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The River Road House by Hughes Umbanhowar Architects

When morning breaks in the small residential community of Sewalls Point, the house is cloaked in light that is reflected and refracted from the faceted Mahogany framed windows of this regal residence. Home for a young family, the structure is reverent in its embrace of the outdoors, both the two-acre waterfront lot it occupies and the landscape beyond. Ensconced in the hillside which overlooks the water, the structure is a series of expansive and intimate courtyards and cantilevered decks, which architectonically echo the diaphanous volumes of the interior, spaces which seem to defy gravity, even while embracing the solidity of Italian limestone and stucco facades. Views to the southwest encompass the dynamic activity of the marina in an inland waterway and track the movements of sun, wind and water.

The 12,300-square foot house, completed in 2008, is a complex composition, reminiscent of the canvases of Georges Braque, in which geometric forms appear and disappear in a constant dance of illusion and materiality. The house comprises a series of distinct, yet interlocking rectilinear volumes conjoined by a transparent longitudinal axis. Positive volumes are balanced atop negative creating a heightened tension and intrigue. A glass-skinned throughway connects and distinguishes the two dominant volumes, or towers, capturing light and adding to the sense of interior capaciousness. Exterior glass, limestone, stucco and mahogany outline, augment and anchor what otherwise might be a cacophony of disparate forms.

Whether allegro, andante or largo, the varied rhythms of the internal structure are adroitly composed. Denizens move with leisure or efficiency, depending on need and mood. Interior spaces are carefully orchestrated to conceal and reveal dramatic views to the water. Surprise and delight are amplified by skillful interior and exterior framing. In the same way, the arrangement of program and use moves inhabitants through a logical gradient from public to private space, from activity to slumber, from conviviality to introspection. At either end of the longitudinal axis that connects the two domestic partitions, separate stairways enhance circulation and provide discrete access to the three-storied parapets.

The gracious interior is highlighted by the use of Mahogany, Minnesota Limestone, and plaster finishes. Afternoon sun is mitigated by aluminum louvers and astute structural arrangement. The bulthaup kitchen is enhanced by a sliding window wall which opens to an exterior courtyard, further collapsing the distinction between exterior and interior space, and thereby underscoring the sense of spontaneous yet calculated arrangement.

Visit the Hughes Umbanhowar Architects website – here.

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Photography by Stphane Chalmeau and Luc Boegly
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Rennes Mtropole Crematorium by PLAN01 Architects

Largely marginal in the 1970s, cremation has experienced a slow but regular progress for the last 20 years, reaching a 29% rate today. In 2030, cremation will become the main funeral practice in France, outreaching the symbolic 50% rate. This true reversal of traditions underlines the progessive spreading of cremation, both geographically, outside major urban centres, and socially, religious and older people are less opposed to cremation.

From a free thinker ceremonial to a mass practice
If cremation is becoming a major practice on a strict mumber basis, some of its aspects are still influenced by former perceptions. In many ways, it is still evocating the roughness and the severity of a ceremonial for free thinkers and reprobate people. The difficulty of combinating cremation with a truly respectful and solemn ceremony still remains. It is particularly perceptible in the architectural layout of crematoriums. They are not well conceived, not very appropriate to this difficult and particular situation; they make the mourning process even more complicated and painful.

In the continuity of what have been made in Northern Europe, a reflection on the architectural quality of crematoriums in France is more than needed. Far from beeing a detail in crematorium conception, architecture is a key step in the invention process of a dignified ceremony.

Rennes mtropole Crematorium, the result ofa collective approach
In this very particular and stimulating context, the group of agencies PLAN01 got the opportunity to work on the crematorium project in Vern-sur-Seiche. The innovative organisation of the group- 4 architecture agencies sharing a same workspace and working together on important projects – results in a relevevant architectural answer.

Over the group meetings held during the first two years, the ten partners had the opportunity to share their first impressions, to clear the eventual apprehensions, to refine their approach of the project and develop their first ideas.

This collective way to proceed has facilitated the elaboration of a strictly secular space that does not expel anyone, without denying the needs of emotion, solemnity and spirituality shared by everyonne.

The Circle
The circle is repeated throughout the spatial configuration and its many declinations shape both the landscape and the building. From the clearing to the shape of the rooms, the circle is a recurrent theme. This spatial layout referred to life circle, constellation, but also to Stonehenge or Land Art works.

