Das Glashaus (German for 'The Glass House') is a rural escape, conceived as a family retreat by emerging architect Sigurd Larsen. Located in the pristine countryside outside Berlin, and set among centuries-old forests and lakes, the home, a getaway for a small family who likes to entertain guests, was created to become the perfect bolthole from which to relax and take in the natural scenery. 

In order to achieve this, Larsen and his Berlin-based team opted for an almost archetypal exterior outline for the home – a clean, timber, pitched-roof structure that acts as a kind of an echo of the region's farmhouses or barns. Simplicity was the name of the game, with an internal layout spread across a single, linear floor. A generous open-plan living, dining and kitchen space gives way to more private areas on one end. These include a bathroom and two double bedrooms. 

A twist in the otherwise straightforward plan produces a curved wall on one end, which protects the Glass House and its entrance from street-side views. At the same time, all rooms were located so that they can offer long countryside views to the open landscape. This domestic haven also has access to the outdoors, straight out of these windows, as well as the home's pièce de résistance – a greenhouse-style, large open terrace right at the top of the structure, under an exposed timber framed roof clad in glass, which also lends the building its name. 

‘Every day is a new experience,' says the architect. ‘In the warm seasons, interior and exterior spaces grow together through the many openings on the garden façade. The interior of the house appears to merge with the garden defined by the curving wall of the house and the green hedges of the garden. In the winter, the compact, insulated one-storey house becomes a cosy and intimate place to withdraw and watch the landscape and changing light through the panoramic windows. The greenhouse upstairs is an extra feature that can be used when the sun has warmed it up, or the wind has cooled it down.' 

INFORMATION

sigurdlarsen.com

The fragrant smell of timber, a slew of engaging toys and gentle lines and materials, and sustainable architecture principles are key components in the identity of The Learning Tree nursery - a new preschool facility in East London's Romford. The timber-clad architectural interior design is the brainchild of emerging studio Delve Architects. 

The young practice, set up in 2017 by school friends Edward Martin and Alex Raher, was called upon to retrofit a former industrial building. This has now been transformed into a warm, welcoming learning space using durable design and natural materials - namely, timber, ply and rubber. Creating the space in just six months and working with specific budget constraints, the architects employed glazed partitions, timber screens, curved forms and bespoke joinery to customise the interior for their client, leading childcare and education company, Storal Learning. 

‘The Learning Tree represents everything that we’re passionate about when it comes to design and how that can contribute to the development and education of young children and the wellbeing of their families. The client Storal Learning were brilliant to work with and with them we’ve delivered something special and beautiful for families in the Romford area,' says Delve's director Alex Raher. 

In the new Learning Tree nursery space, a central, light-filled open plan communal room, filled with toys and age-appropriate equipment, meets a kitchen, bathrooms, waiting area, office and an outdoor timber covered play area. Playful details, such as porthole windows and vibrant pops of colour, elevate the interior.

Delve Architects and Storal Learning's collaboration was such a success that the client-architect team is now already deep into the development process of one more nursery facility - this time in Banbury, Oxfordshire - which is currently on site.

INFORMATION

delvearchitects.com

Perched less than four miles off the south shore of New York’s Long Island, Fire Island Pines is a summer haven for the LGBTQ+ community that is equally well known for its collection of modernist architectural jewels. Wedged between Great South Bay and the Atlantic Ocean, this narrow strip of sand, marsh and woodland is a study in contrasts. On the one hand, it is host to some of the region’s largest dance parties; on the other, it is a holiday hamlet featuring pristine beaches and unique flora. Modernist architecture is perhaps the prevailing genre of the island’s homes, although not every Fire Island house is of the pedigree, or as lovingly restored, as 612 Shore Walk. 

The home, originally created in 1969 for textile designer James Patterson, is a paragon of the modernist style, which emphasises minimalism and generosity of space. It is the brainchild of architect Harry Bates, who is renowned for residential projects on the island, and has been skilfully updated by Christopher Rawlins of Rawlins Design.

The two-storey rectangular home consists of full walls of glass on both front and rear elevations, inviting the idyllic surroundings in. Inside, simple, midcentury modern décor does exactly what it is supposed to, providing comfort and function without distracting from the natural beauty of the nearby vegetation and views of Great South Bay. 

Rawlins is himself a chronicler of modernist architecture on the island, and co-founder of Pines Modern, a non-profit dedicated to preserving local architectural history. Rawlins discovered the house as part of an oral history project he conducted with Bates, intended to identify the elder architect’s extant works on the island. Rawlins says that Bates, who was born in 1927, is perhaps the only architect still alive from the cadre of midcentury modern architects who both worked and lived in the Pines – most succumbed to Aids, which ravaged the community from the 1980s through to the mid-1990s. ‘We traversed every single boardwalk in the Pines, and he pointed out all of his projects. This particular house was one that I had noticed but didn’t know anything about,’ says Rawlins.

