notice and at its sole discretion.

- It is a condition of your use of the Site that all the information you provide to the Architecture Player is correct, current and complete.

- After signing up, you may access your Profile page and upload videos to be submitted to the Architecture Player. For each video, you must provide some information which is required for registration (title, country, year of production, description, thumbnail) and some information which is optional (additional credits). All optional information will be useful for the editorial staff at the Architecture Player to be fully acquainted with the submitted video; we strongly encourage you to provide as much information on the videos you submit as possible.

- Our editorial staff reviews all videos submitted to the Architecture Player and, based on its editorial philosophy, will publish the ones it deems most commendable, in terms of their contents and artistic research. Each published video will be introduced by an original editorial commentary and associated to the author’s (authors’) biographical note. You will be informed if a video you submitted was selected and published by the Architecture Player.

- After submitting Content to the Architecture Player, you will always remain responsible for your Content, also after termination of your personal account. It is the Architecture Player’s policy, in appropriate circumstances and at its discretion, to disable and/or terminate the accounts of any User who may infringe or repeatedly infringe the copyrights or other (intellectual property) rights of the Architecture Player and/or others.

Video management

The Architecture Player will only refer to the User who submitted the video to the Site. The User won't be able to modify or update any data relating to a video he/she submits to the Architecture Player. It will not be possible to modify or update data relating to a video once it is published on the Architecture Player. However, the Architecture Player editorial staff is available to complete information regarding credits for a video in case a third party, involved in the making of such video, requests it. All such requests will be evaluated by the Architecture Player editorial staff, on an individual basis.

Content restrictions

You may not submit any video, image, text, audio recording, or other work (collectively, "Content") that: - Infringes any third party's copyrights or other rights (e.g., trademark, privacy rights, etc.); - Contains sexually explicit content or pornography (provided, however, that non-sexual nudity is permitted); - Contains hateful, defamatory, or discriminatory content or incites hatred against any individual or group; - Exploits minors; - Depicts unlawful acts or extreme violence; - Depicts animal cruelty or extreme violence towards animals; - Promotes fraudulent schemes, multi level marketing (MLM) schemes, get rich quick schemes, online gaming and gambling, cash gifting, work from home businesses, or any other dubious money-making ventures; or - Violates any law. Intellectual property

The Site and all of its original editorial contents (commentaries, etc.) are the sole property of the Architecture Player and are, as such, fully protected by the appropriate international copyright and other intellectual property rights laws. You may not use the Architecture Player webite, or content created thereon, for commercial purposes.

• Privacy policy

Möbius House

An early digital model, animated and integrated into a diagram that acts as a metaphoric project..

• Author: UNStudio
• How it works

Mobius house

The residence is located in Het Gooi, Holland, Netherlands. It was designed in 1997 by architect Ben Van Berkel for a young couple. The design was based on a Möbius strip diagram studied by mathematician August Ferdinand Möbius, featuring a continuous loop without beginning or end. The residence integrates the program and movement through this loop in concrete without seams, allowing the various daily activities of residents to flow throughout the structure. It is a low, elongated form with extensive use of glass that blurs boundaries between interior and exterior. Read less

More Related Content

What's hot, what's hot ( 20 ), similar to mobius house, similar to mobius house ( 20 ), recently uploaded, recently uploaded ( 20 ).