Above all, it can be interpreted in many philosophical, religious or cultural ways. Completely non-denominational and easily accessible to all, the crematorium rises up, solemn and imposing. The references to daily life vanish, creating a singular experience where orthogonality does not rule any more.

This layout is also a reaction against monumental architecture. Unlike a mausoleum, the crematorium does not overwhelm users and nature.

Although monumentality is dismissed, the need of solemnity is not rejected, though. On the contrary, the choice of simple shapes and materials provides an integrated landscape of peace and tranquillity. It creates a dignified and serene area.

A landscape building or architecture as landscape
The first problem to be addressed was the parking issue. This very particular situation requires to escape from the mundane world of the automobile. The building fits into a vast clearing, surrounded by trees and fields. Small car parks are discretely included in those wooded areas. By leaving theirs cars in those special areas, mourners can detach themselves from the outside world and enter a place entirely dedicated to ceremony and meditation.

The architectural reflection on access was influenced by the idea to avoid imposing one single common path leading to the crematorium, but rather to create a large number of possible approaches. Thus, the various pathways encourage a gradual progress from the external environment towards internal intimacy, from outer noise to inner silence.

After crossing a broken enclosure formed by thick granite blocks (extracted in a local quarry), users go down a gently sloping planted section that converges on the building standing at the end of a large curved open-air horizontal space. The building itself appears like an enormous disc floating in the centre of the clearing and bringing together the various elements of the programme. It creates an impression of fluidity between internal and external spaces.

Interior areas
The large central hall is the key piece in the people circulation system. There are no corridors but only flowing spaces, mainly illuminated by natural light with framed external views. This space has been conceived in order to reduce the feeling of being shut in. Its the place where members of the families get together, where they can decide to speak or not, where people can be overwhelmed with emotion.

There are two different sorts of area opened to the public: the rooms where the ceremonies take place and the waiting rooms.

The two ceremonial rooms are large circular spaces with dedicated patios that bring light and air. This special layout design reconciles the contradictory need for openness and intimacy. Each room is complemented by draperies that enhance the acoustic characteristics.

The waiting areas are located as ante-rooms to the ceremonial spaces. Their walls are made of glass that can be completely hidden by translucent curtains, so that the levels of intimacy and openness can be controlled. This system also gives the possibility to avoid embarrassing encounters between two different families.

An ecological approach : project fundamentals
Far from the up-to-date and superficial greenwashing concept, PLAN01developed a complete ecological approach. PLAN01 created PLAN02 – a twin structure – specialized in eco conception and bioclimatic design.

Not just a building, a complete site. With its grass-covered roof and large exterior pool, the project blends into the vegetation of the landscape. It is also an integral part of its geographical surroundings through the use of local materials such as granite and wood.

By incorporating various current international frames of reference (HQE, Habitat and Environment, Effinergie, LEED, BREEAM, etc), PLAN01 has defined 7 criteria for optimising the crematoriums environmental performance. In this project the environmental issue is treated as a springboard for innovation, not as a constraint, as an underlying principle, not just as a green veneer.

Visit the PLAN01 website – here.

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The Meadowview House by Platform 5 Architects

Meadowview is situated on the edge of a rural village in Bedfordshire and was designed as a family home for a retired couple. The plot, enclosed by hedgerows and mature trees, borders onto an expanse of arable fields. The site has been divided into different areas by the house and hard landscaping, setting up an interplay between the building, gardens and distant landscape.

The abstract nature of the surrounding agricultural landscape and vernacular buildings has informed the design, resulting in a house with a simple linear form with a horizontal emphasis. Small differences in height make a big difference to what you can see in a flat landscape so three datums were struck across the site expressed in bands of slate, white render and timber cladding to mark the viewing platforms.

On the ground floor, areas of glazing set up close, sensual relationships with the garden whilst the first floor offers a more detached experience of the landscape with long views framed like pictures on the wall.

The sweet chestnut clad box overhangs the ground floor so that from across the fields it looks like it is floating over the hedgerows. The deep recessed balcony acts like a lens hood, framing sunsets over the countryside. The concept of a hovering building is continued into the details of the ash tread stair that is cantilevered off the wall in the entrance hall. The lightness of the timber box is juxtaposed with the heavy ironstone gabion wall that encloses the private walled garden.

