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  Exyzt, ConstructLab: Ca...  
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L’architettura della Casa do Vapor rispecchia il forte contesto a base comunitaria in cui è inserita, garantendo la confluenza degli spazi interni ed esterni attraverso i pali delle costruzioni e stabilendo una comunicazione continua tra le varie aree funzionali del centro culturale.
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The architecture of the Steam House mirror the strong community-based context that hosts it by assuring the confluence of the internal and external spaces through the pillars of the houses, and by establishing a continuous communication between the several areas and functions of the cultural complex.
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Il volume sulla destra ospita il ristorante. Qui sopra: Il progetto rispetta l’architettura vernacolare di Terranova, le cui costruzioni tradizionali s’appoggiano sopra pali di legno. Nel Fogo Island Inn, le estremità est e ovest sono sorrette da una sequenza di colonne di acciaio che, inclinate leggermente in contrapposizione tra loro, s’incastrano direttamente nella scogliera
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Cobb, together with Saunders and a local fisherman, Peter Decker, chose the site for the inn on Fogo’s “Back Western Shore”, near the village of Joe Batt’s Arm, but not quite in it. The inn is placed as close to the shore as possible while respecting local regulations that require it to be at least 100 metres from the high-tide mark. From this vantage point it surveys the fishing grounds of the Labrador Current, whose rich waters first attracted European settlers to Fogo Island.
  Exyzt, ConstructLab: Ca...  
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Il legname è stato poi trasportato a Cova per essere riusato nella costruzione di due edifici contemporanei: la Casa do Vapor (che ospita un ritrovo, una scuola di surf e un’abitazione destinata a un artista) e una sede per laboratori. Entrambe sono dotate di una vasta superficie su pali di legno che funge da area comune riparata dal sole e dal calore.
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This wood was subsequently taken to Cova to be reused in the construction of two temporary edifices: the Casa do Vapor (which hosts a common house, a surf school and an artist’s residency) and the workshop place. Both have a large area supported by wooden pilotis, which serve as shaded social areas to protect from the sun and heat. The area defined by the confluence of the constructions hosts live events as well as a skate ramp and a bicycle workshop.
  La congiura degli eretici  
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“Dietro uno sparuto filare d’alberi, al di là di un ingresso messo su con rete da pollaio e pali coperti da teli di plastica nera, attraversata la porta rossa di un anonimo edificio la cui vernice bianca si scrosta sui mattoni rossi, si apre uno spazio stupendo”, scriveva il critico del Los Angeles Times.
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This informality (not to be confused with aformality) is critical. What comes off as haphazard is also a reframing of what was acceptable professional practice. Moreover, the messiness is the perfect foil to the fine-tuning of architectural theory and codification of the historical avant-garde taking place along the Eastern Seaboard. In the fall of 1979 as The Architecture Gallery began its short tenure, Oppositions 18 nodded towards the West Coast by publishing Rudolph Schindler’s Lovell Beach House (1926). Meanwhile, over in Santa Monica, Frank Gehry had ripped apart the very notion of house.
  La congiura degli eretici  
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“Dietro uno sparuto filare d’alberi, al di là di un ingresso messo su con rete da pollaio e pali coperti da teli di plastica nera, attraversata la porta rossa di un anonimo edificio la cui vernice bianca si scrosta sui mattoni rossi, si apre uno spazio stupendo”, scriveva il critico del Los Angeles Times.
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This informality (not to be confused with aformality) is critical. What comes off as haphazard is also a reframing of what was acceptable professional practice. Moreover, the messiness is the perfect foil to the fine-tuning of architectural theory and codification of the historical avant-garde taking place along the Eastern Seaboard. In the fall of 1979 as The Architecture Gallery began its short tenure, Oppositions 18 nodded towards the West Coast by publishing Rudolph Schindler’s Lovell Beach House (1926). Meanwhile, over in Santa Monica, Frank Gehry had ripped apart the very notion of house.
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El carácter informal (no confundir con ausencia de forma) es un punto crucial. Lo que parece confusión representa también una reformulación de lo que representaba una praxis profesional aceptable. Asimismo el desorden era el perfecto contrapunto a la precisa calibración teórica de la arquitectura y a la codificación de las vanguardias históricas que se estaban realizando en la costa este. En el otoño de 1979, cuando la Architecture Gallery inició su breve período de vida, el número 18 de la publicación Oppositions reclamaba la atención sobre la costa oeste publicando la Lovell Beach House de Rudolph Schindler (1926). Mientras tanto, en Santa Mónica, Frank Gehry hacía explotar el concepto mismo de vivienda.
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Gli edifici della zona costiera di Terranova sono tradizionalmente appoggiati su pali di legno, che possono essere lasciati a vista o nascosti dietro le facciate di rivestimento esterno delle tradizionali costruzioni saltbox (abitazioni con struttura lignea).
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As the building is approached, its appearance changes subtly, as strong form gives way to a tactile, material effect. From afar, the long, white bars are an abstract and self-contained form: a crisp, if somewhat unreal presence amid Fogo’s changing atmospheric conditions. As the visitor comes closer, the ghostly white shape becomes comprehensible as an aggregation of black spruce siding, milled on nearby Cottle’s Island. Relying upon the region’s skilled carpenters, Saunders and his team designed the facades using an inventive pattern of horizontal shiplap and vertical tongue-and-groove boards. This use of local building methods continues with the inn’s interior, which seeks to provide the warmth and hospitality of a Newfoundland living room for its jet-set visitors. Ineke Hans, Donna Wilson and other international artists have reworked traditional furnishings such as rocking chairs and knitted textiles, which are now being produced by local craftsmen. Together with Saunders’s architecture, they have produced beautiful objects that carry a heavy burden, navigating between the traditional rhythms of outport life and the hyper-connectedness of global tourism.