The “Machine for
Living” Updated: A two-family house in a residential setting outside Luzern
allows architect Remo Halter to explore early modernist ideas in a
transformative manner.
Architects
understandably yearn to be their own clients, especially when it comes to their
homes. But Remo Halter of the Luzern, Switzerland, firm, Lussi + Halter,
couldn't afford to build his ideal house—a cubic volume of poured-in-place
concrete. Yet he had found a tranquil setting—over a third of an acre in the
wooded residential district of Kastanienbaum, not far from downtown Luzern. So
he and his Brazilian wife, Cristina Casagrande, a psychoanalyst, looked for a
“roommate”—that is, someone to share his design for a 6,652-square-foot
two-family house divided vHalter found adventurous partners for his
project: a physician-and-artist couple. “The doctor wanted something new and
quite brave,” says Halter about his plan to create an anthracite-hued concrete
house. A far cry from the gemütlich gabled houses of the neighborhood, the
three-level structure's poured-concrete walls, floors, and piers form a crisp,
brooding mass floating above the voids for open-air carports, terraces, and
walkways.
The house's impeccable
detailing and clarity of form also reveal an affinity to Le Corbusier that both
Halter and his partner, Thomas Lussi, acquired during their architectural
training at the Eidgenössische Technische Hochschule (ETH) in Zürich. Since
1999, the two have practiced together in Luzern, where they have been winning
competitions for schools, housing, and hotels. The firm's Dreilinden School
Propsteimatte in Luzern (2005), in which concrete, oak, and daylight animate
interior spaces, demonstrates the architects' knowing manipulation of plan and
section.
Halter's use of Corbusian
language at the Twin Houses brings to mind the master's Museum of Ahmedabad in
India (1957) or the Shodan House (1956), also in Ahmedabad, in the way the
stalwart block seems to defy gravity. Even the double carports at the front of
the Luzern house recall Le Corbusier's vehicular approach to Villa Savoye at
Poissy in France (1929).
As you proceed into the
vestibule and walk past Casagrande's office, you are pulled toward the forest
at the rear of the property, visible through an expansive glass wall. But wait:
As you arrive at the kitchen/living/dining area, you behold a Corbusian coup de
théâtre. Rather than stairs, attenuated ramps stretch to the lower level and to
the second floor along the concrete party wall separating the two residences.
The ramps have a gradient similar to the exterior ramp to the roof at Villa
Savoye, Halter points out. But unlike Le Corbusier's, Halter's ramps don't have
pipe rails—nor a parapet, nor balustrade. No nothing.
When asked about Swiss building
codes that allow you to leave out handrails (a sin of omission that American
architects may not easily forgive, even for private houses abroad), Halter
explains that the municipality only requires the homeowner to sign off on
liability claims. Nevertheless, the architect did not inflict his architectural
obsessions completely on his neighbor: The doctor opted for wood stairways.
Crafted of the same Jatobá (a Brazilian cherry) as Halter's ramps, the stairs next
door are quite handsome. But we must confess that the sculptural interplay of
the ramps is breathtaking to look at, and literally so to walk up or down.
The ramps underscore the strong
processional experience Halter introduced into his house. The one leading
upstairs terminates in an enclosed court open to the sky. From there, a
concrete stair (no handrails again), like the one Le Corbusier designed for
Charles de Bestegui's penthouse garden in Paris (1931), takes the intrepid to a
rooftop pool and deck shared by both families. The second interior ramp leads
from the main floor down to the basement, which contains additional living and
service spaces, not to mention a room for a geothermal pump. “We have no need
for oil or gas,” says Halter, who notes that all hot water and heating,
including that for the pool, are provided by the geothermal system.
Terraces and covered balconies
connect spaces within the self-contained platonic volume to the outdoors. A
covered balcony off the master bedroom provides framed views of the forest. In
addition, a rear terrace adjoining the living area links to the lawn and woods
by a wide cascade of stairs. Covered walkways edge the long elevations and
afford protection from the sun via roll-down louvered pine blinds supported on
elegantly thin steel columns. To reduce heat loss in the winter months, Halter
specified triple-glazing for the inner walls that enclose the house proper.
If Le Corbusier were alive, he
might envy the high level of craft now so evident in Swiss construction,
particularly that executed in concrete: Le Corbusier's iconic landmarks usually
had to be realized with plastered masonry or concrete that spalled. Here Halter
can pay homage to the pioneer architect while advancing and refining his
vocabulary in new ways and with better technology.
The architect, along with his
wife (and visiting children from his first marriage), has found the house to be
very comfortable. And, fortunately, his neighbors seem happy with their
Modernist home. The mystical color may help. As Halter says, “The black box is
powerful. You feel a certain energy emanating from it.”
Completion
Date: August 2011
Size: 6,652
square feet
Architect:
Lussi+Halter Partner AG
Lussi+Halter Partner AG
ertically down the middle.
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