Casa S项目
Casa S by Lassala Elenes Arquitectos:
“The first requirement from our client was to get the most use of the land permitted by the regulations of the residential compound in which ” Casa S ” is located, seeking a better benefit scenario in case the property is sold in the future. Thats why the house is developed in two floors that add up to the maximum height permitted by regulations and uses up every sq. mt. available in its layout.
Natural illumination, open spaces and the inclusion of green processes and technologies in the house’s design were also requisites.
This house presents great geometric volumes of simple and clean lines. Specific areas like the access gallery and the terrace with view to the Primavera forrest include elements of narrative character in its sculptures as the result of design incentives that build on the Contemporary Mexican style of the project.
The overall volumetric concept parts from two main elements; one with a stone texture and the second one in stucco that live together in harmony and are separated by a vertical glass “fissure” that contains the entrance to the house. The garage doors and the main door of the house are made out of cumarú wood and compound an element that wraps up the two main volumes. Meanwhile the gallery is conceptualized as a cubic volume subtracted from the other two volumes, generating a feeling of contrasting vacuity in the indoor space.
The design of the house is solved around the double-height central gallery that can be accessed from all the rooms in the ground floor and first floor. This access hall that has a cubic proportion ( 8.5m x 8.5m x 8.5m ) is “sliced” diagonally by a triangular water mirror. The stairs that go up to the first floor fly over the water and reach out to a crying water wall that pours its water into the mirror where Manuel Marin’s sculptoric group called “Allegoria de la Pintura, la Escultura y la Arquitectura” is found. Only a huge mirror and a large bench decorate this space.
Plater stucco painted in almond color covers the walls, except the crying water wall that is covered with chocolate travertine marble that comes in to the gallery from the house’s facade and some features in orange stucco and cumarú wood.
For all the indoor public areas, the floor is made out of beige ivory marble in large format ( 2.2m x 1.8m ), cumarú wood decking in the exterior areas and porcelain tiles in the kitchen and service areas; all the private areas including the bedrooms, library and gym have hardwood cumaru flooring. Meanwhile in the houses facade, the access front plaza is covered in black volcanic stone ( piedra de recinto ) that links the house with the existing stone walls on the lot and the large volume in chocolate travertine marble.
The rest of the outdoor facades are covered in stucco painted in almond color ( never white ), except for a slot that contains a window and a cantilever parasol to protect it, that are painted in terracota red, this color unifies the main facade with the color of Ayamonte’s walls. Other exceptions are the orange parasol in the back facade and a chocolate travertine marble frame in the terrace.”
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1816
Head Road 1816 by SAOTA:
“The clients required a four bedroom home for their young family, the design of which had to encapsulate all the qualities of luxury open-plan living while still providing a homely environment.
The practicalities of the site – steepness and town planning restrictions – were key initial drivers in determining the parameters available. The narrow proportion of the property also necessitated the careful consideration of privacy and bedroom accommodation, which is set back from the street or suitably screened.
Effort was put into capitalising on views to the rear onto Lions Head as well as across Sea Point and the Atlantic Seaboard. There is a clear vertical distinction between the living and bedroom accommodation. With young children, the bedrooms needed to be in close proximity to each other and to the parents thus a securable ‘family only’ portion of the home was a result. The upper-most level accommodates the master bedroom; a generous open-plan space inclusive of a dressing area and en suite bathroom. From the entrance a timber staircase accesses the primary living and entertainment area. The living areas are arranged to allow seamless connection to the garden, covered terrace and pool. Level changes, the ceiling plane and sliding doors subtly define this versatile space.
The language of the house reflects bold contemporary lines and extended planes, but the introduction of timber has softened and blurred this distinction. The tactile qualities of timber and the way it is used activate the senses – the sound and smell of the hardwood timber underfoot on the staircase sets a tone on entering the house. Screening elements ensuring privacy have become an integral component of the aesthetic. The juxtaposition of solid mass to large expanses of transparency is transitioned with semi-transparent slatted screens and shutters. The architectural language takes its cues from a Spanish approach to simple cubic volumes with punctured openings and planar walls that open up to create generous ocean views.
