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Im Anschluss an die Sea Ranch (oben) realisierten ...  • Following the Sea Ranch (above), …

                Überall sind Charles Moores skurrile Sammlungen präsent. • Moore's bizarre collections are omnipresent.   ... MLTW auch den „Moonraker Athletic Club“ (unten). • ... constructed the "Moonraker Athletic Club" (below).

                coast highway, a country road, and in the distance, we could already make out the  as his private apartment which he used until his death in 1993. His peculiar collec-
                simple, grey-brown wooden buildings of the Sea Ranch. Following the path, we  tions, some architectural models and his books are still there and, in addition to
                drove past wild turkeys and towards the Pacific Ocean. The simple, almost purist  the rough timber of the skeleton structure with sawing marks and the colourfully
                ensemble is of austere angularity and thus perfectly blends in with the magnificent  painted fixtures, they have a major influence on the atmosphere of the interior.
                natural environment, without any intention of dominating it. The shape of the buil-  From the two-storey main room, however, the gaze first wanders through a large,
                dings was developed entirely in accordance with local conditions. MLTW used the  glazed bay extending across the corner out onto the overwhelming panorama of the
                type of the simple, wood-clad farm building as a design reference – the barn or the  Pacific. A comfortable, upholstered bench in front of it invites to take a seat and
                stable. At the same time, it seems that the constant, often strong sea breeze, which  enjoy the view. The steep rocky coast starts directly below the house! Here you re-
                gives the coastal trees their special, crouched shape, also shaped the roofscape of  side in an absolute premium location, protected from wind and weather. The living
                the Sea Ranch with its flat-pitched pent roofs. In those days, the group of buildings  space is essentially dominated by a "functional tower" painted light grey, which is
                was a pleasant, quiet, aesthetic revolt! We parked our car in the inner courtyard  set in the square, 7.3 x 7.3 metre, double-height room. The tower accommodates va-
                of the residential complex, which is sheltered from the wind and looks more like  rious functions stacked on top of each other: the kitchen, the bathroom, WC, sto-
                a simple farmyard with its wooden warehouses, shelter facilities and large paved  rage space and a guest bed. A staircase on its side leads up to the blue painted slee-
                area. The planked, windowless perimeter walls did not yet give the impression of  ping gallery, which is also integrated into the living room. It is supported by four
                having arrived at an architectural icon! With great excitement, we inserted the key  massive round timber columns and opens up to the sky via a large rooflight. Fabric
                into the almost invisible wooden door of Moore's Condo #9 and were surprised to  roller blinds on all four sides of the gallery provide privacy if required and then
                see a small, slightly sunken inner courtyard. How beautiful! A private, wind-pro-  create an oversized lantern in the room, which gently filters the light entering
                tected outdoor space where one can have a wonderful breakfast! Large glass sur-  through the large roof opening to the darker interior. Underneath the "four-poster
                faces connect it with the living space and from here one can already see – through  bed", an intimate place results from the lower room height, which is furnished with
                the building – the vast Pacific Ocean. Finally, the door to the house opened!   a sofa and fireplace for cold evening hours. On the ground floor, outside the main
                                                                              room, there is another room that Charles Moore used as a studio and presumably
                Charles Moore lived in the apartment until he died in 1993    also as a guest room – as one can assume from the folding bed behind what seems
                                                                              to be the wall panelling. The room is glazed on two sides, towards the private cour-
                The wealth of structure, decoration and openness towards the surrounding land-  tyard and towards the coastline, and can be used as a second bedroom with a pri-
                scape is overwhelming and forms a strong contrast to the spacious courtyard.  vate bathroom. Together with the sleeping gallery and the guest bed in the tower,
                Condo #9 was planned, built and occupied by Charles Moore from the beginning  the apartment can accommodate five guests staying overnight.

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