Skip to main content

thecollectibles:Art by Eugene Korolev

Fieldstone House by Bruns Architecture

Bruns Architecture have recently completed the Fieldstone House that is located in Richfield, Wisconsin.


fh_071213_01



Description



Rock picking is every farmer’s springtime nemesis. Each winter as the earth freezes and thaws, rocks rise to the surface of the soil and must be removed before plowing can proceed. Stacked at the edges of fields, they become stone walls that tell stories of the region’s history. On a site consisting of both a small farm field and the heavily wooded topography of two glacial kettles, Fieldstone House is balanced about just such a wall with a glacial history all its own.


It was the two glacial kettles, their existence the reason the land to the east was never logged or farmed, that drew the owners to this site. Approaching the house’s entry, one’s view is framed by steel trellises and a notch in the stone wall focusing attention on the woodland topography beyond. Once inside, the view is again aligned through the house and towards the forest.



Description continued after the gallery


fh_071213_01 fh_071213_02 fh_071213_03 fh_071213_04 fh_071213_05 fh_071213_06 fh_071213_07 fh_071213_08 fh_071213_09 fh_071213_10 fh_071213_11 fh_071213_12 fh_071213_13 fh_071213_14 fh_071213_15 fh_071213_16 fh_071213_17 fh_071213_18

Description continued



The house’s primary living spaces are collected in a tall volume on the woodland side, with support spaces in the smaller, flat-roofed structure on the field side. The geometries of these forms respond to the varied site conditions as they address the hierarchical program within. The roof of the primary volume gently slopes to a central valley, subtly reminiscent of the adjacent glacial topography.


Beginning south of the entry, continuing through the interior spaces and extending back out to the north, a fieldstone wall organizes circulation and provides an inherent connection and orientation to the site. The fieldstone used for the wall was collected from a nearby site after being brought to the region in a glacier originating in Canada. The veneer itself was polished smooth by glacial activity. And the striations on the surface are the result of debris within the ice that was dragged across the settling stone.


Zinc panels hang like drapes on the facade from the clerestory down to the lower level, blurring the floor line that threads between the spaces. The warm grey metal is balanced with smooth cedar siding that wraps the flat volumes. The taught application highlights a larger geometric composition of the components and blends warmly with the surrounding vegetation.


Centered in the main volume, a board-formed concrete chimney engages and anchors both levels. Wood burning fireplaces are enjoyed from both sides of this element, offering flickering views through its mass while providing visual screening from one space to the next. Within the entry, a cedar wall extends down past a timber and steel stair providing visual connection between the two levels.


The house has low-e, argon filled triple pane glazing throughout. Opaque walls are thermally optimized with air-tight foam insulation. Radiant heat is utilized within polished concrete floor slabs on both levels. The mass of the concrete retains the heat energy and distributes it evenly throughout the day. The south facing eave is precisely extended to allow sunlight to fully penetrate the space on winter days, while passively providing shade in the summer.



Architect: Bruns Architecture

Photography: Tricia Shay Photography


Comments

Popular posts from this blog

Photos Are Always Funnier When You Add a Caption (31 pics)

Stiff Pose Victorian Postmortem photography (140 Pics)

Postmortem photography or memento mori, the photographing of a deceased person, was a common practice in the 19th and early 20th centuries. The photographs were considered a keepsake to remember the dead. Child mortality was high during the Victorian era. For many children even a common sickness could be fatal. When a child or other family member died, families would often have a photograph taken before burial. Many times it was the first and last photograph they would ever possess of their loved one. Many postmortem photographs were close-ups of the face or shots of the full body. The deceased were usually depicted to appear as if they were in a deep sleep, or else arranged to appear more life-like. Children were often shown on a couch or in a crib, often posed with a favorite toy. It was not uncommon to photograph very young children with a family member, most frequently the mother. Adults were more commonly posed in chairs or even propped up on something.

Brilliant Stairs photos