Architect Patrick Partouche has designed Maison Container Lille, a 2100 square foot house built entirely from eight shipping containers. That would be interesting on its own; He has left them in a really rough and ready form with the original doors left on, acting as brise soleil or can be closed for security. It is also another good example of how architects can subvert building regulations; I suspect that sloping roofs are a requirement.
Closeup of roof and shutters.
But what is really fascinating to me is the interior detailing and design. Back in the seventies, the popular style was High Tech, derived from the architecture of Richard Rogers for the Lloyds Building in London and the Pompidou Center in Paris, and by Barton Myers in Toronto and Los Angeles.
The interior design was described in High Tech, the book by Susan Slesin and Joan Kron. Everything was made out of checker plate and exposed conduit and Metro wire. The Partouche container house is the embodiment of this style, which works perfectly with the aesthetic of shipping containers.
It's all here; the exposed industrial duct, the wiring, the only thing that is missing is the open Metro wire shelving and industrial slop sink faucets in the kitchen. The architect says that "The interior styling is in line with the customers: a contemporary industrial style, the choice of quality materials and authentic: painted steel, galvanized, painted, varnished, aluminum, wood, polycarbonate, glass and other industrial materials."
More industrial chic on the second floor, with yes, checker plate, the stuff of dreams, on the stair landings and industrial grating on the walkways.
There it is, it even made the cover of the book.
Here you can see an industrial lamp, trunks for storage, wire and welded pipe handrail and a clever cutout of corrugated steel from the container wall.
The wonderful thing about this project is that the interior style is so suitable and appropriate for the exterior and for the structure, an industrial product like a shipping container. I suspect that Patrick Partouche never heard of Suzanne Slesin or Joan Kron, but just did what seemed right for the building; he considers it "emblematic of the emergence of a new architecture taking into account the constraints of today's world and durability". However I think that they would feel right at home.