A meandering route through the house creates a sequence of gradually more private internal and external spaces. The entrance hall offers visitors views straight through the house to the pavilion in the back garden whilst screening off the living areas. As you progress though the ground floor, the space expands into a double height living room that is overlooked by the first floor study. From the living room, you can gain access to the courtyard garden where more delicate plants can grow protected from the wind and cold. To the rear of the house, swathes of long grasses and meadow flowers are animated by the breeze giving the terrace a wharf-like feel. An area of the garden is given over to food production in raised beds, providing all of the households fruit and veg over the summer months.

The house is well insulated and also incorporates mechanical ventilation with heat recovery to reduce heat losses whilst a rainwater harvesting tank supplies water to the WCs and the garden irrigation system.

Visit the Platform 5 Architects website – here.

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Description of the Fish House by Guz Architects:

This modern tropical bungalow encapsulates the essence of living in the hot and humid climate of Singapore by creating open spaces which encourage natural ventilation and offer residents views to the ocean.

The main design concept is to create a house which has close relationship with nature and this is achieved by having a swimming-pool linking the house with the landscape and ultimately visual connections with the sea. The idea of connection is reinforced by having the basement level media-room with a u-shaped acrylic window which allows diffuse natural light in and also views out into the pool. The curved roofs, which symbolizing the sea waves, also emphasize the idea of the nearby sea. These are almost totally covered with thin bendable photovoltaic panels supplying enough energy to the house, while the remaining area is used as a green roof giving residents some outdoor leisure spaces.

Fish House is a modest and yet luxurious residential design which gives residents opportunities to live in harmony and comfortably with nature.

Visit the Guz Architects website – here.

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Saint Bartholomews Chapel by Kevin deFreitas Architects

Context + History:
Located in the picturesque back country of San Diego Co. the very small historic St. Bartholomews Chapel was destroyed by a wildfire that ravaged the Rincon Indian reservation in late 2007. Only the original adobe bell tower and original Mission bell survived, which would become the anchor element in the redesign planning. The needs of the current community changed significantly over the past 100 years. The fire presented a blank slate opportunity to expand and update the facility primarily by doubling the seating capacity and adding a standalone multipurpose social hall which created and framed a third space; an outdoor prayer garden. While respecting traditional customs, emulating or recreating the past literally was not a project goal. Design elements in plan, section, and elevation were conceived to reference and infuse meaning into the chapel. Rammed earth walls, radial plan elements, butterfly roof, and extensive use of locally sourced materials all draw from a limitless well of Native American and Catholic symbols and metaphors. A thin film Solar PV system, high thermal mass construction, thoughtfully placed glazing, deep overhangs and ultra low water consuming plant palette all acknowledge the Native way of living lighter on the land.

Design Objectives:
The new design was conceived to reverently knit together past and comfortable traditions, while acknowledging and offering something relevant to current and future generations. Thus, emulating or recreating the past literally was not a project goal. Native American as well as Catholic/Christian symbols and metaphors were referenced in every design element; plan, section, and elevation as a way to infuse meaning into the chapel on several layers.

Sustainability + LEED:
In an effort to reconnect with traditional Indian culture of living lighter on the land, the client specifically requested that the project thoughtfully incorporate a full complement of green materials, efficient technologies, and sustainable strategies into the redesign. The building consumes approximately 26% less power, and 35% less water than comparable structure. This was achieved using a combination of low and high tech solutions. Low tech passive features employed include; oversized roof overhangs, protected glazing, few west facing openings, clerestory windows and skylights for natural daylighting, and strategically placed operable windows to encourage cross ventilation. Some of the high tech products include; a flush mounted thin film PV systems invisibly incorporated into the metal standing seam roof, high efficiency mechanical units, a computerized lighting control panel, high performance solar E glazing, and Icynene self expanding foam insulation dramatically improved the thermal comfort and energy efficiency of the project. The entire landscape incorporates highly drought tolerant species that complement the overall building theme. The chapel is currently pursuing LEED certification at the Gold level.

Natural Materials:
The Chapel utilizes a significant amount of site harvested building materials; the signature element being the massive rammed earth walls that flank the sanctuary, each nearly 60 feet long, 18 feet tall, and 2 feet thick. Symbolically important, these beautifully textured and organic walls are literally molded from 120 tons of sacred reservation soil. Other earthy materials such as the 3 ton boulder that was crafted into the baptismal font and the 5 thick slabs of wood hewn from a Coastal Live Oak physically connect this congregation to the beauty of their natural surroundings, the significance of their ancestral home, and most importantly to the Spirit of their God in a very tangible and palpable way.

