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ANOTHER GLASS HOUSE
ANOTHER GLASS HOUSE
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Other Projects by Diego Micheli
ANOTHER GLASS HOUSE
Firm
Type
STATUS
Concept
SIZE
1000 sqft - 3000 sqft
Photos
Shinkenchiku Residential Design Competition
COMPETITION THEME
Modern architecture has dismantled space and made it uniform, transforming it into an extension in the Cartesian sense. At the same time, the modern movement replaced representation with abstraction. Architectural constructions made of steel and glass were considered the most appropriate means of expression for the movement. Steel and glass architecture provided the prototype for our urban office buildings and consequently became commonplace and banal. Indeed, it is increasingly considered to belong to the past. However, there may be other, still unexplored, possibilities for steel and glass structures. These possibilities could also provide a new perspective on what the modern era has meant for us. With this premise, the competition reconsidered the historic Glass House (architect: Philip Johnson, 1949) and required a new project, looking through a contemporary lens.
THE PROJECT
The project reinterprets the glass house through the typology of the classical villa and combines historical memories with references to a modernity that cannot be reduced to a mere stylistic expression.
The dialectic between the glass envelope and a glass block core creates a "staging" of the Glass House within the villa. This strategy gives semantic articulation to transparency, transforming it from an iconic element to a thematic instance. The choice of the villa typology implies a processional nature, with entrances, paths, and views that create a theatricalization of the "domestic" and reinterpret the privacy/visibility pairing. The project is part of a tradition of works that comment on the cornerstones of the Modern through typological stratification, rather than through figurative quotations, with a critical-heuristic approach, where the archetype serves as a device for renegotiating modern space.
The archetype, however, is filtered through a process of semantic inversion typical of the historical avant-gardes. This is evident in the "interior-exterior" transposition of the facades and in the characterization of centrality through the void of the solarium on the top floor.
In this act of subtraction, the project finds its final synthesis, proposing modern space not as a finished form, but as a critical device in a state of perpetual becoming.
COMPETITION THEME
Modern architecture has dismantled space and made it uniform, transforming it into an extension in the Cartesian sense. At the same time, the modern movement replaced representation with abstraction. Architectural constructions made of steel and glass were considered the most appropriate means of expression for the movement. Steel and glass architecture provided the prototype for our urban office buildings and consequently became commonplace and banal. Indeed, it is increasingly considered to belong to the past. However, there may be other, still unexplored, possibilities for steel and glass structures. These possibilities could also provide a new perspective on what the modern era has meant for us. With this premise, the competition reconsidered the historic Glass House (architect: Philip Johnson, 1949) and required a new project, looking through a contemporary lens.
THE PROJECT
The project reinterprets the glass house through the typology of the classical villa and combines historical memories with references to a modernity that cannot be reduced to a mere stylistic expression.
The dialectic between the glass envelope and a glass block core creates a "staging" of the Glass House within the villa. This strategy gives semantic articulation to transparency, transforming it from an iconic element to a thematic instance. The choice of the villa typology implies a processional nature, with entrances, paths, and views that create a theatricalization of the "domestic" and reinterpret the privacy/visibility pairing. The project is part of a tradition of works that comment on the cornerstones of the Modern through typological stratification, rather than through figurative quotations, with a critical-heuristic approach, where the archetype serves as a device for renegotiating modern space.
The archetype, however, is filtered through a process of semantic inversion typical of the historical avant-gardes. This is evident in the "interior-exterior" transposition of the facades and in the characterization of centrality through the void of the solarium on the top floor.
In this act of subtraction, the project finds its final synthesis, proposing modern space not as a finished form, but as a critical device in a state of perpetual becoming.
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