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IMAGES©NICOLASKOENIGTIMBIES<br />

PRIVATDESIGN<br />

‘Mountaineering and architect ure have<br />

many parallels – they’re about solving the<br />

problem in as clear and economic means as<br />

possible – it’s not about getting to the top’<br />

Forty-Five<br />

Left: outdoorsman and<br />

architect Tom Kundig is<br />

a believer in collaborative<br />

eff ort rather than<br />

individual genius<br />

Seattle suburbs. Set up in 1968 by Jim Olson<br />

(Kundig joined in 1986), the fi rm is now<br />

90-strong, and combines a disarmingly<br />

modest approach to networking and a<br />

no-frills approach to hiring. ‘We’re not a<br />

meet-and-greet kind of fi rm – we don’t do<br />

the country club scene, we’re not golfers,<br />

we’re not the socialising type,’ Kundig says,<br />

and his fi rm explicitly ‘only hires people<br />

willing to do everything from design through<br />

to construction’. Arranged as a collection of<br />

small ateliers, Olson Kundig has dozens of<br />

jobs on the board, ranging from tiny cabins<br />

to sprawling estates, apartment buildings,<br />

stores and galleries. Each project is in the<br />

hands of a small team who will see it through<br />

from design sketches to the fi nal nail.<br />

Retreats, vacation homes and cabins<br />

loom large in Kundig’s portfolio; the spirit<br />

of the frontier, the beauty of isolation and,<br />

above all, a sense of getting away from it all.<br />

Th ese range from the modest Gulf Island<br />

Cabin in British Columbia to the expansive<br />

Highlands House in North Carolina, which<br />

stalks through a wooded site on a forest of<br />

precise steel columns. Th e cabin on Gulf<br />

Island is a single room, secured by a sliding<br />

sheet of steel taken straight from a mill,<br />

with an outdoor shower and a kitchenette;<br />

it’s pared down but still luxurious in its<br />

generous relationship with its surroundings.<br />

Kundig drew early inspiration from a<br />

small project designed by his father’s<br />

employer, the Seattle architect Royal Alfred<br />

McClure, in 1960. Th e McClure Cabin<br />

stands on the shore of Lake Coeur d’Alene,<br />

stark in its wall-less simplicity, like a<br />

defenestrated, rusticated version of the<br />

Farnsworth House, or Th oreau housed by<br />

Pierre Koenig. ‘I was an outside kid and this<br />

was literally just a small platform basically for<br />

going outside.’ In more recent times, he has<br />

developed a strong affi nity with like-minded<br />

architects around the world. ‘Th ere’s a sort of

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