Divided into three blocks – two downstairs and one that forms the upper deck – forming a “U”, they organize social area, the lounge and intimate area on an impactful way. The volumes of the ground are exposed concrete, in contrast with the white brickwork of the rooms. Fully closed to the street, the lobby was organized in a large wooden box, like a theater stage. The coating continuity between the door and the walls leaves completely open and camouflaged through an electronic system.
The inner hall follows the same finish in Cumaru wood and lighting have stemmed from a large domus. The circulation is organized behind the single wall of the dining room, which hides the circulation between the hall and the staircase. In the living there is a strong contrasts between the exposed concrete, wood and marble, which opens up to the recreation area. The pool is surrounded by a large wooden deck, which creates a junction with the recreation area, equipped with gourmet kitchen and a home theater. In opposite side to the living area, the volume of concrete with wooden brise soleils gives place to a guest room and to a recreation area.
AN House, Sao Paulo, Brazil, by Guilherme Torres
Photography by Denilson Machado
The 2200 sq. ft. residence is located on a severe hillside site in Malibu overlooking the Pacific Ocean. The project is an extensive remodel of an existing post-and-beam home in need of a structural, programmatic and environmental upgrade. The residence is re-envisioned for the 21st century. The existing roof geometry is accentuated creating a language of faceted surfaces. The articulated volume of the building’s front facade extends indoors to define the interior spaces, resulting in a dematerialization of the roof, wall and floor planes. A forced perspective is created, framing the extraordinary views out to the Santa Monica Bay. The minimal, gallery-like living space is designed to accommodate the client’s extensive collection of contemporary art. Display niches, lighting and the configuration of the spaces are planned to enhance the experience of viewing the art. The stair has cantilevering steel treads, each with a custom laser-cut pattern. Light from the skylight above filters through the perforated stair to project an ever-changing texture of shadow and light, enlivening the walls and floor. A grand entry door made of a stainless steel tube frame marks the threshold into the relatively small house. The 10’ high door makes use of a hydraulic pivot and a concealed magnetic locking device.
Montee Karp Residence, California, USA , by Patrick Tighe Architecture
Photography by Art Gray and Bran Arifin
Cut Paw Paw is a renovation and extension to a double fronted weatherboard home. At one end is living/kitchen/dinning while at the other end is a music studio. Between is a deck, garden, paving and bathtub. Parts of the garden creep into internal spaces. Parts of the floor spilling into the garden. The entire structure runs along the southern boundary, therefore the house now faces north. Sun and shadow dances through the frame throughout the day, passively warming the house in winter, while keeping it cool in summer, which makes it energy efficient.
Cut Paw Paw, Victoria, Australia, by Andrew Maynard Architects
Photography by Peter Bennetts and Tess Kelly
The villa caters to the taste of the residents for the outdoors. The home floats above the natural rolling countryside, and features panoramic windows that optimize the relationship between the inside and outside. The lower terrace at the back with a pool and pond connects seamlessly to the covered terrace and strengthen these relationships. The interior is designed in harmony with the villa and fits perfectly with the minimalist aesthetic pursued by the clients. Sleek and minimalist design combined with warm materials. Villa is built on the original site of a dated bungalow from the 60s.
A Home That Floats Above The Countryside, Haelen, The Netherlands by Lab32 architecten
Photography by Jo Pauwels
It is quite rare, in Woollahra Council’s municipality, to have a waterfront residence so close to the water. One gets the feeling of being in Sydney Harbour when looking out of the over-sized wafer-thin framed windows. Luigi Rosselli Architects won a limited architectural competition to develop the site by proposing to revive the existing three storey house while the competitors opted for a clean slate solution. Adaptive reuse is the best way to keep a carbon footprint small and the strategy was rewarded in this waterfront property by maintaining the foreshore building line just a few steps from the water. A new house would have to be set further back. Though built on the edge of beach this is not a beach house. The cultured art lovers and sophisticated art collectors who commissioned this project required a very urbane and elegant residence, with an environment ideal to display their collection. Expansive Wall spaces, nooks for sculptures and specialised art lighting were necessary. The entry courtyard was originally a cramped driveway with three garages as main features, the solution was to relocate the garages and have a Will Dangar designed courtyard with sculptural plants and textural architectural details. The result restored a sense of dignified arrival where people, not cars, are welcome.
Harbour Front-Row Seat, Sydney, Australia, by Luigi Rosselli Architects
Photography by Edward Birch and Justin Alexander
The external structure is composed of a cube volume and perforated metal envelope. The volume extracts cut-outs to create pockets of space that provide a pyramidical stepping down along the roof, a void along the entrance and private glass patios with terraces for living areas of the house. Using a material with holes on both sides aims to make an abstract interpretation of the texture of classical villas in the historical suburb. The crosses brace the frames of panels and create identity like façade ornaments on historical citizen villas.
