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architectnews · 4 years ago

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Mont-Royal Residence, Montréal Québec

Mont-Royal Residence, Modern Québec Luxury Home, Canadian Architecture, QC Residential Building Photos

Mont-Royal Residence in Montréal, Québec

10 May 2021

Mont-Royal Residence

Architects: MU Architecture

Location: Montreal, QC, Canada

Completed in 1964, the Mont-Royal Residence located in the heart of one of Montreal’s upper class borrows, sitting right at the top of the Mount-Royal, was originally designed by architect Pierre Cantin and was completely renovated to give it new elegance.

Embellished with woodwork panels, the rich hues of the ground floor contrast with the light of the second floor and its atrium mezzanine. The property was completely stripped down to make room for lighter, larger and brighter spaces.

Redesigned for a young family, this vast residence of nearly 10,000 sq. ft. now offers openly connected rooms and optimized spatial fluidity. The atrium, a true centerpiece, reveals a double staircase leading to the mezzanine, which overlooks a bar area with a fireplace adjoining the living room. The kitchen and dining room are fully glazed and lead to a large landscaped courtyard with a swimming pool.

Adjacent to the large linear kitchen, an extension of the cabinetry conceals storage and access to the garage in the basement. A comfortable dinette area and its access to a private terrace face the street above the garage.

Upstairs, the mezzanine lounge room hosts a fireplace, a hidden television, and a huge double-story glass wall that offers a view of Montreal. A large playroom, three children’s bedrooms, and two bathrooms complete this level.

The lower floor has, among other things, two guest bedrooms, a workout area, a workshop, and a double garage.

A majestic Atrium Very special attention was given to the Grand Hall. From the imposing roof projections outside of the double-story vestibule, the entrance sequence of this residence is an architectural journey in itself. As you enter the atrium, art pieces and large walnut woodwork paneling peacefully bring a sense of human scale to the rather intimidating space. The upper walls of this large double-height volume extend into white surfaces and accentuate the impression of space. A very light yet imposing contemporary chandelier slowly descends from the ceiling, the visible structure of which evokes a form of framework hangs in the center of the space.

Formerly loaded with heavy steel handrails, the double staircases strike with minimalistic glass railings that contribute to the lightness of the place.

Specific attention to detail was necessary in the positioning of the numerous wood panels that frame the stairs in order to give a gallery aspect to space. From the split-level landing of the stairs, a large solid walnut door-wall conceals the master apartments which includes a bedroom, a walk-in closet, and a fully-glazed master bathroom overlooking the courtyard.

Technical entanglements A true avant-garde design in the 1960s, the residence had a state-of-the-art central ventilation system and even had a radiant exterior entrance staircase. The structure also presented its share of complexity with inverted beams and steel entanglements. The vast double-height atrium also supports a complex triangulated-shaped roof made entirely of mill floors.

At the time the architect had done an extraordinary job of integrating all the mechanical components in a very subtle way. By opening up widely to create free plans and larger living spaces, hiding this vast ventilation system adapted to the new standards was a colossal task. Structural contortions also had to be made to modify the mezzanine and open up the living areas.

Preserving the spirit of the house With its noble materials, its wooden slatted partitions, its latticed ceilings, and its large wood paneling, the contemporary style of the residence evoke the style of some of the great international hotels.

The design was carried out in collaboration with the Department of Heritage and the City of Montreal to preserve and beautify, both inside and out, this listed residence known to Montrealers.

This major and very atypical renovation brought together around twenty professional consultants, engineers, and construction specialists under the direction of MU Architecture, which redesigned all of the 26 rooms of this iconic Montreal residence.

* A very special thought for Jean-François Ménard, designer, decorator *

Mont-Royal Residence in Montréal, QC – Building Information

Name of the architect: MU Architecture Project: Mont-Royal Residence Location: Montréal, Québec Architects / designers: MU Architecture Team: Charles Côté, Jean-Sébastien Herr, Alexandre Arcens, Magda Telenga, Lou Emier, Catherine Auger

Contractor: Newsam Structural engineer: WSP Mechanical engineer: Antoine Assaf, WSP

Interior decorator: Jean-François Ménard, Rachel Gilmore Completion date: Janvier 2020 Photos: Stéphane Groleau Photographe Area: 9,400 sq. ft.

