The interior consists of four apartments that were knocked down to create one large apartment to create a two-story penthouse space. The house is characterized by sprawling views of the cityscape, as well as a rooftop pool that overlooks the city. The lower level consists mainly of living spaces while the upper floor contains the balcony and roof deck. A series of raised and recessed squares compose the wall and ceiling of the main living area. Total floor area: 400 sqm.
Square Compositions Penthouse, Tel Aviv, Israel, by Pitsou Kedem Architect
Photography by Amit Geron
Arthur Erickson: Lignes topographiques / Site Lines
World-renowned Canadian architect, Arthur Erickson (1924-2009) created a remarkable body of work, distinguished by the quality of its relationship to site and landscape. Organized by the Canadian Architectural Archives (CAA) of the University of Calgary, which holds a large Erickson collection, this exhibition presents drawings and sketches illustrating eight of the Vancouver architect’s projects designed during the 1960s: five residences, two university campuses (including the famous project for Simon Fraser University), and the Canada pavilion for Expo 70 in Osaka. The exhibition will also be an opportunity to revisit Erickson’s Montreal connection, with a special section prepared by the Centre de Design: two projects designed when Erickson was a student at McGill University (1946-1950), two pavilions for Expo 67, and one intriguing project for a residential complex designed with the idea of offering a monumental entrance to downtown Montreal.
Designed by Brussels-based architect Olivier Dwek, “House T” is embedded within the hillside of western Greece that overlooks the beautiful surroundings of the island of Kefalonia. The initial designs for the country villa were developed around the dwelling’s view with surges of blue, intense light and veils of cloud playing key inspiration. From the terraces, the sitting room, the dining room, kitchen, bedrooms, and bathrooms, each living space is oriented towards this fascinating Greek seascape. Boundaries between interior and exterior become blurred as sliding doors open the sitting and dining areas onto the patio, drawing inspiration from the island’s vernacular into a contemporary design.
House T, Kefalonia, Greece, by Olivier Dwek
Photography by Serge Anton
This project consisted in creating a pool house design that embraces the rural environment and furthermore includes the existing house from 1998 in its entirety. The pavilion, which was connected to the residence by using a glass footbridge, is completely enveloped in glass. The roof, in exposed concrete, contrasts with the fragility of the glass. The roof was cast on site with the aid of sight formwork and it is supported by steel fins. The transparent extension restructures the existing house and defines an inner area with the quality and characteristics of a farmstead and focuses on the garden, as well as the inner area and the surrounding landscape.
The residence to expand has a specific architecture with a saddle roof. The extension separates itself as much as possible from the existing volume, and contrasts in simplicity and light structure. The awning is anchored in the roofing sheet wit the aid of an insulated connection. The roof is insulated at her top. Likewise for thermal reasons the floor plate is deduplicated. The full height sliding doors have been manufactured thanks to a minimal window frame system of only 20 mm wide, with sliding pieces rolling on multiple small bearings. On top of that, the whole construction remains thermically very high performing.
A Glass And Concrete Pool House, Wannegem-Lede, Belgium, by Lieven Dejaeghere
Photography by Tim Van de Velde
The Spaceship Home was born out of a project for a client who wanted a quick, intelligent design construction to enjoy the panoramic view of his plot. His passion for the cinema, home automation and comfort did the rest.
The futuristic and ground-breaking proposal was his aesthetic choice, and the large terrace oriented to the views defined the layout.
The house is composed of wooden prefabricated modules which are attached to a metal frame 4m above ground level. Access is by a “real airplane” staircase that belonged to Spanair, and which, restored and modernized, recognizes and welcomes its owner. A mobile device provides automatic control for the whole house which when accessed by the ladder starts to open an impressive door with a pantographic opening. An aesthetic metal “Star Wars” control panel centralizes the house’s facilities and presides over a restrained and functional interior.
The architectural proposal stands out for its polished metallic exterior, the integration of the facilities, services and architectural details in a “space” context, and for the metal legged structure that connects the house with the ground.
The Spaceship Home, by NOEM
Architects were approached to extend and refurbish a Victorian terraced house in Shepherd’s Bush for a growing family. Remit was very conventional: a ground floor extension and a loft conversion – a potentially hum-drum brief. Dominant material chosen was concrete, primarily for its aesthetic qualities but the opportunity to build in high thermal mass and develop free-form structures became increasingly important considerations as the project progressed. As a point of reference concrete then became the driver for all other material decisions. The facade of the extension is clad in rusted Corten steel and the interior joinery fronts made from Grey Elm – both providing the necessary contrast, warmth and richness against the cool swathes of smooth concrete.
Spatially, the ground floor is designed to comprise of two main spaces – the kitchen extension and the more formal living rooms – and these spaces interlock around a central fulcrum of storage units with circulation to either side. Each space flows into the other by an extending limb of floor finish negotiating the threshold and serving as landing, seat or bookshelf to break down the formal differentiation between rooms. The framing of views and the shift of planes have been constructed to choreograph movement from one space to another, with walls and plinths quietly receding, or changing levels. The design of corners, windows seats and benches have been considered with a young family in mind: places to accommodate the day-to-day activities of children and adults alike – sitting, reading, talking, playing or resting – with the large window seat projecting into the garden and brushing up against the foliage.
The rear garden in considered as another ‘room’ of the house and the view to the garden from the front door underlines its importance, providing relief from the efficiently planned interior. The layout of the garden is defined by a concrete bench for outdoor entertaining in warmer months and two large glass panes provide plenty of natural daylight and help the external ‘room’ feel connected to their interior.
Ingersoll Road House, London, England, by McLaren.Excell
Reproductions of original masterpieces from legendary architect, Frank Lloyd Wright.
Taliesin 4 Table Lamp, by Yamagiwa
The Oak Pass Main house uses an “Upside Down” program, with public spaces above the bedrooms, which are buried into the hill and beneath a green roof of edible herbs. This relatively large house at 8,000 square feet appears much smaller and carefully integrated into the surrounding landscape, which includes over one hundred and thirty Coast Live Oaks. A seventy five foot swimming pool, with infinity edges on three of four sides, bisects the house and slips below one of the largest Oaks on the property.
Oak Pass, Beverly Hills, California, USA, by Walker Workshop
Photography by Joe Fletcher