• 2. LOCATION AND SURROUNDINGS LOCATION : Het Gooi, Holland ,Netherlands LOCATION AREA : 550 m2 PROJECT YEAR : 1997 ARCHITECT : Ben Van Berkel , UN Studio
• 3. CLIENT DEATILS AND ADVISORS PROGRAM : SINGLE - FAMILY LANDSCAPE ARCHITECT : West 8, Rotterdam STRUCTURAL ENGINEER : ABT, Velp
• 4. ABOUT THE RESIDENCE In 1993, a young couple instructed the Dutch architect Ben van Berkel design “a house that was recognized as a reference in terms of renewal of the architectural language.” After six years of work, the architect responded to the wishes of customers with a house that was based on studies of a German mathematician of the nineteenth century.
• 5. The idea of two people going through their own paths but share certain times, possibly by exchanging their roles at certain points, was developed to reach materialize as the object built. The house had to weave the various stages of the individual activities of each family member in the same structure: work, sleep, socialize, family life, and even the time of loneliness that is needed to oneself. Consequently, the notion of time and duration were important concepts from the outset and, later, influence on the way of perceiving the house and its objects from different points of view. The schema that contains these features was found in the Moebius strip, the diagram studied by the astrologer and mathematician August Ferdinand Möbius (1790-1868). The Moebius strip is the figure of 8 without a right or vice versa, without beginning or end. Berkel from the projected Moebius strip a house that integrates the program, the movement and structure, all without seams. The movement through this loop built in concrete trace all the patterns of daily activity.
• 7. DESCIPTION OF THE RESIDENCEThe property is structured in three levels, two studies in each of the ends of the house for their respective professions, three bedrooms, a meeting room, being, a kitchen, a storehouse and a greenhouse on the top, All these units are linked into the routine of time. Low and elongated forms of housing, which are a result of stretching the structure to the maximum, in addition to the massive use of glass enclosures, is increasing linkages with the environment. The house takes aspects of the landscape and, from inside, residents are experiencing the idea of walking through the countryside. The contortions and twists in the house beyond the mathematical diagram. Correspond to the movement that shaped by a new lifestyle characterized by the use of electronic systems at work. Ben van Berkel has managed to give an additional meaning to the diagram of the Moebius strip, a new symbolic value that corresponds with the increasingly blurred boundaries between home and work.
• 8. ZONING OF THE RESIDENCE GROUND FLOOR: GUEST ROOM CIRCULATION SPACE STORAGE TOILET
• 9. ZONING OF THE RESIDENCE FIRST FLOOR: LIVING ROOM MEETING ROOM VERANDA KITCHEN STORAGE CIRCULATION CIRCULATI ON RAMP STUDIO 1 BEDROOM
• 10. ZONING OF THE RESIDENCE SECOND FLOOR : TOILET STUDIO 2 CIRCULATION STORAGE BEDROOM 2BEDROOM 1
• 11. SITE PLAN OF THE RESIDENCE
• 12. LIGHTING AND SPACES
• 13. MATERIALS CONCRETE TIMBER GLASS
• 14. ELEVATION OF THE RESIDENCE
• 15. ADVANTAGES ALOT OF IMPORTANCE IS GIVEN TO WORKING SPACES. THERE IS GOOD LIGHTING AND VENTILATION INSIDE THE HOUSE. THE RESIDENCE IS SURROUNDED WITH ALOT OF GREENERY.
• 16. DISADVANTAGES THERE ARE NO SPACES FOR INTERACTION BETWEEN THE FAMILY EXCEPT FOR THE DINING ROOM. THERE ARE ALOT OF NARROW CORRIDORS WHICH LOOKS ALITTLE SCARY.
• 17. SECTION
• 18. SECTION
• 19. INTERIOR
• 20. INTERIOR
• 21. INTERIOR
• 22. INTERIOR
• 23. Thank You Rajasri. S

Browse Course Material

Course info.

• Prof. Alexandros Tsamis

Departments

• Architecture

As Taught In

• Graphics and Visualization
• Architectural Design
• Digital Media

Learning Resource Types

Special problems in architectural design, mobius house.

Student’s final presentation for House Analysis assignment.

You are leaving MIT OpenCourseWare

• Mobius house of hemp bricks and concrete by Gibbons Design

Starring: Antony Gibbons Design,

Section: Residences , Ville , Housing ,

Materials: Cement , Hemp , Glass ,

An elliptical house with a swimming pool inspired by a Möbius strip and made out of hempcrete by Antony Gibbons Design

• Architectural Solutions

Other photos... Other photos...