Capitalizing on their North American and European experience with a variety of world-renowned architectural firms, MU Architecture’s founders acquired a considerable amount of international experience while working with multidisciplinary teams and practices in Montreal, Vienna, Barcelona, Dubai and have developed a wide range of expertise. Actively involved in each project, they are able to perform in respect with the European and American architectural rules and standards.

The approach Architecture always was and always will be a mirror for society. Every architectural project which contributes to the wider culture of architecture is a reflection of contemporary technology and therefore carries a greater responsibility towards its public and the environment. We understand the correlation between the architectural synergy of iconic buildings and the balance of a thriving eco-system and aim at a complete congruity. Using the latest advances in computing (real lighting renders and augmented reality) and building technology we want to reposition the role of man in the natural environment. We take our cues from technology, nature, and mankind to provide an enhanced reality and bring new intensity to the artificial environment. Our projects unify the concepts of structure, space, and architectural expression to create a unique and limitless experience.

About MU Architecture Founded in Montreal in 2010 by Charles Côté and Jean-Sébastien Herr, MU Architecture specializes in architecture and contemporary design for residential, institutional, commercial, and industrial projects. Taking advantage of their experience in several world-renowned architectural firms, the founders of MU Architecture have acquired a wealth of international experience in Montreal, Vienna, Barcelona, and Dubai. Their projects comply with North American or European standards and regulations.

In addition to ecological values, MU Architecture promotes the correlation between iconic architecture and the balance of an ecosystem. Each project contributes to the overall architectural culture and becomes a reflection of contemporary technologies, bearing great responsibility towards the public and the environment. The architects are dedicated to challenging the common perception of architecture too often seen as the production of square meters. MU Architecture’s projects unify the concepts of structure, space, and architectural expression in order to create a unique and infinite experience.

Photo credits: Stéphane Groleau

Mont-Royal Residence, Montréal Québec images / information received 100521 from v2com newswire

Location: Montreal, Québec, Canada

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garagedoorshampshire · 6 years ago

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Easy Breezy Town House With Hints of 1970s Decor

Designed and implemented as a town house in Istanbul by COA Architects, the interior of this home has been filled with soft tones and smooth lines to promote calm and peace of mind. There’s a hint of some 1970s style decor here too: cane & cork furniture, macramé hangers & tropical indoor plants in wicker baskets, plus a heavy use of gold handles on everything all combine to make a decidedly retro flavour. The rest of the furniture follows a glossy black theme to add weight and luxe to the light backdrop. Botanical accents have been dotted around to add interest to white walls, and we find some unexpected pops of colour as we continue the tour.

Photographer: Altkat Architectural Photography In the living room, an exposed brick accent wall has been painted in a light shade of grey along one wall of the living room. The feature wall creates a textured backdrop for the television, which is very much the focal point of the room. More ideas on how to use brick accent walls here.

A cane accent chair sits by a large window with flowing white sheer curtains to keep the room looking bright and breezy. A cane coffee table with a black glass top ties in with the same look.

In the centre of the room there is a very pale grey modern sofa, which effectively splits the open plan room between the lounge and the dining area.

A semi circular mirror decorates the wall behind the wall mounted television. Tassels hang from the base of the mirror, creating a black curtain behind the tv screen that disguises black electrical wires. Two more half circle mirrors with decorative tassels form wall plates for lamps at each side.

Wicker baskets have been selected to hold a couple of flowering indoor plants at either side of a black gloss console unit. A second unit stands by as extra storage on one side, whilst a gold and black shelving unit holds a display of treasured items at the other end of the room.

