At the water’s edge a structure stands properly. In the periphery, a ferry landing and the echoes of extinct maritime sheds,
it nestles in respectful and appropriately, embracing it’s context. Genuine materials, precise details, a place personified by purity. Slowly unveiling itself, it defies definition of program and typology. Respectful, timeless.
The Junsei House, by Suyama Peterson Deguchi
Photography by Charlie Schuck
The site is heavily wooded and enjoys a beautiful southerly aspect with a view over the Durlston Country Park. Early on, we established the advantages of a single-storey building; it would suit the retired clients’ future needs, give an elegant solution to the steeply sloped site and allow a simple arrangement of spaces. At the same time, the design reduces the visual impact from across the valley when looking back towards the house and helped the scheme from a planning point of view.
The sloping site – with protected mature trees – very much dictated the positioning of the dwelling. Access is via the front of the property, so we made use of a retaining wall, faced in local Purbeck stone, to define different levels and visually mask the vehicular route, maintaining a clear view from the living spaces across the valley.
The single-storey house cantilevers over the retaining wall to deal with the level changes and views. The large cantilever has been achieved through two concrete planes: the floor and roof acting together like a space beam. The concrete structure is then in-filled with simple timber dry-lining, leaving the concrete frame visible externally.
The house exemplifies our belief that simplicity and honesty of construction underlie good design. The initial concept and design drivers are instantly recognisable in the building, and we strive to retain this clarity of intent without adding anything unnecessary to the building. We think carefully about how we build our buildings and work closely with our engineers to ensure an architecture founded in such basic things such as structure, details, materials and order.
The Quest, Swanage, UK, by Ström Architects
Photography by Martin Gardner
The QL House is located in one of the most exclusive areas of Algarve, on the Portuguese southern coast, a singular presence in an essentially residential neighbourhood. From where it was erected it is possible to see captivating surroundings: golf courses, residences, the estuary and, dominating the background, the Atlantic Ocean.
The QL House project was an exercise in balancing spaces and landscape integration. The articulation of two overlapping and perpendicular spaces generated not only a particular spacial dynamic, but also different visual relations between full and empty, light and dark – caused by the dynamic of shadows – between private areas, semi-private areas and the view of the surrounding landscape. Two stories and a basement encapsulate a precise functional program: garden, swimming pool, sun room, living and dining room, bathrooms, a regular kitchen and a summer kitchen, four bedrooms, an office and space for a playroom. Circulation takes place through a continuous stairway along the indoor garden, which illuminates all the indoor spaces in this home. This nuclear garden structures the direct interaction between the entire indoors and the outdoors, gifting all spaces of the QL House with the luxury of natural lighting.
QL House, Faro, Portugal, by Visioarq Arquitectos
Photography by Fernando Guerra | FG+SG
This beachside house on Japan’s Ikema Island is perched on a concrete base to ensure the living spaces inside enjoy an optimal view of the East China Sea.
Ikema Island House, Japan, by 1100 Architect
Set within its stunning natural surroundings on Hamilton Island, the residence is sculpted from concrete, stone, block work and glass resulting in a sequence of dramatic volumes incorporating airy living spaces and private sheltered outdoor zones. The building elements are intertwined with reflection ponds and a swimming pool, lending a sense of tranquility and sensuous tactility whilst providing casual, elegant outdoor living amid the beauty and serenity of the island.
The Solis Ηouse, Hamilton Island, Australia, by Renato D’Ettorre Architects
Built for a family of four, the house turns its back to the street and is covered with wavy sheets of zinc, creating a neutral and fort-like impression to passers-by. Its other side is much more open, allowing the spectacular views from the bay to enter the living spaces. 40 percent of the house was built underground in order to prevent heat loss, while granite was used for the walls, which at points are as thick as 40 cm, for the same, energy-saving reasons. Repetitive linear elements such as vertical windows and louvres establish a rhythm that is artfully followed elsewhere in the house’s design.
Tokujin Yoshioka’s Blossom Stool is the newest standout addition to Objets Nomade. Now comprising 16 foldable, modular and portable objects since its launch in 2013, the collection is a pioneering crossover between fashion and product design that Louis Vuitton first launched in 2013.
The seat of the Blossom Stool is an articulation of the brand’s iconic four-petal monogram. The folding structure ensures absolute functionality, and the organic form makes for an indispensable accessory. “I always try to invent something beyond forms,” said Yoshioka. The Japanese designer has established a reputation for work that challenges the perceptions by seemingly defying the laws of nature. By emphasising the wood and leather techniques in the Blossom Stool, he wanted to highlight the timelessness and art of the brand’s exemplary craftsmanship. “I thought I would like to re-interpret the philosophy of Louis Vuitton to create a work which travels through the time of history and future with my expression and techniques, and express the new journey through time,” Yoshioka went on. A gilded metallic edition is available, as well as a soft leather edition in either white or black.
Blossom Stool, by Tokujin Yoshioka, Exhibition: Objets Nomade
The home, similar to their very own family campground, is outfitted for the family yearning to unplug from their fast-paced lives and connect to the outdoors. The property has two main structures – a car and barn equipment shed and a main structure, which has three primary enclosed multi-function spaces on opposite ends of the central south-facing porch. These spaces can be used for sleeping, practicing yoga and games. The backyard has an 82-foot long solar-heated swimming pool, a concrete outdoor fireplace used for grilling and cooking and a partially screened outdoor shower, which also functions as their primary shower. In addition, the backyard is the families playground which includes a tree house, rope swing, archery area and two large grass areas flank the east and west end of property for outdoor activities.
“Camp Baird” is a fully functional, efficient and sustainable compound. The three enclosed rooms can be fully heated by Rais wood stoves while the kitchen it’s in a screened porch with the dining area. It is a big part of the design idea is that the kitchen is not a conventional enclosed room. The galvanized metal roofs reduce heat build up and the metal cladding and hardwood Ipe decks in this Wildland Urban Interface zone minimize fire threat. The landscape, done by Cary Bush of Merge Studio, is filled with drought tolerant native species with a row of trees at the parking area to provide future shade for visiting cars. In addition, a snake fence – a 30″ tall metal wall – keeps the immediate compound free from critters.
Camp Baird, Healdsburg, CA, United States, for Malcolm Davis Architecture
Photograph by Joe Fletcher
Danish studio Norm Architects has taken influences from both Scandinavian and Japanese design to create this pared-back gallery and workspace for Kinfolk magazine in central Copenhagen. The local studio worked closely with Kinfolk’s editor-in-chief Nathan Williams and communications director Jessica Gray to develop the design, which features a gallery as well as an office. The aim was to create a collaborative workspace where the magazine’s staff could meet together but also invite friends and partners to share ideas. A palette of wood and plaster in muted tones creates an informal, home-like environment that is more akin to a lounge than an office.
Kinfolk Offices, by Norm Architects
Photography by Jonas Bjerre-Poulsen