LATEST FROM FLOORNATURE

Concrete Stormwater Facility by gh3*

FMD Architects’ house with Coopworth wool insulation

Coop Himmelb(l)au’s filtering roof for Akron Museum

Related Articles: Glass

Related Articles: Residences

Curved steel façade for BIG’s The Smile building

Related Articles: Cement

Related Articles: Hemp

Lemoal Lemoal’s sports hall of timber and hempcrete blocks

Related Articles: Housing

Concrete and glass social housing apartments by Atelier Kempe Thill

Related Articles: Ville

Sign up in floornature

Floornature is an international design and architecture portal with a focus on contemporary architecture, exclusive interviews with great masters of international architecture and the most interesting new developments in the world of architecture.

Il nostro sito web utilizza i cookie per assicurarti la migliore esperienza di navigazione. Se desideri maggiori informazioni sui cookie e su come controllarne l’abilitazione con le impostazioni del browser accedi alla nostra Cookie Policy

Stay in touch with the protagonists of architecture, Subscribe to the Floornature Newsletter

Committed to connecting the world

• Media Centre
• Publications
• Areas of Action
• Regional Presence
• General Secretariat
• Radiocommunication
• Standardization
• Development
• Members' Zone

ITU: Committed to connecting the world

Giga connects schools and communities

ITU hosts the first Giga Connectivity Forum, aimed at charting the course for universal school connectivity by 2030. Learn more ​

Digital regulators promote transformative technologies

​ITU’s Global Symposium for Regulators (GSR-24) endorsed guidelines balancing innovation with regulation to maximize the benefits of tech for all. Read the press release​

Not a woman’s job?

Check out ITU's photo selection for the exhibition that just opened at the Palais des Nations, the main United Nations office in Geneva.

Open our photo gallery ​

AI for Good summit snapshot

​This year's AI for Good Global Summit delved into the benefits and the risks of artificial intelligence (AI) for humanity.

Download the snapshot report ​

Machine translation by ITU Translate. See full disclaimer . Provide feedback .​​

News and views ​ ​

Regulation for a better digital experience​​

​ Including women for responsible AI

Connectivity transforming Arab societies​​

In depth​​​

United Nations Activities on Artificial Intelligence (AI)​​

​ ITU Council 2024 snapshot report ​

PARTNER2CONNECT

SDG DIGITAL AWARD

KALEIDOSCOPE 2024

• ​ Who we are ​
• Our regional presence
• ITU Strategic Plan​​
• ​ Connect 2030 Agenda
• ITU Activities 2023-2024​ (PDF version)
• ​​World Telecommunication & Information Society Day​​ | ITU's 160th anniversary
• Gender equality ​
• ​ History of ITU ​
• ITU Headquarters: New Building Project
• Procurement
• ​ Ethics Office​
• ITU Plenipotentiary Conference
• ITU Council ​​
• ​ Basic Texts​ of the Union
• ITU Information/Document Access Policy
• Regional Telecommunication Organizations
• C​onferences ​​

© ITU All Rights Reserved

• Privacy notice
• Accessibility
• Report misconduct

• Hispanoamérica
• Work at ArchDaily
• Terms of Use
• Privacy Policy
• Cookie Policy

Dogchitecture: WE Architecture Designs a Center That Challenges Traditional Animal Shelters

• Written by Ella Comberg

Copenhagen firm WE Architecture has completed a proposal for a “Dog Center” in Moscow that challenges traditional notions of animal shelters. Nestled in the countryside, the one-story pavilion will rely on a series of courtyards divided by pergolas that disappear into the landscape. The firm notes that the courtyards, which provide enclosed outdoor space for the dogs , allow the center “to avoid the 'jail-like' fencing which is often associated with dog shelters."

WE, in collaboration with MASU Planning , hopes to create a “healthy and inspiring environment for sheltered dogs and for the different people who will visit and work at the Center.” The project accomplishes its atmospheric goals by complimenting steel pillars with wooden rafters. The rafters extend to create an exterior overhang which functions as “a sun screen in summer time and as an exterior cover/hallway on rainy days.” As visitors approach the building, the green roof , which sits atop the wooden rafters, is meant to serve as a “fifth facade” that can blend in easily with its wooded surroundings. Extensive outdoor seating space bleeds into greenery, inviting both human and animal recreation.

Design Team

Project year, photographs.