A unique watering can and a minimalist clock are just two of the items that fill the metal and glass shelving unit. More indoor plants add colour to the shelves too.

Behind the sofa, a matching black metal shelving unit sits atop a storage unit. The shelves help to visually divide the dining room from a small sitting area by the window.

The neat sitting area could be used for drinking in the view whilst sipping on hot coffee, or as a light reading nook.

Botanical wallpaper compliments an indoor plant in a rattan pot. Another rattan basket has been upturned to be used as a mini coffee table, with the help of a some mirrored glass to create a stable top. The two chairs that sit by the view are the Wegner style Wishbone Chair.

A small pendant light and a couple of candle stands bring soft ambient lighting to the little hangout area after nightfall.

The shelving unit is accessible from each side so that is serves both the dining room and the seating area.

An unusual choice of dining lighting extends over this space, with three wall lamps lined in a row. Below the trio of gold light shades, a monochrome modern dining room set has a mixture of chair styles to keep the look fresh and informal.

Indoor plants are strewn along the dining room wall.

Daylight from the window pushes through the slender framed shelving unit, and bounces off the glass topped dining table.

A radiator hides in the storage space below the shelves.

The wood flooring of the living room breaks at the doorway, to be replaced a light glossy laminate in the hallway. Wood log slices are used as art on the white walls.

A cork bench, reminiscent of 1970s style furniture, fills a nook. You don’t have to hunt out a retro piece to hit the trend though, you can recreate this look with the SINNERLIG bench from Ikea.

We find a second grey sofa in a room decorated with a striking teal stripe. A picture ledge divides the colour on the lower half of the wall from a fresh white top.

A gold swing arm wall lamp lights each end of the sofa.

Storage cupboards occupy the opposite side of the spare room.

Yellow ochre makes a warming accent colour in the bedroom.

Fitted bedroom furniture wraps the walls.

A gold wall sconce lights each bedside.

Indoor plants feather the edges of the room.

A plethora of gold handles punctate an abundance of white closet doors.

In the bathroom, a traditional brass tap fills a marble basin. Modern tiles make a herringbone style border inside the shower enclosure.

The small galley kitchen is filled with another explosion of gold cabinet handles. The tiny window is shrouded with a distinctly 1970s darling, which is a macramé plant pot hanger. The macramé trend is becoming very en vogue again, so get knotting.

The golden touch.

The white cabinets are slightly textured.

On into the home office…

… More natural tones are found inside the study with wood, wicker and cork. The two modern home office desks are picked out in different colours, one white and one grey.

Trailing plants hang from high places, adding hues of green and purple.

A wall mounted unit provides an adjustable shelving solution.

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from Interior Design Ideas http://www.home-designing.com/easy-breezy-town-house-with-hints-of-1970s-decor

#Interior Design Ideas

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unadulteratedbouquetnightm-blog2 · 7 years ago

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the-fitsquad · 7 years ago

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Microsoft Great Plains 7.5 On Pervasive SQL Migration To Windows 2008 Server Notes

Guide To Choosing An Workplace Chair

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nofomoartworld · 7 years ago

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Hyperallergic: MoMA’s Items Exhibition is Smart About Fashion but Too Cozy with Advertising

An example of advertising in vitrine with object (all images by the author for Hyperallergic)

“Fashion,” with its faint whiff of the trivial — and the feminine — can make “serious” art people blanch, which likely explains the over 70-year gap between the only MoMA exhibitions ever devoted to this subject. Back in 1943, the museum daringly mounted “Are Clothes Modern?” organized by Bernard Rudofsky. This past week, curator Paola Antonelli and her team unveiled their response to Rudofksy: an epic, at times overwhelming show entitled Items: Is Fashion Modern? — featuring 111 “typologies” of items that “changed the world,” displayed in over 350 iterations.