The internal volume embodies two elements: exposed structural concrete walls and a wooden shell. The brief was to maximize living area with minimum of the service space. The concept divides space based on distinct program by separating function not by walls but floor levels: ground floor is living/communal space, first floor is children area and second floor parents area. With no cellar, the shell is integral to provide all of the space for storage. The flush walls fold out to house cupboards, shelves and drawers throughout the living areas and furniture is built into the floor in order to optimize space and provide easy maintenance. This connects different spaces in the house by giving a common function to partitions.
Villa Criss-Cross Envelope, Ljubljana, Slovenia by OFIS Architects
Photography by Tomaz Gregoric
The interior of this tri-level reveals exposed steel framework with diagonal and vertical bracing intermittently appearing and disappearing throughout the walls, ceiling and floors. The untrammeled view of the surrounding forest through the floor to ceiling glazing in the penthouse, gives one the sense of being among the trees. A giant twelve foot wooden door gives way to the porte-cochere twenty seven feet in length. Providing protection from the elements and while complimenting the gently curved circular drive. The cantilever, supported by an iconic V, allows the house to carry the majority of its space off the ground, minimizing the site footprint. This eco-conscious pattern is further demonstrated with a rainwater collection cistern which supplies ground irrigation and water for the pool. The Treehouse pays further homage to the nature that surrounds, with a partially covered rooftop terrace that spans two thousand square feet. Outdoor living in luxury can be enjoyed regardless of the weather. Corner windows provide panoramic views of the rolling landscape while the penthouse level bestows an awe-inspiring view of the surrounding forest and beyond lays the Niagara Falls skyline.
The Treehouse, Pelham, Ontario, Canada by Forestgreen Creations
Photography by Lisa Petrole
This compact private residence’s 136-square-meter area consists of five horizontally divided spaces, each connected by a minuscule sculptural spiraling staircase that, given the footprint of the house, allows for loft-like spaces within its intimate confines. Oversized windows punctuate the house, each with two layers of glazing.
Transparent and relief glass extend to the floor, to ensure that the house remains responsive to passing street life. When closed, they cloak the house within an iridescent texture. On the ground floor, one of these windows serves as the main entry, and slides open to reveal the kitchen. Each level has a different program: the lowermost consists of storage and technical spaces; the lower two bedrooms, permeated by daylight via sliver windows that span the full length of the house, at street level; the kitchen and dining room occupy the ground floor; the living room the first; and the uppermost a master suite, with a wooden ofuro.
These oversized windows, with their dual layers of glazing, can be countlessly reconfigured, to regulate the interior flow of daylight. A small terrace is attached to the master bedroom, yet it is expansive, relative to the house’s size. Its northeastern wall is composed of the same textured glazing that shields the house’s windows, except that there is no layer of transparent glass behind it, as the terrace is completely open to the exterior elements.
A’ House, Tokyo, Japan, by Wiel Arets Architects
The frameless glass makes this a special open space that is completely invaded by the exterior nature. Thus, the gallery becomes a true stage for the client, while the exterior green landscape transforms into a perfect background setting. The glass is sandwiched between by a 22-metre-long floor slab and roof that project out at the front to form a sheltered terrace. The reinforced concrete roof cantilevers from a steel framework, enclosing a corridor at the rear of the building, to ensure the gallery interior is free of any columns that might obstruct the view.
Florist Studio, Mie, Japan, by Shinichi Ogawa & Associates
Externally, the same continuous volume creates a duality between an opaque block – where the living room is – and the transparent stretch of the heated pool and sauna. The volumetry of the house was given by the extrusion of sixty-five meters of an icon-house, with pitched roof. Furthermore, an external wooden deck connects the spaces and creates a solarium to be used during the summer months. In the opaque part of the volume, which is 50m long, the openings were minimized and used as sliding doors to intensify the integration between inside and out. This relation between empty and full in the facade allows for an excellent thermal performance, with a high degree of electric energy conserved. The transparent stretch is fourteen meters long and the internal ventilation was spatially designed to avoid condensation on the glass by the heated pool, which would harm the relation with the view. The house was not implanted on the top of a rough site, as initially desired by the clients, but in its lowest part – in the midst of a beautiful forest of pine trees. This solution allowed the building to be surrounded by nature, creating an intimate relation with the site. The initial premise of the project was to design a quick and cheap construction. Therefore, there were found industrialized solutions such as metal structures and steelframe walls. The site, despite high levels of rainwater, was always clean. Opposite to the usual Brazilian building culture, few elements were built on site, rather mounted at the factory.
The Mororó House, Campos do Jordão – SP, Brazil, by Studio MK27
Photography by Fernando Guerra | FG+SG