critic: Neil DENARI.
suckerPUNCH: Describe your project.
Jeisler SALUNGA: House 1-2-3-4 primarily focuses on sequencing program and framing them in elevation. The house utilizes the pitched roofs to give each house a clear formal identity and elicit a sense of domesticity and vernacular.
The form is articulated through a series of steel hollow section moment frames connected to an elevated platform. The use of the moment frame produces both a structural and graphic frame that can be read on both the interior and exterior. The elevation and plan shape of five connected squares subdivide the interior and allow for program to be infilled to each house.
The perimeter of the house is left untouched while walls and furniture articulate the interior program that can be viewed and framed through the clear glass front and rear elevations. The art that’s distributed throughout the house are Ed Ruscha’s paintings. The paintings were chosen for their scale and utilized as a tectonic to locate walls and surfaces to divide up space and programs. The overall distribution of art becomes a way of integrating the art into living. Along with the Ruscha paintings are highly curated furniture and beautiful cars resulting in a house that becomes both a place of residence and an exhibition gallery.
sP: What or who influenced this project?
JS: Case Study Houses in Los Angeles, Neil Denari, and MOS.
sP: What were you reading/listening to/watching while developing this project?
JS: I was reading and looking at a lot of Detail magazines and their books, watching The Office, 2001: A Space Odyssey, and Comedians in Cars Getting Coffee.
sP: Whose work is currently on your radar?
JS: MOS; Office KGDVS; Bureau Spectacular; Design with Company; and Norman Kelley.