After my three-hour visit to “Items,” I decided that the answer to the title question is ��No, fashion is not modern.” Rather, fashion here feels eternal and ubiquitous, transcending both temporality and geography. The exhibition draws vectors between modern fashion and virtually the entire sweep of global history, reminding us that nothing springs ex nihilo. Everything has an antecedent, a historical “archetype,” to use Ms. Antonelli’s Jungian term. To wit: Have you ever noticed how much the DVF wrap dress owes to the Indian sari? (See them side-by-side and it’s obvious.) Or what the 1990s fanny pack owes to the 19th-century bustle? Did you know that platform shoes were worn in 18th-century Turkey? That the Snugli was patterned after a traditional Togolese baby carrier? And so it goes, through an onslaught of objects — the red cotton bandana (whose back story stretches from Martha Washington to Rosie the Riveter), the dashiki, Converse sneakers, ballet flats, stilettos, berets, turtlenecks, zoot suits, pantsuits, jump suits and track suits, sunscreen, hoop earrings, and Y-front briefs. The sheer quantity of “stuff” feels dizzying.

Classic trench coat and futuristic rain gear

Often, we see an early version of an item alongside a futuristic revision. A lime-green Lily Pulitzer shift dress shares wall space with both a “deconstructed” model by Hussein Chalayan and a Stella McCartney frock rendered in environmentally friendly spider silk. A classic trench coat takes its place next to a disturbing arsenal of sci-fi rain gear by artist Anne Van Galen — including an oversized PVC head protector — which anticipates a future of “ceaseless rainfall” caused by climate change.

But even while invoking such serious and broad topics, “Items” feels personal and intimate, since most items here are quite ordinary and familiar. Some have woven themselves into our daily lives so seamlessly that we barely notice them. Have you thought lately about the cultural significance of your Levi’s? Your Ray Bans? What about your your Gore-tex windbreaker or your tattoo?

Hussein Chalayan deconstructed shift

Antonelli and her team want you to notice, though; they want you to make that leap from the quotidian to the philosophical, the local to the global, the present to the past (and future), the personal to the political. It’s a laudable goal — in some ways, it’s the goal of all education.

Like any good educators, the curators make use of whatever immediate connection they can establish with their audience. Here, that connection consists in the little shock of recognition sparked by spotting fragments of your own life enshrined in a museum. Your age, gender, and background will determine which items resonate most for you. My own heart skipped a beat when I encountered a tube of Revlon lipstick my late mother once used. I thrilled to see a leotard exactly like the kind I wore for years to ballet class. It was fun to note that I’ve owned Swatches like those displayed here; and hey, that YSL “touche éclat” highlighter is exactly like the one still in my makeup drawer.

Some items will speak to you via their pop culture or sports provenance: outlandish silver platform boots once worn by Elton John, jerseys belonging to Michael Jordan and Colin Kaepernick (the latter presciently selected a year ago). Others are simply wardrobe staples, like the white T-shirt and the little black dress (iterations from Chanel through Dior, Versace, and Rick Owens).

The point is, we connect to these items via our own interior landscape, and we project onto them our memories, fantasies, and anxieties (the Wonderbra and Spanx, for example, likely stir some sensitive issues for many women). In so doing, we also project ourselves outward, into the greater world.

In some cases, the curators provide literal projections to make their point. Two nude mannequins, for example, receive colored light projections illustrating complex tattoo art. And in one of the best displays, a rotating series of iconic logos is projected onto a single white T-shirt—morphing from Mickey Mouse to the Rolling Stones’ classic mouth with tongue, to “I ‘heart’ NY,” to a Keith Haring drawing, and so on. In this way, that lone T-shirt comes to stand in for the entire intellectual premise of “Items,” demonstrating how one basic design item can accrue and reflect myriad cultural meanings.

As so often happens though, a great strength reveals a great weakness. The T-shirt display is brilliant, but many of its cinematic messages are commercial in nature. They are advertisements — for a band, a city, the Disney corporation — but this remains unacknowledged, as does the topic of commerce generally throughout the exhibition. Ads occupy far too great a role here to be used so uncritically. Often, most problematically, advertisements seem to substitute for art-historical information.