News via: WE Architecture

Project gallery

Materials and Tags

• Sustainability

世界上最受欢迎的建筑网站现已推出你的母语版本!

想浏览archdaily中国吗, you've started following your first account, did you know.

You'll now receive updates based on what you follow! Personalize your stream and start following your favorite authors, offices and users.

About Stanford GSB

• The Leadership
• Dean’s Updates
• School News & History
• Commencement
• Business, Government & Society
• Centers & Institutes
• Center for Entrepreneurial Studies
• Center for Social Innovation
• Stanford Seed

About the Experience

• Learning at Stanford GSB
• Experiential Learning
• Guest Speakers
• Entrepreneurship
• Social Innovation
• Communication
• Life at Stanford GSB
• Collaborative Environment
• Activities & Organizations
• Student Services
• Housing Options
• International Students

Full-Time Degree Programs

• Why Stanford MBA
• Academic Experience
• Financial Aid
• Why Stanford MSx
• Research Fellows Program
• See All Programs

Non-Degree & Certificate Programs

• Executive Education
• Stanford Executive Program
• Programs for Organizations
• The Difference
• Online Programs
• Stanford LEAD
• Seed Transformation Program
• Aspire Program
• Seed Spark Program
• Faculty Profiles
• Academic Areas
• Awards & Honors
• Conferences

Faculty Research

• Publications
• Working Papers
• Case Studies

Research Hub

• Research Labs & Initiatives
• Business Library
• Data, Analytics & Research Computing
• Behavioral Lab

Research Labs

• Cities, Housing & Society Lab
• Golub Capital Social Impact Lab

Research Initiatives

• Corporate Governance Research Initiative
• Corporations and Society Initiative
• Policy and Innovation Initiative
• Rapid Decarbonization Initiative
• Stanford Latino Entrepreneurship Initiative
• Value Chain Innovation Initiative
• Venture Capital Initiative
• Career & Success
• Climate & Sustainability
• Corporate Governance
• Culture & Society
• Finance & Investing
• Government & Politics
• Leadership & Management
• Markets and Trade
• Operations & Logistics
• Opportunity & Access
• Technology & AI
• Opinion & Analysis
• Email Newsletter

Welcome, Alumni

• Communities
• Digital Communities & Tools
• Regional Chapters
• Women’s Programs
• Identity Chapters
• Find Your Reunion
• Career Resources
• Job Search Resources
• Career & Life Transitions
• Programs & Webinars
• Career Video Library
• Alumni Education
• Research Resources
• Volunteering
• Alumni News
• Class Notes
• Alumni Voices
• Contact Alumni Relations
• Upcoming Events

Admission Events & Information Sessions

• MBA Program
• MSx Program
• PhD Program
• Alumni Events
• All Other Events
• Operations, Information & Technology
• Organizational Behavior
• Political Economy
• Classical Liberalism
• The Eddie Lunch
• Accounting Summer Camp
• Videos, Code & Data
• California Econometrics Conference
• California Quantitative Marketing PhD Conference
• California School Conference
• China India Insights Conference
• Homo economicus, Evolving
• Political Economics (2023–24)
• Scaling Geologic Storage of CO2 (2023–24)
• A Resilient Pacific: Building Connections, Envisioning Solutions
• Adaptation and Innovation
• Changing Climate
• Civil Society
• Climate Impact Summit
• Climate Science
• Corporate Carbon Disclosures
• Earth’s Seafloor
• Environmental Justice
• Operations and Information Technology
• Organizations
• Sustainability Reporting and Control
• Taking the Pulse of the Planet
• Urban Infrastructure
• Watershed Restoration
• Junior Faculty Workshop on Financial Regulation and Banking
• Ken Singleton Celebration
• Marketing Camp
• Quantitative Marketing PhD Alumni Conference
• Presentations
• Theory and Inference in Accounting Research
• Stanford Closer Look Series
• Quick Guides
• Core Concepts
• Journal Articles
• Glossary of Terms
• Faculty & Staff
• Researchers & Students
• Research Approach
• Charitable Giving
• Financial Health
• Government Services
• Workers & Careers
• Short Course
• Adaptive & Iterative Experimentation
• Incentive Design
• Social Sciences & Behavioral Nudges
• Bandit Experiment Application
• Conferences & Events
• Get Involved
• Reading Materials
• Teaching & Curriculum
• Energy Entrepreneurship
• Faculty & Affiliates
• SOLE Report
• Responsible Supply Chains
• Current Study Usage
• Pre-Registration Information
• Participate in a Study