Such a narrow, steep site often compromises the final outcome but here, with the seamless connection of indoor and outdoor spaces, the heart of the house was successfully extended from boundary to
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尼尔·霍普伍德
Design for Living by Daniel Hopwood:
“Program
The 1200 square foot [110sqm] apartment is located on the first floor of a building with a Georgian fa?ade situated close to London’s Regents Park. The apartment overlooks a street lined with late 19th century red brick mansion blocks that have terracotta, stone and render detailing. The space is divided into three rooms, one with an open-plan kitchen leading into a reception room that has 16-foot [5 metre] high ceilings. A mezzanine overlooking the double-volume space has been configured as an additional study area.
Design Concept
The clients, who enjoy entertaining at their 5400 square foot [500sqm] home in the countryside, had a clear design brief: the relatively small pied-à-terre needed to be configured in a way that would maximise its potential for hosting dinner parties. Design inspirations could be drawn from the late 1960s to complement the clients’ mid-century furniture collection.
The kitchen was relocated from a room at the rear of the apartment and repositioned into the apartment’s large reception room. This emancipated the smaller room from its functional use and allowed it to be transformed into a second, albeit smaller, reception room.
Bespoke kitchen fittings were designed in white melamine with work surfaces fabricated in Corian?. Aluminium shutters hide appliances in order to give the space a minimalist appearance. Tucked under the overhanging mezzanine, the kitchen merges unobtrusively into the double-volume reception space.
A similarly light palette was used in the main reception area, which was configured as a dining room with a custom-made, multiple-armed Serge Mouille pendant light as a centrepiece above a Florence Knoll elliptical dining-room table.
Lighting, which was integrated into the bottom of built-in seating on the outer edge of the room, demarcates the space. This is echoed in concealed lighting on the perimeter of the ceiling, which visually integrates the mezzanine study area into the double-volume reception area below.
A spiral staircase was removed and replaced with aluminium straight-run stairs that have open risers and a simple stainless steel balustrade. Though this links the vertically separated spaces, a sculptural wall in rough-sawn oak was designed to further harmonize the arrangement and provide partial privacy for the kitchen and study areas. Together with the oak dining table and wide-plank oak floors, the reduction of colour and materials creates a pared down appearance.
Images of Halston’s apartment in Manhattan’s Olympic Towers in the 1970s, which were seen in the documentary “Ultra Suede: In Search of Halston”, inspired the design of a credenza that replaced a railing on the mezzanine. Suspended off the floor with five fin-like brackets in metal, the custom-made cabinet overhangs the reception room and impedes any potential visual discordance that might disrupt the minimalist aesthetic.
In contrast to the light-filled, double-volume reception area, the space where the kitchen had previously been located was given an altogether different aesthetic. Now used as a library and reading room, the room’s walls were painted charcoal grey, shelving covers an entire wall, and lighting was designed to be moody and subdued. A window was removed and replaced by sliding doors to a terrace, which was landscaped.
A custom-designed headboard was made for the bedroom and upholstered in brown leather and fitted across one wall. This was backed with book-matched oak panels fitted with Artemide Tolomeo lamps. An oak-framed bed and side tables were custom designed.
The en-suite bathroom was reconfigured and fitted with a high-power shower, Japanese “washlet” toilet and washbasin with stainless-steel mixer. Mirrored cupboards and glass-covered walls convey contemporary styling.
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三间房项目
House of Three Rooms by Marc McCollom Architect:
“The First Room begins in the front yard, where a tall evergreen hedge separates the Entry Garden from the street. It continues inside through a large glazed opening, joining with the Dining Room and the Kitchen.
The Second Room, a generous rectangle, is the center of the house proper. The Kitchen and Dining Room are at one end with the Living Room at the other. Stacked in the center are the Skylight, the Stairs, and the Rock Garden.
The Third Room begins with the Living Room, whose adjacent Library takes a step toward the street before turning around and opening onto the Private Garden. There, a stone terrace and a wood deck overlook the swimming pool; in the distance, a small lawn, walled by vines and shaded by a row of trees.”
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