Each section provides background for its objects, in the guise of text, photographs or video. Frequently, though, this background takes the form of corporate advertising. A vintage television commercial for the Wonderbra plays in one section; a magazine opens to a print ad for cosmetics in another. A video tutorial on how to pin and fold a Muslim headscarf turns out to be a commercial for a website that sells hijabs. And adjoining a display of Donna Karan’s “Seven Easy Pieces” (her stretchy “power” wardrobe from 1980s), a film on endless replay depicts a glamorous model in dark glasses riding in a limousine while a voiceover recites cryptic, self-serious dialogue. Who is this femme fatale and what is this film with the intrusive soundtrack? Is this another design concept for us to study, a new “typology?” No. The film is yet another advertisement — a 1985 promotional film hawking Donna Karan designs — presented without explication here, as if deserving of an essay in Cahiers du Cinéma.

To a degree, this blurred distinction between design and commerce makes sense. Objects are also merchandise, after all; we buy them. But a show like this needed to acknowledge this gray area, to think through the relationship between the museum display case and the shop window. Instead, the exhibition seems to glorify commodities freely — especially those of the high-end variety.

A vintage Hermès Birkin bag, for example, commands its own vitrine, implying an equivalence between its commercial value (a five-figure price tag and a waiting list) and its cultural import. Other vitrines showcase a Cartier love bracelet; a vintage bottle of Chanel no. 5; a Rolex; diamond earrings; and something called “the money manicure” — nail art depicting dollar signs. Ironically, while the MoMA guards seem fairly relaxed in most of the exhibition, they repeatedly issued stern warnings to visitors sidling up too closely to the luxury goods displays, as if confirming which “items” the museum values most.

Reinforcing this connection between MoMA and Madison Avenue is the exhibition’s aggressively promoted tie-in with the museum’s Design Store, which is featuring a rotating array of commissioned merchandise pegged to the show. The day I visited, I found baseball caps, an updated Breton striped pullover, and specially designed nail polish in colors called “Red Bandana,” “Gold Hoops” and “Denim Jeans.” Store reps repeatedly tried to regale me with descriptions of other fetching items soon to hit the shelves.

In promoting “Items” both MoMA director Glenn Lowry and curator Antonelli have emphasized the exhibition’s user-friendly quality, its accessible focus on everyday items. They’ve even invited the public to tell them what they’ve overlooked, to submit suggestions for a 112 item. I have no doubt this approach will prove effective, driving foot traffic and probably increasing museum store sales. And I applaud the show’s ambition, as well as its serious presentation of fashion.

And yet. Somehow, even as Items makes its case for finding the seriousness in the apparently trivial, as it sees infinity in a grain of sand, it winds up making a more troubling statement too: that “infinity” these days just might lead back to the department store. That we are all connected, yes, but maybe just via global commerce. Thinking back, I realize that Items provoked a kind of déjà vu in me. I recognize now the feeling I got as I wandered among those hundreds of only loosely connected “items,” that sense I had of being overwhelmed: it was exactly the same feeling I get if I stay too long at a shopping mall.

Items: Is Fashion Modern? continues at MoMA (11 West 53 Street, Manhattan) through January 28, 2018.

The post MoMA’s <i>Items</i> Exhibition is Smart About Fashion but Too Cozy with Advertising appeared first on Hyperallergic.

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jeremystrele · 5 years ago

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A Sculptural Concrete-Clad Modern Villa In Germany

Tucked away on a forested 3000 square meter plot, this modern architectural delight employs a variety of clever techniques to maintain its privacy while still enjoying the wondrous abundance of nature that surrounds it. Neo Villa is a 484 square meter home located in Rosengarten, Germany, completed by Querkopf Architekten in 2019. No two angles are quite the same – this dimensional and dynamic home has plenty of surprises in store. The photo series below explores this residence from the outside and within, taking a tour around the perimeter and stopping in for a look at several of the rooms.