White Square: A Perfect Storm in Moscow

Brian Patterson was the lead developer of a large office project in Moscow when the global financial crisis hit. His project, which had looked like it would be jaw-droppingly profitable just months before, was suddenly thrown into turmoil, and he faced trouble on all fronts. His local development partner wanted to sell in order to shore up its failing balance sheet, his world-class anchor tenant suddenly reneged on its pre-lease agreement, the contractor was running months behind schedule, and the project’s bank was looking for any excuse to pull the construction loan.

Just months earlier, the project pro forma had projected hundreds of millions of dollars in profit. Suddenly there were serious questions around whether the project could even be completed. And if it could, what rent and cap rate values could be assumed to determine if it made sense to continue development? Patterson needed to make some assumptions to determine whether or not to accept a sale offer that had been drudged up by his local partner. And if he decided to turn down the sale offer, he needed to find a way forward through a maze of (i) diverging interests amongst his partners and (ii) project development problems.

As the economic and financial system faced global turmoil and threatened collapse, Patterson had to decide whether to keep developing the project – at significant risk to both the project and his personal career – or to sell for a modest profit and live to fight another day.

Learning Objective

• Priorities for the GSB's Future
• See the Current DEI Report
• Supporting Data
• Research & Insights
• Share Your Thoughts
• Search Fund Primer
• Affiliated Faculty
• Faculty Advisors
• Louis W. Foster Resource Center
• Defining Social Innovation
• Impact Compass
• Global Health Innovation Insights
• Faculty Affiliates
• Student Awards & Certificates
• Changemakers
• Dean Jonathan Levin
• Dean Garth Saloner
• Dean Robert Joss
• Dean Michael Spence
• Dean Robert Jaedicke
• Dean Rene McPherson
• Dean Arjay Miller
• Dean Ernest Arbuckle
• Dean Jacob Hugh Jackson
• Dean Willard Hotchkiss
• Faculty in Memoriam
• Stanford GSB Firsts
• Class of 2024 Candidates
• Certificate & Award Recipients
• Dean’s Remarks
• Keynote Address
• Teaching Approach
• Analysis and Measurement of Impact
• The Corporate Entrepreneur: Startup in a Grown-Up Enterprise
• Data-Driven Impact
• Designing Experiments for Impact
• Digital Marketing
• The Founder’s Right Hand
• Marketing for Measurable Change
• Product Management
• Public Policy Lab: Financial Challenges Facing US Cities
• Public Policy Lab: Homelessness in California
• Lab Features
• Curricular Integration
• View From The Top
• Formation of New Ventures
• Managing Growing Enterprises
• Startup Garage
• Explore Beyond the Classroom
• Stanford Venture Studio
• Summer Program
• Workshops & Events
• The Five Lenses of Entrepreneurship
• Leadership Labs
• Executive Challenge
• Arbuckle Leadership Fellows Program
• Selection Process
• Training Schedule
• Time Commitment
• Learning Expectations
• Post-Training Opportunities
• Who Should Apply
• Introductory T-Groups
• Leadership for Society Program
• Certificate
• 2024 Awardees
• 2023 Awardees
• 2022 Awardees
• 2021 Awardees
• 2020 Awardees
• 2019 Awardees
• 2018 Awardees
• Social Management Immersion Fund
• Stanford Impact Founder Fellowships
• Stanford Impact Leader Prizes
• Social Entrepreneurship
• Stanford GSB Impact Fund
• Economic Development
• Energy & Environment
• Stanford GSB Residences
