2-4-6-8 Studio (Morphosis)


2-4-6-8 Studio (Morphosis)

by doglord

1979 by Morphosis

Joshua Sales’s 2-4-6-8 Studio, designed by Thom Mayne and Michael Rotundi in 1978, was initially an add-on to his bungalow (which subsequently burned and was reconstructed by Johnson Marklee Architects). The studio is an early example of the deconstructive architecture of which Morphosis was a leading proponent.

Amoroso Court
Venice, California

2-4-6-8 angle
2-4-6-8 angle
2-4-6-8 angle

Excerpted from Business Week, June 21, 2006, Model House, Architectural Record:

Venice Beach’s Architectural Renaissance
The Southern California neighborhood has been a haven for young L.A. architects including Thom Mayne and Michael Rotundi

By Ingrid Spencer

Joshua Sale can still remember when the streets of his old neighborhood in Venice, California were lined with tiny 1920s cottages and prowled by gang members. He recalls hearing gunshots and dropping to the floor of the 800-square-foot bungalow he bought in 1974. “My neighbors were members of a gang called the V13s,” he says. “Venice was a different place back then.” Sale, who recently had his bungalow reconstructed by Johnston Marklee Architects after the home burnt down in a fire, also harkens back to a period of Venice’s history when several prominent Los Angeles architects were coming into their own. His home — which includes a 400-square-foot garage and studio known as the 2-4-6-8 Studio, designed by Morphosis in 1978 and undamaged by the subsequent fire — shares a piece of that history.

“Thom Mayne and I were friends,” says Sale of Morphosis’s principal. “And because I needed more space, I asked him and Michael Rotundi to design a garage and studio. I didn’t know anything about architecture, but when I saw that Thom and Michael kept bringing architects around to see the project, I realized my studio was something special.”

Almost 30 years later, the neighborhood is now overrun with large modern homes that fill their sites to overflowing, and smartly dressed young couples pushing baby carriages populate the alleys. In the midst of all this, Sale’s special studio, named for the dimensions of its four windows, is still a place that architects seek out as an example of the use of pure geometries and unexpected materials.

As is the case with many young architects in the beginnings of their careers, ancillary structures and renovations to a host house were the kind of projects that distinguished Los Angeles architects such as Thom Mayne, Michael Rotundi, Frank Israel, and Eric Owen Moss were doing in the late 70s.


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