Project Data:
Owner: Rincon Band of Luiseno Mission Indians
Address: 2 Mazzetti Lane, Valley Center, California

Chapel: 3,560 square feet
Social Hall: 2,385 square feet
Courtyard: 1,820 square feet

Design Team:
Church Committee: George Arviso, Juan Reed, Patty Duro, Rose Duro, Georgiana Viveros
Architect: Kevin deFreitas Architects, AIA
Project Team: Kevin deFreitas & Manish Desai
Structural Engineer: Envision Engineering
Landscape Architect: LandLAB Inc.
Mechanical Engineer: Stueven Engineering
Plumbing & Electrical Engineer: BTA Engineers

Contractor: Lusardi Construction Company

Photography: Harrison Photographic

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House in Empoli by Massimo Mariani

The Stefanos house is located in Navicelli road, between the historical center of Empoli and the Arno river. The project concerned the renovation of a residential building which was built in the earliest of 1960s. The plan was to empty entirely the interiors so we could reorganize the interior floors height; in the same time we designed the new faade on the main front without any increase of volume.

The building is developed on three floors above the ground; from a monofamiliar house it turned into a bifamiliar house, with a few offices on the ground floor. Each new house measures 200/220 square meters about, both the two have the entrance door along the main road as the garage and a service room. The first floor holds the living room, the dining room and the kitchen, each one offers many different views. There is a terrace along the road which is shielded by an aluminium wall with laser pierced flowers; on the other side the kitchen and the dining room overlook on the interior patio with the hydromassage. In summer it can be closed on the top by the motorised curtain-blind so it turns into another room. A teak staircase connects the living room with the night zone on the upper floor which is opened on the river on a side and the citys roofs on the other. A small green house amuses the home entrance.

Visit the Massimo Mariani website – here.

Photography by Alessandro Ciampi

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The Verdant Avenue House by Robert Mills Architects

The Verdant Ave project reflects RMA’s unfaltering commitment to marrying purity of form with function, and the belief that a precise balance of architecture, interior design and landscape will always create a truly great home. A crisp cubic structure allows the propertys 80 year old pin oak to be celebrated as the focal point for the main living, dining and bedroom areas. A crisp palette of white walls with American oak joinery and slate floors creates a clean, calm space from which to view the venerable tree changing with the passing seasons.

The project philosophy from the outset was to create a luxurious contemporary family home. It needed to accommodate the clients love of entertaining, their extensive artwork collection and a desire to connect to the natural environment outside.

The interior and exterior living and entertaining spaces sit side by side on the ground level, separated by floor to ceiling glass walls and sliding doors. These doors open to a 25 metre lap pool, which runs the length of the building and provides natural evaporative cooling to the living areas.

RMA’s dedication to meticulous detailing in all interior materials is evident throughout the home; at all times the luxury of the space was a priority. This detailing has created an elegant simplicity for the home it does not require ostentatious dressing to be beautiful, comfortable or practical. The monochromatic palette and 3.5 metre ceilings provide a gallery for large and small art pieces alike to play a key role, while the fluid form of the centrally positioned spiral staircase, linking the ground floor to the first and second levels, provides a striking sculptural element that contrasts with the cubic character of the interior.

Energy-efficient features include a smart lighting system and motorized oversize exterior window louvres, which provide natural light and ventilation.

From the outset a considerable amount of time and energy was spent working closely with the clients through the briefing phase. It is a strict RMA dictate that the client is kept constantly updated and informed on all aspects of the design and construction phase, which inevitably leads to minimal changes and variations, and therefore a quicker, smoother, more cost-effective build.

Visit the Robert Mills Architects website – here.

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Villa in Andalucia by McLean Quinlan Architects

The design strategy for this new build villa was to create a building that would exploit the spectacular landscape, while creating an exemplary building for the 21st century.

The site occupies a panoramic south west facing sweep of embankment, with impressive views to the Mediterranean, Rock of Gibraltar and Serrana de Ronda.

The building has seven bedroom suites for the family and their guests in three linked pavilions separated by pools of water, gardens and stone terraces.