• Environmental Leadership
• Stanford GSB Artwork
• A Closer Look
• California & the Bay Area
• Voices of Stanford GSB
• Business & Beneficial Technology
• Business & Sustainability
• Business & Free Markets
• Business, Government, and Society Forum
• Second Year
• Global Experiences
• JD/MBA Joint Degree
• MA Education/MBA Joint Degree
• MD/MBA Dual Degree
• MPP/MBA Joint Degree
• MS Computer Science/MBA Joint Degree
• MS Electrical Engineering/MBA Joint Degree
• MS Environment and Resources (E-IPER)/MBA Joint Degree
• Academic Calendar
• Clubs & Activities
• LGBTQ+ Students
• Military Veterans
• Minorities & People of Color
• Partners & Families
• Students with Disabilities
• Student Support
• Residential Life
• Student Voices
• MBA Alumni Voices
• A Week in the Life
• Career Support
• Employment Outcomes
• Cost of Attendance
• Knight-Hennessy Scholars Program
• Yellow Ribbon Program
• BOLD Fellows Fund
• Application Process
• Loan Forgiveness
• Contact the Financial Aid Office
• Evaluation Criteria
• GMAT & GRE
• English Language Proficiency
• Personal Information, Activities & Awards
• Professional Experience
• Letters of Recommendation
• Optional Short Answer Questions
• Application Fee
• Reapplication
• Deferred Enrollment
• Joint & Dual Degrees
• Entering Class Profile
• Event Schedule
• Ambassadors
• New & Noteworthy
• Ask a Question
• See Why Stanford MSx
• Is MSx Right for You?
• MSx Stories
• Leadership Development
• How You Will Learn
• Admission Events
• Personal Information
• GMAT, GRE & EA
• English Proficiency Tests
• Career Change
• Career Advancement
• Daycare, Schools & Camps
• U.S. Citizens and Permanent Residents
• Requirements
• Requirements: Behavioral
• Requirements: Quantitative
• Requirements: Macro
• Requirements: Micro
• Annual Evaluations
• Field Examination
• Research Activities
• Research Papers
• Dissertation
• Oral Examination
• Current Students
• Education & CV
• International Applicants
• Statement of Purpose
• Reapplicants
• Application Fee Waiver
• Deadline & Decisions
• Job Market Candidates
• Academic Placements
• Stay in Touch
• Faculty Mentors
• Current Fellows
• Standard Track
• Fellowship & Benefits
• Group Enrollment
• Program Formats
• Developing a Program
• Diversity & Inclusion
• Strategic Transformation
• Program Experience
• Contact Client Services
• Campus Experience
• Live Online Experience
• Silicon Valley & Bay Area
• Digital Credentials
• Faculty Spotlights
• Participant Spotlights
• Eligibility
• International Participants
• Stanford Ignite
• Frequently Asked Questions
• Founding Donors
• Location Information
• Participant Profile
• Network Membership
• Program Impact
• Collaborators
• Entrepreneur Profiles
• Company Spotlights
• Seed Transformation Network
• Responsibilities
• Current Coaches
• How to Apply
• Meet the Consultants
• Meet the Interns
• Intern Profiles
• Collaborate
• Research Library
• News & Insights
• Program Contacts
• Databases & Datasets
• Research Guides
• Consultations
• Research Workshops
• Career Research
• Research Data Services
• Course Reserves
• Course Research Guides
• Material Loan Periods
• Fines & Other Charges
• Document Delivery
• Interlibrary Loan
• Equipment Checkout
• Print & Scan
• MBA & MSx Students
• PhD Students
• Other Stanford Students
• Faculty Assistants
• Research Assistants
• Stanford GSB Alumni
• Telling Our Story
• Staff Directory
• Site Registration
• Alumni Directory
• Alumni Email
• Privacy Settings & My Profile
• Success Stories
• The Story of Circles
• Support Women’s Circles
• Stanford Women on Boards Initiative
