Designed for a young family, Melbourne-based Clare Cousins Architects have restored an existing Edwardian house and made a single story addition, engaging with the garden with its meandering facade of glass and bricks. A flexible space, referred to as a studio, is housed on top of the new garage forming a double story mass at the rear of the site to help screen large neighbouring buildings.
Taking advantage of the long linear plot and rear laneway access, a garage with studio above was designed first, conceived as a windowless sculptural form perched on a garage clock to provide a studio or guest bedroom. The house extension curves to maximise its northern orientation and to visually incorporate the native landscaping into the house.
This project plays with raw building materials, in concrete and timber, and with pattern, in brick bonds and linear spacing. The sculptural first floor contains a studio and bathroom inspired by Alvar Alto glassware with a ribbed timber cladding that continues across the west-facing windows to provide solar protection.
Designed by the acclaimed Portuguese architect Bak Gordon and built in 2010, it won the FAD Award, was nominated for the Mies van der Rohe Prize and was chosen to be part of Portugal’s official representation at the 2010 Venice Architecture Biennale. It was also listed by Wallpaper* magazine as one of the top 20 reasons to visit Portugal.
The house is primarily concrete, which, combined with a sophisticated modern vintage interior, creates a beautiful and soothing space. There are extensive gardens, with five patios, a swimming pool and a pond.
The dwelling consists of two perpendicular rectangular footprints. on the east/west axis is a reinforced concrete shell resembling an extruded version of the iconographic house, complete with a green roof that roots it discretely into the green hilly landscape. this volume contains all the interior program organized in a linear fashion with a sequence of spaces from the garage and entry to the master suite at the other extreme. A screen of retractable slender wooden slats wraps the entire envelope along the exterior glass wall to soften direct sunlight, with the ability to open entirely to the exterior. All the private bedrooms are situated along the eastern elevation facing down the valley, with the housekeepers’ quarters and social spaces along the opposite side, separated by a long linear hallway. at the point where this solid mass intersects with the perpendicular wooden deck, the program becomes neither indoor nor outdoor, with a barbeque, bar and lounge area under the pitched roof but entirely open to the elements. the public living room and tv room flanking this space contain large glass doors that visually, if not spatially, connect the two. the timber terrace extends out towards the lower area of the site, ending in a swimming pool hoisted upon a concrete plinth that reflects the picturesque environment.
Tepoztlan, is a small town nestled between rocky cliffs located to the south of Mexico City, 50 kilometers away from the vibrant metropolis. With its well preserved historic center and wild countryside, Tepoztlan is a town of legends and deep cultural roots that has been appreciated by writers, poets, artists and musicians over many decades, turning it into their hometown or weekend retreat. Located in this incredible context and surrounded by an astonishing landscape, the Tepoztlan Lounge is the first building completed of a larger project that also includes a series of bungalows of different sizes and designs, which can be rented by years, months or days.
Tepoztlán Lounge, Tepoztlán, Morelos, México, by Cadaval & Solà-Morales
Designed to fulfil the desires and needs of a young family, Villa L is set in the woods of central Netherlands, fully oriented towards the sun and the views on the garden. Villa L is a spatially diverse residence where every floor has its own strong identity, creating a broad spatial spectrum within a unified whole. A young family with three children asked Powerhouse Company and RAU to design a house that would fulfill their dreams: a paradox of a house that is simple yet surprising, open yet specific, minimal yet luxurious. Powerhouse Company, responsible for the design, resolved these contradictions with a house based on a radical differentiation of spatial experiences on three floors (of which one is subterranean). RAU embedded the sustainable strategy for the villa in the design. Three clear levels, with three very different characters and functionalities as a basis for family life to emerge.
One level is for living, a generously open ground floor. A strip of serving rooms containing storage, toilets and stairs, provides easily access to the luxuriously open living spaces. The kitchen and living room are oriented maximally to the sun and view. In close relation to this living area there are two studies located on the north side next to the entrance.
The collection of rooms on the first floor provides space for sleeping and privacy. Set in a delicate roof garden, all the bedrooms are autonomous volumes crafted in their entirety from dark wood. They work like a village of cabins, providing intimacy and privacy. Every room is like a world of its own with private views over the wooded landscape. The curved basement is for guests, wellness and storage. The excavations allow the pool and the guest rooms to have fully glazed facades and direct access to the garden. The house incorporates innovative sustainable measures including a hot and cold-water storage and extensive use of hidden PV cells. The basement contains a dedicated area for the high-end energy saving installations.