Rawlins soon learned that the home was the subject of a House Beautiful feature in 1971. He printed the article and taped it to the property’s gate with a note that read, ‘Did you know that you live in an important house by an important architect?’ The current owner, Daniel O’Connell, a retired HR executive, did not know, but became intrigued. Soon after, O’Connell, who spends the warmer months on Fire Island with his partner Vincent, commissioned Rawlins to undertake the home’s restoration. ‘I had already purchased the book Chris wrote [Fire Island Modernist, about local architect Horace Gifford] and welcomed him into my home,’ O’Connell explains. 

Though Rawlins took pains to preserve Bates’ intent and the house’s design integrity, the home has been thoroughly modernised. ‘The footprint of the house was essentially maintained,’ Rawlins explains. ‘We didn’t enlarge it, but there were a few things that needed enhancement. For example, the upper level designed by Bates has wonderful cross ventilation because there’s a wall of glass on both the north and the south façades, but that wasn’t the case on the lower level. So, on the lower level, we created full glass across the rooms on the north and south side, which enhances both views and cross ventilation.’

Although O’Connell uses the house as a summer residence, Rawlins wanted to design the home to be enjoyable all year round. ‘Fire Island consists mainly of austere cedar and glass structures, which are quite beautiful when they’re surrounded by greenery. But if you can imagine them in early April, it can all be a bit grim and grey.’ Rawlins counters the gloominess of the off-season through the addition of a colourful tile ceiling for the entrance porch, ‘to introduce colour 365 days a year’. He has also designed a new fence that provides privacy while enabling ventilation. 

Rawlins has infused new life into 612 Shore Walk while enhancing the original design, modernising critical elements, and better connecting the dwelling to its surroundings.

According to O’Connell, the home affords ‘a feeling of peaceful isolation. The house feels as if it grew along with and among the trees. One cannot help but relax stepping past the gatehouse.’ 

INFORMATION

rawlinsdesign.com

A Polish farmhouse set in the rural idyll of the country's green, rolling hills, has been redesigned by BXB studio head Bogusław Barnaś and his team into a contemporary homestead. The generous project, which spans over 500 sq m, consisted of five distinct existing agricultural structures that were slated for demolition, being neglected and in a bad state of repair. The architect stepped in to transform the complex into a modern home made up of a series of interconnected barns that fan out across the verdant site. 

Led by the orientation of the vistas, as well as the sun's path during the day, the architecture team defined how the structures sit and open up towards the landscape. Clad in timber, the five buildings blend comfortably in their natural environment, while at the same time, their clean, contemporary forms clearly cut a distinct, modern figure in the leafy context. ‘Each and every project is a real challenge, [representing] a deep desire to create something unique and breathtaking, it is a great social responsibility to shape the world we all live in,' says Barnaś. 

Barn conversion reimagines Polish farmhouse

The five buildings contain, respectively, a garage (which also acts as a buffer between the residential parts of the complex and the road); the kitchen and family spaces; the children's bedrooms; a studio space; and the master suite and a living space with a wooden deck looking over the surrounding wilderness. Each barn’s wood species and textures have been researched and selected to specifically fit their use – being softer or more hardwearing, lighter or darker, according to the function. 

Aiming to be respectful to its natural environs, the Polish farmhouse's redesign incorporates gestures such as the preservation of trees found on the site, and a volume arrangement and footbridge that negotiates the existing terrain to ensure the house has a minimal impact on the land. Meanwhile, design elements abstractly nod to traditional agricultural structures in the region. ‘We, at BXB studio, think that this kind of openness with regard to heritage and tradition allows us to discover a richness, full of great creativity, and that this kind of creation of space gives our buildings durability and timelessness. We believe that in this way, our buildings are not merely anonymous or without a soul, and that they are something more significant than just a modern building,’ the architects say.

INFORMATION
bxbstudio.com

You never know what you might encounter, opening the door to a period house in the UK. Styles and approaches inside can vary a lot and this suburban house by London architecture studio SPPARC is a fitting case in point. What appears to be a standard early 1900s two-up-two-down type of house in a sleepy, leafy south London street, has been transformed through craft, colour and material into a playful, rich family home – the base of SPPARC's founder, Trevor Morriss, and his family of six. 

That the house is a labour of love is perhaps an understatement. Every corner and nook have been designed with care, and bespoke details abound in this highly tailor-made interior. From the timber cladding (with precision reliefs throughout to avoid a uniform look and accentuate the wood's texture and feel) to the built-in furniture and the surgically punctured openings at key places (the floor appears to simply disappear as you approach the ground-floor bathroom), the home bridges fun domesticity with a craft-heavy design approach. Wood is present throughout, manifested in an oak palette, in varied tones, for the floor, doors and wall panels, complemented by lighter hues of ash for the wall, ceiling and joinery elements. 

