Transforming and growing according to the needs of the user is a key characteristic of modular architecture and design. It’s almost like a collaborative process, with the designer creating a system and the consumer implementing it to suit their needs.
Similar to wooden building blocks, the individual units are simple: a square, a rectangle, a tube—a table or chair. In combination the modules become increasingly complex and customizable, changing to fit the situation.
MIMA House by MIMA Architects
The exterior and interior walls of this prefabricated home can be easily moved, allowing a the homeowner to customize the space.
04 Counter, Tools for Life by OMA for Knoll
Photos: Agostino Osio, courtesy of OMA and Knoll
The 04 Counter is Rem Koolhaas’ signature piece of his line of furniture for Knoll. “Beginning as a monolithic stack of three horizontal beams, the user can rotate the top two beams and transform this wall-like unit into a series of shelves and cantilevered benches—a metamorphosis from a spatial partition to a communal gathering place.”
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Axor Bouroullec by Hansgrohe
“A Bigger Splash,” David Hockney, 1967.
If the house is a machine for living, as Le Corbusier famously said, then the pool is the hedonistic machine for pleasure. And no artist captured the thrill of the quick plunge, or leisurely submersion, quite like David Hockney.
“Portrait of an Artist (Pool with Two Figures),” David Hockney, 1972.
“Portrait of Nick Wilder,” David Hockney, 1966.
Though born in Yorkshire, England—which has to be one of the least sunny places in the world—Hockney was an apt renderer of the swimming pool and the architecture surrounding it. The artist began painting them during his first trip to Los Angeles in 1964, and the resulting vibrant, almost abstract, planes of color captured the clean lines, flat surfaces, and the openness to the natural environment of California Modernism.
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“Lithograph of Water Made of Thick and Thin Lines and a Light Blue Wash and a Dark Blue Wash,” David Hockney, 1978.
“Sun on the Pool,” David Hockney, 1982.