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Architectural Cases

MoDusArchitects Unveils Hometown House in Val di Non, Italy

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In the picturesque Val di Non, nestled within Italy's Autonomous Province of Trento, a remarkable architectural creation by MoDusArchitects has taken its place. This dwelling, aptly named 'Hometown House,' represents a thoughtful exploration of residential design, seamlessly blending into its natural surroundings while offering a distinctive modern living experience. Completed in 2023, the residence covers an area of 563 square meters, showcasing the firm's innovative approach to form and function.

Contemporary Living Meets Alpine Charm in Val di Non

The Hometown House, conceptualized and brought to life by the visionary team at MoDusArchitects, stands as a testament to harmonious residential architecture in the stunning Val di Non. Located in the northwestern part of the Autonomous Province of Trento, this private home is characterized by its compelling design: two individual volumes, each crowned with a single-pitched roof, artfully converge to create a cohesive and singular family abode. This innovative structural arrangement not only adds a unique aesthetic to the landscape but also optimizes internal spaces, offering residents both privacy and connection. The design thoughtfully integrates with the region's traditional building vernacular while pushing the boundaries of contemporary style, utilizing materials like wood and concrete to achieve a balanced and sophisticated dwelling.

This architectural endeavor serves as an inspiration, reminding us of the profound impact thoughtful design can have on our living spaces. It demonstrates how modern sensibilities can be introduced into traditional settings without sacrificing authenticity, instead enriching the local fabric. The Hometown House is a celebration of architectural ingenuity that embraces its environment, proving that innovative design can indeed cultivate a deeper connection to one's roots and surroundings.

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Quincho Bernarda Community Center: A Hub of Andean Life

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The Quincho Bernarda Community Center, envisioned by Taller MACAA, represents a cornerstone within the KUSKA project, a series of residential structures meticulously integrated into the breathtaking Andean terrain. Positioned strategically between the historically significant archaeological sites of Písac and Uchuy Qosqo, this center acts as a dynamic gathering space for the community. Its design and construction, completed in 2025, exemplify a thoughtful approach to architecture, harmonizing with the natural environment and local heritage.

This architectural endeavor transcends mere construction, evolving into a communal nexus for interaction and shared experiences. The center's deliberate placement within the Andean landscape underscores a profound respect for both nature and history, providing a setting where contemporary living coexists with ancient cultural roots. Its 140 square meters are not just walls and a roof, but a vibrant forum for the KUSKA residents and the broader local populace.

The Quincho Bernarda Community Center serves as a testament to the power of architecture to foster connection and belonging. By thoughtfully blending modern design with traditional elements and respecting its extraordinary surroundings, the center facilitates a deeper appreciation for community and the rich cultural legacy of the Andes. It stands as a beacon of progress and unity, celebrating the intricate relationship between humanity, art, and the environment.

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High Museum of Art to Host Major Retrospective of Isamu Noguchi's Design Legacy

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The High Museum of Art in Atlanta proudly announces an upcoming exhibition dedicated to the extensive design contributions of the influential artist Isamu Noguchi. Titled "Isamu Noguchi: I am not a designer," this major retrospective will span his innovative work in various design fields, offering a comprehensive look at his legacy.

Unveiling Noguchi's Enduring Vision: A Journey Through Art and Function

Exploring Isamu Noguchi's Multifaceted Design Approach

From April 10 to August 2, 2026, the High Museum of Art in Atlanta will host a groundbreaking exhibition showcasing the diverse design work of Isamu Noguchi (1904–1988). This pivotal retrospective, the first in almost 25 years, delves into his profound impact on sculpture, furniture, illumination, landscape, and theatrical staging. Following its Atlanta debut, the exhibition will journey to the Peabody Essex Museum in Salem, Massachusetts, from September 19, 2026, to January 3, 2027, before moving to the Memorial Art Gallery of the University of Rochester in spring 2027.

Noguchi's Harmonious Blend of Global Heritage and Artistic Disciplines

Isamu Noguchi's artistic journey was uniquely shaped by his bicultural upbringing in the United States and Japan, allowing him to seamlessly integrate diverse artistic and geographical influences. Born in Los Angeles in 1904, his prolific career saw him navigate effortlessly between different creative domains. Beyond individual art pieces, Noguchi conceived entire environments, including gardens, recreational areas, public squares, stage sets, and architectural interiors. His creations consistently explored themes of public engagement, material integrity, and the symbiotic relationship between constructed forms and natural environments.

A Thematic Exploration of Noguchi's Architectural Mindset

The exhibition meticulously portrays design as a foundational and continuous element of Noguchi's artistic output, rather than a mere subsidiary pursuit to his sculptural endeavors. Structured thematically, the presentation highlights how architectural principles—such as spatial organization, structural integrity, and human interaction—informed his projects across all scales. Co-curated by Monica Obniski, the High Museum of Art's Curator of Decorative Arts and Design, and Marin R. Sullivan, an independent curator and sculpture expert, the exhibition gathers nearly 200 objects from esteemed international institutions and private collections.

Groundbreaking Insights and Iconic Creations

The exhibition commences with an introductory gallery that chronologically and broadly surveys Noguchi's spatial inquiries. Highlights include the plaster model for 'Play Mountain' (1933), an ambitious proposal to transform a New York City block into an abstract playground, which has not been publicly exhibited since the 1930s. Also featured is 'Wounded Rock' (1981), a later stone sculpture reflecting Noguchi's ongoing fascination with form, material, and landscape. The segment 'Making Multiples' explores Noguchi's engagement with industrial manufacturing and modular concepts, positioning his furniture and lighting designs within broader architectural narratives. This section includes early designs and iconic pieces like the IN-50 coffee table for Herman Miller (1944) and Knoll's rocking stools from the mid-1950s. Archival documents illuminate his collaborations with figures such as R. Buckminster Fuller and Kenzō Tange, underscoring the architectural and spatial depth of Noguchi's work.

The Convergence of Architecture and Public Space in Noguchi's Oeuvre

The section titled 'Elements of Architecture' specifically focuses on Noguchi's engagement with architectural principles through his lighting, interior, and stage designs. Maquettes, models, and sketches illustrate his deep interest in structural elements like columns, walls, ceilings, and enclosures, as well as his projects developed in Japan. This segment also includes the stage set for Martha Graham's 1955 production, 'Seraphic Dialogue,' which has not been publicly displayed since the 1960s. The concluding section, 'Shaping Spaces,' showcases Noguchi's extensive work in landscape and public architecture. It features models, drawings, and visual documentation of playgrounds, including Atlanta's 'Playscapes' (1976), and significant landscape projects such as the Jardin Japonais at UNESCO headquarters in Paris (1956–1958) and large-scale civic developments along Detroit's riverfront. A film by Spirit of Space further documents selected garden and public initiatives, highlighting their spatial and environmental characteristics.

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