The client, a young video maker with difficulties getting onto the housing ladder due to Dublin housing shortages, was given the opportunity to build a house in the back garden where once stood the tree house he used to play in as child. The awkward triangular shape of the site generated the pure triangular plan of the house surrounded by three gardens; an entrance garden to the north, a breakfast garden to the east and green garden to the south.

One example is the office building in Hochstrasse (1988), where “the language of neo-modernism gives way to a minimalist expressive system”. This was followed by a series of projects (the Fides Building, Building in Picassoplatz, SBV Training Centre) in which the tension of construction (implemented primarily through particular ways of working with windows and doors) reveal the studio’s focus on plastic and morphological issues.With Italian influences (A. Rossi, G. Grassi), Diener & Diener’s urban projects aim to “give single large, anonymous constructions a metaphysical presence”.

The client, a young video maker with difficulties getting onto the housing ladder due to Dublin housing shortages, was given the opportunity to build a house in the back garden where once stood the tree house he used to play in as child. The awkward triangular shape of the site generated the pure triangular plan of the house surrounded by three gardens; an entrance garden to the north, a breakfast garden to the east and green garden to the south.

One example is the office building in Hochstrasse (1988), where “the language of neo-modernism gives way to a minimalist expressive system”. This was followed by a series of projects (the Fides Building, Building in Picassoplatz, SBV Training Centre) in which the tension of construction (implemented primarily through particular ways of working with windows and doors) reveal the studio’s focus on plastic and morphological issues.With Italian influences (A. Rossi, G. Grassi), Diener & Diener’s urban projects aim to “give single large, anonymous constructions a metaphysical presence”.

The client, a young video maker with difficulties getting onto the housing ladder due to Dublin housing shortages, was given the opportunity to build a house in the back garden where once stood the tree house he used to play in as child. The awkward triangular shape of the site generated the pure triangular plan of the house surrounded by three gardens; an entrance garden to the north, a breakfast garden to the east and green garden to the south.

One example is the office building in Hochstrasse (1988), where “the language of neo-modernism gives way to a minimalist expressive system”. This was followed by a series of projects (the Fides Building, Building in Picassoplatz, SBV Training Centre) in which the tension of construction (implemented primarily through particular ways of working with windows and doors) reveal the studio’s focus on plastic and morphological issues.With Italian influences (A. Rossi, G. Grassi), Diener & Diener’s urban projects aim to “give single large, anonymous constructions a metaphysical presence”.

The client, a young video maker with difficulties getting onto the housing ladder due to Dublin housing shortages, was given the opportunity to build a house in the back garden where once stood the tree house he used to play in as child. The awkward triangular shape of the site generated the pure triangular plan of the house surrounded by three gardens; an entrance garden to the north, a breakfast garden to the east and green garden to the south.

One example is the office building in Hochstrasse (1988), where “the language of neo-modernism gives way to a minimalist expressive system”. This was followed by a series of projects (the Fides Building, Building in Picassoplatz, SBV Training Centre) in which the tension of construction (implemented primarily through particular ways of working with windows and doors) reveal the studio’s focus on plastic and morphological issues.With Italian influences (A. Rossi, G. Grassi), Diener & Diener’s urban projects aim to “give single large, anonymous constructions a metaphysical presence”.

The client, a young video maker with difficulties getting onto the housing ladder due to Dublin housing shortages, was given the opportunity to build a house in the back garden where once stood the tree house he used to play in as child. The awkward triangular shape of the site generated the pure triangular plan of the house surrounded by three gardens; an entrance garden to the north, a breakfast garden to the east and green garden to the south.

One example is the office building in Hochstrasse (1988), where “the language of neo-modernism gives way to a minimalist expressive system”. This was followed by a series of projects (the Fides Building, Building in Picassoplatz, SBV Training Centre) in which the tension of construction (implemented primarily through particular ways of working with windows and doors) reveal the studio’s focus on plastic and morphological issues.With Italian influences (A. Rossi, G. Grassi), Diener & Diener’s urban projects aim to “give single large, anonymous constructions a metaphysical presence”.

The client, a young video maker with difficulties getting onto the housing ladder due to Dublin housing shortages, was given the opportunity to build a house in the back garden where once stood the tree house he used to play in as child. The awkward triangular shape of the site generated the pure triangular plan of the house surrounded by three gardens; an entrance garden to the north, a breakfast garden to the east and green garden to the south.

One example is the office building in Hochstrasse (1988), where “the language of neo-modernism gives way to a minimalist expressive system”. This was followed by a series of projects (the Fides Building, Building in Picassoplatz, SBV Training Centre) in which the tension of construction (implemented primarily through particular ways of working with windows and doors) reveal the studio’s focus on plastic and morphological issues.With Italian influences (A. Rossi, G. Grassi), Diener & Diener’s urban projects aim to “give single large, anonymous constructions a metaphysical presence”.

The client, a young video maker with difficulties getting onto the housing ladder due to Dublin housing shortages, was given the opportunity to build a house in the back garden where once stood the tree house he used to play in as child. The awkward triangular shape of the site generated the pure triangular plan of the house surrounded by three gardens; an entrance garden to the north, a breakfast garden to the east and green garden to the south.

One example is the office building in Hochstrasse (1988), where “the language of neo-modernism gives way to a minimalist expressive system”. This was followed by a series of projects (the Fides Building, Building in Picassoplatz, SBV Training Centre) in which the tension of construction (implemented primarily through particular ways of working with windows and doors) reveal the studio’s focus on plastic and morphological issues.With Italian influences (A. Rossi, G. Grassi), Diener & Diener’s urban projects aim to “give single large, anonymous constructions a metaphysical presence”.

The client, a young video maker with difficulties getting onto the housing ladder due to Dublin housing shortages, was given the opportunity to build a house in the back garden where once stood the tree house he used to play in as child. The awkward triangular shape of the site generated the pure triangular plan of the house surrounded by three gardens; an entrance garden to the north, a breakfast garden to the east and green garden to the south.

One example is the office building in Hochstrasse (1988), where “the language of neo-modernism gives way to a minimalist expressive system”. This was followed by a series of projects (the Fides Building, Building in Picassoplatz, SBV Training Centre) in which the tension of construction (implemented primarily through particular ways of working with windows and doors) reveal the studio’s focus on plastic and morphological issues.With Italian influences (A. Rossi, G. Grassi), Diener & Diener’s urban projects aim to “give single large, anonymous constructions a metaphysical presence”.

The client, a young video maker with difficulties getting onto the housing ladder due to Dublin housing shortages, was given the opportunity to build a house in the back garden where once stood the tree house he used to play in as child. The awkward triangular shape of the site generated the pure triangular plan of the house surrounded by three gardens; an entrance garden to the north, a breakfast garden to the east and green garden to the south.

One example is the office building in Hochstrasse (1988), where “the language of neo-modernism gives way to a minimalist expressive system”. This was followed by a series of projects (the Fides Building, Building in Picassoplatz, SBV Training Centre) in which the tension of construction (implemented primarily through particular ways of working with windows and doors) reveal the studio’s focus on plastic and morphological issues.With Italian influences (A. Rossi, G. Grassi), Diener & Diener’s urban projects aim to “give single large, anonymous constructions a metaphysical presence”.