Along the beaches of Hormuz Island in the Persian Gulf lies a series of gumdrop-esque abodes. The multipurpose project, titled “Presence in Hormuz,” features earthen structures that dot the sandy landscape in a textured cluster of peaks and bulbs.
To build the candy-colored domes, ZAV Architects utilized the SuperAdobe process of renowned Iranian architect Nader Khalili, which involves stacking coils of wet earth, and trained local craftsman in the technique. “A carpet is woven with granular knots inspired by the particles that make up the ecotone of the island,” the Tehran-based firm says in a conversation with designboom, noting that the area’s topography inspired much of the architecture. “The sandbags that create the spatial particles (aka domes) are filled with the dredging sand of the Hormuz Dock as if the earth has swollen to produce space for accommodation.”
Most of the bulbous structures hold living accommodations with communal dining, laundry, and prayer areas woven throughout. The vibrant venues were designed as part of an initiative to remedy local economic struggles and bring together tourists and the community in a shared cultural space. ZAV expands on the intention of the project:
In a country where the state struggles with political disputes outside its borders, every architectural project becomes a proposal for internal governing alternatives, asking basic questions: What are the limits of architecture and how can it suggest a political alternative for communal life? How can it attain social agency?
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Shelters of People Experiencing Houselessness Are Photographed within Affluent Residences to Demonstrate Inequality
Whether opulent or minimalist in style, the houses that Jana Sophia Nolle photographs are displays of wealth. Plush rugs cover hardwood, hardback editions line built-in bookshelves, and tall windows reach from floor to ceiling. Even the stark rooms with few sculptures and seats signify a choice, rather than a necessity, and demonstrate the ability to furnish a room with just significant objects.
Within these residences, though, Nolle reconstructs a contrasting shelter to illuminate a growing disparity. In her series titled Living Rooms, which culminated in a book published by Kerber Verlag, the artist situates the shelters of those experiencing houselessness within the dwellings of affluent folks in San Francisco. (Houseless refers to lacking a specific kind of structure, while homeless does not.) The single-occupancy structures often are formed with rain-resistant tarps, cardboard boxes, shopping carts, and other small objects.
Nolle started the affective series as a way to raise awareness about disparity, gentrification, and income inequality by explicitly comparing differences in living spaces, wealth, and security. “Art cannot, unfortunately, solve problems or change society: at least one work on its own cannot. It does not provide solutions, but it can wake up people,” she says. Although the photographs shown here were shot throughout 2017 and 2018, income inequality has only worsened. Recent reports state that while the wealthiest Americans have seen significant gains during the last few months, people with lower incomes have not rebounded to even pre-pandemic levels. According to the Federal Reserve’s data collected through the end of March, the richest 1% of Americans own 31% of wealth.
Nolle’s project is also empathy-driven, serving as a reminder of our shared humanity. “While working on Living Room, I noticed that unhoused people said that they feel invisible to the housed residents of the city,” she writes. “For most Americans, homeless people are barely visible, somehow on the edge of our vision in most urban areas.” Her time working in San Francisco was both arduous and gratifying and inspired her to join the Coalition for Homelessness. She formed bonds with about 15 people, who she later witnessed being forcibly removed by officials. “This was one of the hardest parts of the project. It is about people. It is about individuals’ lives.”
Prior to the pandemic, Nolle planned to replicate the project in Paris and Berlin. Her time photographing the French city was cut short by the lockdown measures, sending her to Berlin, where she’s been building relationships with people who are experiencing houselessness and those who aren’t. “While housed people can ‘go home’ and close their doors and do everything possible to protect themselves, I met many unhoused individuals who described how their networks and support structures changed dramatically due to the pandemic,” she writes. People who are experiencing houselessness are increasingly worried about being infected with the virus and struggling more because they report receiving fewer monetary donations.
Nolle also tells Colossal that she’s noticed differences in the materials people across the globe use to build their homes. While the structures in San Francisco generally are covered, those in Berlin tend to be open on top and use more mattresses for bases. She attributes these differences to both weather conditions and to the varying rules and landscapes of the cities. In terms of photographing large, lavish residences, Nolle says that due to the pandemic, a lack of connections, and other reasons, she’s had more difficulty finding wealthy people willing to open their living rooms to her in Germany. “Sometimes I get the feeling they do have money and wealth in the background but they seem to have trouble admitting it. Being wealthy/privileged seems sometimes also linked to feelings of shame,” she says.
The San Francisco-based series is currently on view through October 24 at Torrance Art Museum in California, while those captured around Berlin will be part of a solo show at Haus am Kleistpark staring in March 2021. Until then, follow Nolle’s work on Instagram. (via It’s Nice That)
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A new tent-shaped home built in a small agricultural village near Nagoka, a city in the Niigata prefecture of Japan, is designed with a community in mind, rather than a single family. Conceived of by Takeru Shoji Architects, the 166.24 square-meter “Hara House” is situated on a larger estate and utilizes a simple A-frame structure made up of 120 millimeter-wide beams. The two-story home has a kitchen, bathroom, bedroom, and living space downstairs, with storage and two small rooms upstairs.
The designers said the particular shape is “a stiff yet giving structure which assimilates (to) all the human behaviors,” prompting them to leave out partitions and private rooms that would split up the otherwise expansive space. Because of its bareness, “Hara House” requires its inhabitants to make use of the other buildings and areas on the land, bringing them outdoors and into a more collective setting with nature and their community.
With sloping roofs, the minimalist home also features side areas with wooden supports that open directly to the outside. “We designed a space where passing neighbors, friends and children can easily stop by to chit chat under the entrance porch, or workshop meetings and (the) events hosted in the space can spill out to the land,” the designers said in a statement. “Thus bringing down the threshold of the house and opening it to the village.”
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