Element of the Fogo Island project, Saunders Architects have designed these remarkable isolated cabins like inspirational shelters for artists. Nonetheless, apart from becoming the grounds for creation, the 4 cabins presented here are performs of art in themselves. They are merely named by their geometry: Long, Squish, Bridge or Tower, geometry that in all circumstances comes to complement the all-natural atmosphere in a dramatic way. Extended Studio is the initial cabin to be constructed, and it is a 120 square meters module created to be reproduced as the colony grows. It is located a 10 minute stroll from the nearest track, and its position guarantees both physical and mental isolation. Its minimal, elongated shape that floats more than the rough volcanic boulders integrates this cabin completely to the wild atmosphere. The exterior shell is in blackened rough-sawn pine with an interior lining in white spruce. Even though the architecture may possibly look sophisticated, the standard fixtures and finishing make it unpretentious. Locally sourced wood cladding echoes The fishermen’;s clapboard houses are echoed in the locally sourced wood cladding and the in stilts that help the cabin just like Fogo’;s standard waterfront huts. Just like its sisters, this cabin produces its own power and treats its own waste, independent of any service supplier. Heat is generated by solar panels and a little wood stove.
With its white angular form, Squish delivers sharp contrast to the conventional vernacular architecture of the nearby picturesque neighborhood of Tilting, outside of which it is located. The roof of this cabin is squished, increasing 20 feet above the ground on the south side against only half this size on the north end. This shape is dictated by the stormy North-Atlantic winds that blow over the region. The compact, trapezium-shaped plan of the studio is enhanced by the extension of the east and west exterior walls to generate a sheltered entry deck and a north terrace overlooking the ocean. By means of the horizontal expanse of the main room, the angled roof leads the eye to the full height glass window focused on a beautiful view of the ocean.
The Bridge cabin first seems as an abstract entity. From the side it looks like a windowless wood-clad parallelogram, hovering above the landscape. Its name comes from the sixteen-foot bridge connected to the adjacent hillside by 4 piers. The closer one particular gets, the far more transparent the cabin becomes, with a generous glass entry and a large square window at the other finish of the area. Mirroring the sloped ceiling, the floor of the Bridge Studio is composed of two levels. The reduce area, that accommodates an entry region, lengthy counter and wood-burning stove is divided from the upper region by a short run of stairs. Like other cabins, the ceiling, the walls and floor are lined with painted spruce planks that produce excellent perspective views from the inside towards the outside.
The tallest of the cabins, Tower is a 3-strorey building that twists along its axes. Like other cabins of the project, it has a painted wooden exterior and a whitewashed interior. It culminates with a rooftop terrace that delivers the most incredible views on the wild surrounding nature. At the level of the middle floor, a huge triangular skylight makes it possible for light to flood into the cabin, whilst a mezzanine overlooks it from above.The sculptural silhouette of the cabin leans each forward and backward as it twists upward, creating it look somehow out of balance. The entry level is occupied by a kitchenette, a compost toilet and wood- burning fireplace. The second level is a studio, day lit by the generous skylight, although the mezzanine overhead juts into the double height volume of the studio. The feeling of lack of balance is increased by the elimination of architectural detail and the truth that all surfaces are painted a brilliant white.