Residential Design

VOL4 2019

A business-to-business magazine focused on the collaborative process and talented work of residential architects and custom homebuilders.

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Page 31 of 87

tion. The 28-foot-tall columns create an undulating pattern of opening and closing as light moves across them. This appears as a moire-like pattern to people passing the house— transparent at some points and opaque at others. The brick scrim also allows glare-free natural light to penetrate the building's glass walls, while illumination from the house seeps through to the street at night. Fascinated by the idea of buildings that "move," Larry was counting on this effect. "When I give a talk and organize it, I start to see some threads in what I do," he says. "What's been emerging recent- ly is the idea of movement as something that's more dynamic; architects have had a lot of failures of moving buildings. This building doesn't physically move, but when you walk or drive by, it appears to move. The way it's organized changes from solid to void." He looks to artists, rather than other buildings, for design inspiration. One of his muses is the British painter Patrick Hughes, who did a series called Reverspective. "He paints pictures of other famous artworks, but in the way he puts it on canvas, it shapes the canvas so that when you move past it, the painting appears to move and change. Literally when you pass by it, things that appeared open from one view close up in another view; it's ephemeral." This page: Once a pedestrian material relegated to back alleys, Chicago common brick is celebrated on the façade of this infill courtyard house. Installed in 28-foot columns and rotated at ¹/ 8 -, ¼-, and ½-inch turns, the twisted bricks generate a moire effect as people pass by. 32 RESIDENTIALDESIGNMAGA ZINE.COM VOL. 4, 2019 CASE STUDY

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