Villa L, Utrecht, The Netherlands, by Powerhouse Company, in collaboration with RAU
Ramat Hasharon House 1, Isreal, by Pitsou Kedem Architect
This project consists of a two-story, 5,000-square-foot single family residence and guest house on a 12,000-square-foot property in Venice, California. The property is large for this section of Los Angeles, making it nicely sized for a young family of four. The first floor plan is in the shape of a long bar and has an open arrangement of public rooms all looking on to the western half of the property. The living room is a double-height space. The exterior areas are comprised of a front garden, a private garden, an exterior covered area and various concrete deck areas, a sports court, and a swimming pool and spa. The T-shaped second floor of the main house contains a large master suite and two children’s bedrooms, a laundry room, an office and a large black-out media room. A guest house pool house is situated at the south end of the property on axis with the pool. The main exterior materials are white stucco, glass and metal panel. Photo-voltaic panels on the roof provide a portion of the electricity for the residence.
Flag House, Nakano Ward Tokyo, Japan, by Apollo Architects and Associates, Photography by Masao Nishikawa
The house is specifically designed for a small modern family. It is composed of a 560 sq.m private land and 500 sq. m usable internal space. Even though the usable space of the land is limited, the client wanted a modern house with sun shades and rain protections as well as a large greenery area to enjoy. After numerous hours of design planning and meetings, the architect proposed cantilevering practically half of the house over the ground floor area. This would liberate more space in the garden while following the regulations.
The house is designed in L shape to enhance the usable space and green area. One side of the wall of the house is designed close to an adjacent plot of land to maximize the green space. The bathrooms, service areas, storages and staircases are designed as buffer zones to absorb the heat and provide more privacy for the main private space on the north. Most of glass walls are also in the north of the house in order to receive natural sunlight since the northern sunlight is the least intense in Thailand. In addition, 50 percent of the land is an open space for gardening that can be visible from every angle. The swimming pool is positioned in parallel with the building to draw cool air into the house.
The architect’s main concerns are to keep the building cool during daytime and provide cross-ventilation from opposing windows for every room. The layout not only satisfies the client’s need, but also provides a natural ventilation and generous outdoor area compared with that of a small plot with similar surrounding properties.
YAK01, Yen Akat Road, Bangkok, Thailand, by Ayutt and Associates Design
According to English Heritage (which oversees historic buildings for the British government), Woodchester House, a Georgian mansion built in 1746 and located on 30 acres of Gloucestershire countryside, is architecturally untouchable and unchangeable. For both the architect, London- and Paris-based Robert Grace, and the client, a financier and author, that was a problem.
Granted, the mansion and its grounds and garden–where the owner’s wallabies frolic–are breathtaking. But the link, visual or physical, between the house and the landscape was lacking. After months of discussion, Grace and the owner decided that a 1,500-square-foot glass, wood, and concrete “orangery,” or garden room, would solve the problem. It provides a place of contemplation and repose adjacent to, but never touching, the house. “It is shelter,” says Grace, “but you can look out at the garden or at the back at the house and feel linked to both.”
The new 18-foot-high structure may relate to the house functionally, but hardly stylistically. “It’s totally of the ‘now,’” says Grace. Two slender reinforced concrete columns support a concrete roof, while expanses of glass diminish the sense of mass. Triple-glazed units enclosing the space are almost nonexistent, especially where they meet at a corner facing the garden: With a push of a button they glide back on an invisible motorized track. Oak plank floors unite the various parts of the retreat, which includes an entry, bathroom, laundry, and living area with a fireplace carved in a stone wall.
A 41-foot gallery links the garden pavilion to an existing outbuilding, used as a kitchen and dining room, that adjoins the main house. To create the linear gallery, Grace placed sections of an old stone garden wall, once part of the house’s former orangery, parallel to each other and clad the interiors with white concrete. He then covered the hallway with a glass roof resting on glass beams that in turn hook into the concrete columns. It was a fantastic day when we could step back, take off our hard hats and marvel at the beauty of this project.
Woodchester House, by Robert Grace, via: Architectural Record