• Alumnae Spotlights
• Insights & Research
• Industry & Professional
• Entrepreneurial Commitment Group
• Recent Alumni
• Half-Century Club
• Fall Reunions
• Spring Reunions
• MBA 25th Reunion
• Half-Century Club Reunion
• Faculty Lectures
• Ernest C. Arbuckle Award
• Alison Elliott Exceptional Achievement Award
• ENCORE Award
• Excellence in Leadership Award
• John W. Gardner Volunteer Leadership Award
• Robert K. Jaedicke Faculty Award
• Jack McDonald Military Service Appreciation Award
• Jerry I. Porras Latino Leadership Award
• Tapestry Award
• Student & Alumni Events
• Executive Recruiters
• Interviewing
• Land the Perfect Job with LinkedIn
• Negotiating
• Elevator Pitch
• Email Best Practices
• Resumes & Cover Letters
• Self-Assessment
• Whitney Birdwell Ball
• Margaret Brooks
• Bryn Panee Burkhart
• Margaret Chan
• Ricki Frankel
• Peter Gandolfo
• Cindy W. Greig
• Natalie Guillen
• Carly Janson
• Sloan Klein
• Sherri Appel Lassila
• Stuart Meyer
• Tanisha Parrish
• Virginia Roberson
• Philippe Taieb
• Michael Takagawa
• Terra Winston
• Johanna Wise
• Debbie Wolter
• Rebecca Zucker
• Complimentary Coaching
• Changing Careers
• Work-Life Integration
• Career Breaks
• Flexible Work
• Encore Careers
• Join a Board
• D&B Hoovers
• Data Axle (ReferenceUSA)
• EBSCO Business Source
• Global Newsstream
• Market Share Reporter
• ProQuest One Business
• Student Clubs
• Entrepreneurial Students
• Stanford GSB Trust
• Alumni Community
• How to Volunteer
• Springboard Sessions
• Consulting Projects
• 2020 – 2029
• 2010 – 2019
• 2000 – 2009
• 1990 – 1999
• 1980 – 1989
• 1970 – 1979
• 1960 – 1969
• 1950 – 1959
• 1940 – 1949
• Service Areas
• ACT History
• ACT Awards Celebration
• ACT Governance Structure
• Building Leadership for ACT
• Individual Leadership Positions
• Leadership Role Overview
• Purpose of the ACT Management Board
• Contact ACT
• Business & Nonprofit Communities
• Reunion Volunteers
• Ways to Give
• Fiscal Year Report
• Business School Fund Leadership Council
• Planned Giving Options
• Planned Giving Benefits
• Planned Gifts and Reunions
• Legacy Partners
• Giving News & Stories
• Giving Deadlines
• Development Staff
• Submit Class Notes
• Class Secretaries
• Board of Directors
• Health Care
• Sustainability
• Class Takeaways
• All Else Equal: Making Better Decisions
• If/Then: Business, Leadership, Society
• Grit & Growth
• Think Fast, Talk Smart
• Spring 2022
• Spring 2021
• Autumn 2020
• Summer 2020
• Winter 2020
• In the Media
• For Journalists
• DCI Fellows
• Other Auditors
• Academic Calendar & Deadlines
• Course Materials
• Entrepreneurial Resources
• Campus Drive Grove
• Campus Drive Lawn
• CEMEX Auditorium
• King Community Court
• Seawell Family Boardroom
• Stanford GSB Bowl
• Stanford Investors Common
• Town Square
• Vidalakis Courtyard
• Vidalakis Dining Hall
• Catering Services
• Policies & Guidelines
• Reservations
• Contact Faculty Recruiting
• Lecturer Positions
• Postdoctoral Positions
• Accommodations
• CMC-Managed Interviews
• Recruiter-Managed Interviews
• Virtual Interviews
• Campus & Virtual
• Search for Candidates
• Think Globally
• Recruiting Calendar
• Recruiting Policies
• Full-Time Employment
• Summer Employment
• Entrepreneurial Summer Program
• Global Management Immersion Experience
• Social-Purpose Summer Internships
• Process Overview
• Project Types
• Client Eligibility Criteria
• Client Screening
• ACT Leadership
• Social Innovation & Nonprofit Management Resources
• Develop Your Organization’s Talent
• Centers & Initiatives
• Student Fellowships