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Contemporary architecture often references ideals from modernism – canon elements such as clean lines, open plans and material posts and material posts – further mitigated to current tastes and needs. This Residence Highland ParkDesigned by Smitharc with interiors Joshua RiceIt is firmly belonging to that breeze. While expressing its modernist DNA, the Chamber reviews what means “a life machine”, with an emphasis in the way color, material, and built-in affects the growing family. Far from the white, minimum “modern boxes” of stereotypes, this house proves that tons and texture subtleties can improve modernism to create something sensual and mood.
The structure was set on the east side of Highland Park – one of the most common settlements of Dallas – positioning of the location as a canvas for architectural experimentation. Since the beginning of the 20th century, the Tudor and Mediterranean Revital to the later arrival of Sparko modern projects, the neighborhood reflects layered design history. Construction is both privileges and challenges. But these new constructions, integrated into a heavy angular angle, respects the established visual narrative, while it has offered something extremely distinct.
The architecture was anchored with gray limestone walls, material chosen and its endurance and its sculptural quality. These walls flow between the outside and the interior, creating a sense of continuity. The expansion of the glass connects the family outdoor, while creaking wood and stucco panels softened the strict stone. But the interior is where the project is most obviously determined by his voice. The rice is built on less well-known color experiments with color by taking advantage of a shade that was obtained from the character of the materials used.
The internal palette of the EBBS and flows through 5,600 square meters with tones that are dim but never straight. Ceppo marble floors, Fumen oak cabinets, warm-gray laminates and mortar matching architectural stone allows depths depth and variation within a well-decorated spectrum. In the primary apartment, a natural white oak encounters deep blue Japanese tiles and Icelandic marble, combining warmth with shadow. Lightly widespread floors of a wide plank contrast with darker elements, ensuring that the atmosphere remains balanced.
Programming is also central in the success of the project. From the north to south, the ground floor opened a wide range of spaces: covered with a residential area that spills in the kitchen and skullers; partially submerged, open wire and dining room; And a well-dressed hallway leading to primary apartment, powder room, office, yoga studio, media room, mud and laundry. DISTINCT, OAK-HRADE WALL – Designed in the shape of a racetrack – organizes a plan while discretely closes private functions in the center of the house.
Up, a family room with a tree-up anchor four children’s bedrooms, and each is an apartment, along with another laundry to facilitate everyday life. The arrangement reflects modern sensibility: communal spaces are poured on each other for family gatherings, while retreated rooms are due to a quiet work, exercise or withdrawal. Programming shows that while the house withdraws inspiration from modern open plans or news centuries, and adjusts them to complexities to set young family today.
For rice, a choice for accepting darker, Mooderier pallets was a deliberate challenge by overcoming expectations. In housing architecture, “modern” is often equated with bright, white and minimal. However, the designer realized that the shadow-based pallet would create more peaceful, peaceful experience, given the abundance of Texas daily light. The strategy was less about resisting the rushing rays and more about being shaped. Darker materials absorb and diffuse the sun, creating a feeling of grounding that allows the rooms to feel restful, not overpriced.
Rice does not treat color as an accent, but as an integral part of architecture – something that appears from natural variations of stone, smoked tones of oak, mineral depth tiles. The palette is structural, not decorative.
Furniture Additionally this dialogue between the modernist line and modern sensibility. Instead of filling known the famous Middle Ages, the rice courier collection that mixes the rare vintage pieces with a limited edition of modern designers. Sculptural lighting, carved stools made of wood and stone tables Enrich the interior of history and personality, and remain in accordance with the domestic chromatic atmosphere. Each piece contributes to not only functioning, but also a unique feeling of yourself, reflecting the passion of clients for an unexpected design.
This house shows how modern architecture can respect modernism without mere imitation. It is made with the clarity of space and truth movement, but modifies these ideas for the reality of family life 21. century. Although they were curb, it returns the role of the color – too often forgotten in the recounting the history of modernism – as centrally in the emotional impact of architecture.
“Clients are great fans of modern design, but they wanted some more unique and more unusual than typical design classics,” Rice says. “Fortunately, that’s my passion.”
Here the color is not bold or loud, but still, grounding and lasting. It was installed in the walls of limestone that define the house, in the marble vein under one’s feet, in shadows moving over oak grain. This modern shrine proves that the color in the current architecture is far more distant than the clichés of white walls and glass boxes. And this is returning to these roots, designers can craft homes that are timeless as they are deeply personal.
To see the other works of architects and interior designers, visits smitharc.com and joshuaricedign.com in a row.
Photography Robert Tsai.