Landscaping was key to the concept for this dramatic site and the combination of visual, solar and centrifugal influences inherent in the landscape created a natural orientation for the building as a series of parallel surfaces on a NE/SW axis. These layers defined both shade and space from which to enjoy the Andalucian sunlight, providing tantalising glimpses of the view beyond and shaping tranquil spaces for the inhabitants.

The effect of shadow and water in an Islamic garden was both a practical and metaphoric influence on the design of the whole building helping to temper the immediate microclimate while quietly referencing the historical context.

Visit the McLean Quinlan Architects website – here.

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Final Departure Lounge by SPACE Architects

SPACE was selected from among several architecture firms to design the new final departure lounge for a recognized brand of financial services and credit cards. This project is located at terminal 2 of Mexico City airport.

The challenge was not straight-forward, the customer was looking for a design that brought together many things at the same time. The main challenges were to generate a multi-purpose space that would represent a contemporary and cosmopolitan image that summarize the brand to design a new experience, in a globalized world in which the brands and products are in a headlong race to position themselves in the minds of the customers to use built spaces as a natural extension of the brand, a complicated but vital challenge.

A specialized Branding team was used for this project, who together with the architects generated a hybrid methodology as a result of mixing Branding and architecture.

The project design concepts emerged as a consequence of a search for the definition of the brands “emotional promise”, that is to say that the project was developed around the idea of designing a group of well worked out emotions that would develop as a consequence of a brand experience. To be convincing, the experience would have to be a sensory experience, an experience that would include all senses and that would seek to arouse the emotions.

The importance of emotions:
At the beginning of this century neuromarketing started to be used in England as part of the development of a new science using magnetic resonance to define what motivates consumers in their decision making. Such studies have had many revealing results but one in particular has generated a new way of understanding architecture. The way that the brain codifies the majority of the information that it receives is by translating it into emotions, like this it gives a value to things, good brands are connected emotionally with their users through experiences and the great majority of the experiences take place in built spaces. In order for architecture to be transcendent it will have to be defined as starting with the search for emotions that will enable it to connect with its users.

In the case of the final departure lounge the fundamentally functional aspects were worked on at the same time as working on the emotional definition of the space, the great majority of the persons that use these spaces take advantage of them to work before getting on a plane. The emotional solutions would have to be very functional as well being able to give a solution to all the users different needs and work habits. That is how this space is made up with some private meeting rooms, informal meeting areas with virtual divisions, Wi-Fi and support areas. Together with these working spaces, the final departure lounge also has recreation and entertainment areas, such as the lounges for a game of dominos or cards, a small massage room, and a beauty-hairdressers salon.

In general this space is without any doubt a taster of what many other office building spaces will be like in the not so distant future, spaces that will represent properly the expectations of their brands and that will be sufficiently flexible to practically support any way of working and meeting. The project was developed with a methodology generated by SPACE in which all projects seek to be designed in a sustainable manner.

This space consumes around 50% of the energy that other similar spaces commonly consume, by means of openings in the ceiling that let in natural light, the design maximizes the usage of daylight in the interiors, additionally generating extremely natural and pleasant sensations.

The materials utilized in the project have a high recycled material content, and the majority of them are easily renewable.

Visit the SPACE Architect’s website – here.

Photography by Willem Schalkwijk

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The Leonard Residence by Ehrlich Architects

This 4,000-square-foot residence is situated on a 45-degree-angle downward sloping canyon site in the Hollywood Hills of Los Angeles. Embracing an entry courtyard, the structure is a composition of vast areas in glass supported by steel and concrete, tracing its lineage to the case study houses of LA.

The hillside-bound site presented the most obvious challenge as well as opportunity for design. To achieve the vision objectives, the house is spliced into multiple levels to accommodate and embrace the steep slope yet make the most of all useable space, nearly panoramic views and augment privacy from the closely adjacent homes. Each level fluidly caters to specific living, working and relaxation needs of the residents, allowing for utmost efficiency and comfort.

The entrance level is greeted by a permanently-installed corten steel and glass dining table designed by the Architect. A two-story living room is suspended over the canyon on a structured concrete slab that also serves as the finished floor. From this level, a floating tread stair ascends to the master bedroom/bath suite and a floating reading loft affords classic LA views through the 20-foot high glass walls. Access to a roof terrace above the garage fosters sunbathing and relaxation.

From the main public level, one descends a stair anchored to a cast in place concrete wall to the lower level that houses a home office, guest quarters and storage.

Visit the Ehrlich Architects website – here.

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