The tour opens with a view from across the home’s private driveway. Even from this angle, you can see how this house in the woods is selectively shielded by the landscape.

Imposing and open all at once – the modern home exterior is a drama of contrasts. Airy glass windows encase the living areas downstairs, while a formidable concrete volume is supported by v-shaped beams below.

At night, gentle illumination further emphasizes the difference between the exposed lower level and the private upstairs.

Sliding glass doors offer residents easy access to the pool and lounge area.

The pool design is especially unique, jutting out from the patio to underscore the cantilever architectural themes of the house. Plush outdoor lounge chairs soak up the view of the vibrant backyard.

From the modern living room, communication with the outdoors is key. Low-profile furniture helps to maintain the view – even the tall arching floor lamp cuts a thin and delicate profile.

Throughout the home, you’ll find a selection of accents that weave a thread of nature back into the concrete-dominated indoor environment. Here, smoothed logs become a grouping of rustic coffee tables.

Concrete, glass, and steel make up the indoor landscape – a stark contrast to the lush vegetation beyond.

A modern fireplace extends across the room.

Thanks to its central location and open sides, the fireplace is able to share its inviting aura with both the living and dining areas.

Tall floor-to-ceiling windows extend up the entire height of the dining room wall, even continuing across the ceiling. This provides an incredible view from the dining room but also from the glass-walled room looking down from above it.

A series of dining room pendant lights illuminate the rustic dining table from above – these are from the Melt collection from Tom Dixon.

The seating is from the About A Chair series by Hee Welling.

Suspended cantilever stairs lead upstairs while the kitchen is accessible through the hallway just beyond.

This functional area is compact yet practical. It centers around a bright white kitchen island, its built-in range top brightly lit by a series of unique kitchen pendant lights.

From behind the glass bannister, much of the lower floor is easily visible. The entire layout seems designed to maximize natural light and communion with the outdoors.

Textural concrete walls continue throughout the home. While the windows soften the fortress-like effect from some angles, other elements embrace it. Here, wall-mounted torches add a touch of mystery.

Now for a look at the private areas of the home. The master bedroom enjoys the most prized view, overlooking the timbered backyard and its winding stone driveway.

Curtains pull back to reveal a television. Hanging pendant lights at either side of the bed cast a warm glow for ambiance.

A glamorous shower opens directly into the bedroom, taking in the natural light and the tremendous views.

A small passageway leads through the shower and into a smaller water closet area. Bathroom pendant lights illuminate the vanity from above.

A handsome guest bedroom takes on a more rustic aesthetic with its salvaged wood bedframe and large wood storage bench. Another bedroom pendant light continues the warm theme.

An ensuite bathroom makes this guest bedroom especially convenient. Behind the wall with the vanity is a small private water closet.

The main bathroom is located back upstairs. The decorative themes remain similar between all three – here you’ll find another stone-clad shower, more round mirrors, and another round vessel sink.

The unique faucet adds a chic touch of metallic elegance to the theme.

Compared to the transparent back of the home, the street-facing main entrance looks almost imposing. It feels guarded and fortress-like, clad in windowless concrete punctuated only by an intimidating black door.

The two offset volumes make the architecture look especially dynamic, changing its profile depending on the angle of viewing.

At night, lights illuminate the façade.

A play of light and shadow enhances the drama of the unique geometry.

Continuing around the driveway to the rear of the home, you can begin to see the entrance to the garages.

Access is stylish and convenient.

Around the side, grassy steps lead to a spacious patio with a sidewalk leading the way to the front of the home.

A variety of visualizations and floorplans give a better idea of the home’s structure.

Right angles are avoided where possible.

Here is a view of the basement floor with its garage and guest bedroom.

On the ground floor you have a media room off to the side with the living, dining, and kitchen in the main volume.

Upstairs, the master bedroom occupies one wing and a home library fills the other.

This view shows the tall floor-to-ceiling window that divides the home in half.

Another view of the home shows the split-level variation.

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drewebowden66 · 5 years ago