Worrell Yeung extends his vision in the state of NY with Ridge Barn
Worrell Yeung completes the Steel-Womp Ridge Barn as part of a remote living connection that includes the Ridge House (see design boom reporting Here) In In the hinterland of New York. The two structures occupy the same location with a comprehensive view of the Taconic and Catskill mountains, and together they illustrate the exact and poetic approach of the studio for building up in dialogue with the state. While Ridge House built a sculptural anchor, Ridge Barn performs a more utilitical structure – part Guest housePart of the storage facility, partial pool pavilion – which extends and deepens the architectural story.
Worrell Yeung rethink the connection between buildings through landscape intervention Understory Landscape Architecture'S Jeffrey Longhenry. Visitors leave Ridge House and descend into the barn via a “Grabenwander”, a carefully composed path that is carved into the hill and inspired by land art pioneers such as Andy Goldsworthy and Michael Heizer. This ditch is a shaped gesture in stone that brings movement and topography into active conversations.
Pictures © Rafael Gamo
A embedded structure refers to local typologies
The Architect In Worrell Yeung, Ridge Barn designed as a contemporary view of the “Bank Barn”, a typology common in the region that is traditionally embedded in the landscape in order to gain access to several levels. Ridge barn hidden in a slope and dressed with weather steel, appears both targeted and old, such as a rusted monolith, which appears from the hill. Its lower level serves pragmatic needs – parking, a wine cellar, a bicycle workshop – while its position and essentialness enable him to store almost invisibly in the site.
The upper level of the barn frames the landscape generously. An open-air Breezeway halves the plan and offers a dramatic 8-time 8-foot aperture that looks directly towards the Taconic Mountains. There is a minimalist fitness room on one side; On the other hand, a guest boms with an open living plan. The bunkhouse was developed for comfort and retreat and includes a compact kitchen, a life and a sleeping area that is crowned by a loft that is accessible by a custom ladder. Two sculptural Lambert & Fils lights designed by Worrell Yeung give the raw, industrial envelope a tactile counterpoint.
Ridge Barn joins the neighboring Ridge House on site in the state of New York
Material honesty and weathering are celebrated
Worrell Yeung ensured that his Ridge Barn not only acted as a inn or workshop. It also acts as a discrete pool house. The lower level includes a shower, a water cabinet and a changing area for swimmers. The pool itself only sits down and reach via stone paving stones that continue the step geometry of the landscape. Two sides of the pool hit the ground level, while the other two, which are dressed in Corten steel, appear when the country drops, reflects the material and language of the barn and appeared in a shaped cut of the hill.
A consistent ethos elementary materiality is used on the website. While Ridge House is dressed in corrugated sheet with board concrete ends, the Corten Shell from Ridge Barn continues the subject of the structures that were designed for age and the course of time. The choice of untreated industrial materials is not strict – it is intended, so that architecture records the weather, light and seasonal layers. Each component becomes a developing part of the landscape palette, a physical memory of the environment over time.
A landscape path is inspired by country artists such as Andy Goldsworthy and Michael Heizer
Worrell Yeung worked closely with the customer of the earliest phases to establish a common language that is rooted in art and ecology. ''Landscape as art, architecture increase the experience of nature and make the sign of human intervention visible'is how Max Worrell describes the goal of the studio. Like Ridge House, Ridge Barn previously relies on references that range from modern country artists to local farm buildings to the quiet poetry of forest floor compositions. It is a place where the material meets the metaphor and the structure becomes a place.
The view of the mountains is framed by a breeze of the upper level
Corten steel combines visually and essentially the barn with the surrounding landscape