When designing abroad the lack of knowledge of
the foreign culture must partly be replaced by empathising with and throwing
oneself into the genius loci. Jūrmala in Latvia
has a fabled past as the laid-back summer resort of the upper classes during
the Soviet era. The beach atmosphere of the spa town conjured up images of the
Functionalism of the Baltic States during the 1920s and 1930s and the optimism
associated with it.
Villa Pinia was designed for a four-person
family. It is situated on a pine-forested plot near the sea with great natural
beauty. The design task was based on a workshop-format competition in which
nine architects or offices from different parts of Europe were invited to
participate. My sketch design was chosen as the basis for the final
implementation.
The main idea
behind the design of Villa Pinia is a dialogue between a levitating white
rectangle and the dark trunks of the pine trees. On the south side the straight
line of the building becomes a free broken line. The timber weatherboarding of
the latter facade has been given a reddish brown tone. The colours and
materials strive for an imagery derived from boats and ships, a gesture to the
preferences of the client and his background as a sea captain. The scale on the
yard side is intimate and the interiors continue out as sheltered terraces. All
three floors in the interior are also linked by long vistas. A tree has been
placed in the internal garden visually linking together all the floors.
The
building awaits its first summer – the wait is shared in the neighbourhood by,
among others, the former club building of the Soviet writers’ association and
the former summer camp premises of the cosmonauts’ trade union.