‘It took four seamstresses and 120 hours to finish the main staircase,’ Morriss says, as he recounts how one day, a group of professionals entered the building site to set up their sowing machines and artfully stitch the impressive, green Italian leather-clad, butter-soft main circulation stair core. It's a central element that connects the house's four levels. A fairly conventional arrangement – more formal living spaces on the ground level, a kitchen, family room and cinema on the lower ground, and bedrooms on the two upper floors – is countered by a less traditional design style throughout. 

Unexpected touches elevate the interior. A narrow-gauge oak herringbone parquet-lined slide connects the garden and the cinema space, as a continuation of the room's floor. Two specially designed timber structures in the garden act as a storage shed and a treehouse for the children. A roof extension at the top of the house contains the master bedroom suite and bathroom behind a porous screen of laser-cut aluminium sheets that have been basket-woven into a brick format with bespoke-sized brick infill. This move adds texture to the rear façade and hints at the home's unique identity.

That the home is bespoke does not take away from its sustainability credentials – if anything, it enhances them. Sustainable architecture features include the overall approach to rework an outmoded property into a modern home that has flexibility to change over time as the family grows, without the need for future refurbishment; eco-consciously sourced materials throughout; the integration of technology into the fabric of the property to reduce energy demands; and the use of air-source heat pumps, rain water harvesting, LED lighting and high-performance insulation.  

Morriss has installed a home office in an outhouse, right at the back of the long garden, just behind a grouping of young silver birch trees that are sure to grow into a kind of mini forest, offering a wild element to the green space. For him, this suburban home’s design is a continuation of ideas and passions he developed in past works – the family’s previous base, for instance, an apartment in central London. ‘The house is a design manifesto of the importance of craftsmanship. The timber element was a theme in our previous home too, but here the design ethos has been evolved and expanded,’ says Morriss. ‘It took a tremendous amount of detailing and time but it’s so worth it to have a space where you can be surrounded by a meticulously crafted interior, with its natural feel and rich, calming sensory qualities.'

INFORMATION

spparcstudio.com

Located at Töölönlahti Bay, Pikku-Finlandia (‘Little Finlandia’) sits at the heart of Helsinki’s Töölönlahti park. Developed along the southern shoreline, the park is a cultural oasis, home to the Finnish capital's winter garden and main opera house. Here, the new building is set to act as a temporary replacement for the famous Finlandia Hall by Finnish modernist architecture master Alvar Aalto, which is undergoing renovation. Demountable and built of wood, including whole tree trunks fully on show, it is an impressive piece of sustainable architecture; yet perhaps the most amazing thing about it is that Pikku-Finlandia was born as a bold student thesis.  

In 2019, architecture students Jaakko Torvinen, Elli Wendelin and Havu Järvelä submitted a student competition entry at the Aalto University’s School of Arts, Design and Architecture for a transportable wooden building to serve as an event and restaurant space that would temporarily replace Finlandia Hall while it was being restored. Their project was announced the winner and is now realised as Pikku-Finlandia. The building follows a rectangular, modular grid made of unprocessed pine, its branches still visible. The long side of the building exposes a sequence of structural pine columns, creating a feeling of being on the ‘edge of a forest’. As Europe’s most richly forested country, Finland is covered by predominantly coniferous species, including Scots pine, that span some 75 per cent of its land (almost 20 million hectares).

The 2,300 sq m multipurpose building has a capacity of 1000 people and consists of a single floor hosting a café, four halls and a cabinet. The design is flexible and modular, and the halls can be connected to form larger spaces for events and catering as needed. One of the four halls, Kelo Hall opens to a bright lobby, its long glass façade highlighting views from inside towards the landscape of Töölönlahti bay. 

Wendelin and Torvinen collaborated on their thesis, and titled it ‘From Finlandia Forest to Pikku-Finlandia – design for a transportable wooden building’. Wendelin focused on the carbon footprint of the building, as a transportable structure, and the lifecycle of the pine wood. Torvinen researched efficient and accessible ways of disassembling the structure in future through principles of reverse building design. The team, alongside their professor Pekka Heikkinen, handpicked 95 pine trunks from the southern boreal forest in Loviisa, and used a pressure washer to peel the bark and preserve the organic shape and finish of the pine.

Initially created by Torvinen, the design concept was further developed alongside fellow students Wendelin, Havu Järvelä and Stine Pedersen. After the concept was chosen to be realised, members of the team continued working on the design in collaboration with Helsinki-based architecture firm Arkkitehdit NRT Oy, and Heikkinen. 

Pikku-Finlandia can, and will, be transported to a new location once the renovations in Finlandia Hall are completed by 2025. The striking, yet relatively modest piece of eco-friendly architecture is designed to be dismantled, rebuilt, repurposed and eventually recycled. As a multipurpose space, it can be used as an educational venue, for example, visiting other parts of Helsinki or Finland in the next 30 years, which is its estimated life span.

INFORMATION

jaakkotorvinen.com

A minimalist sauna design, idyllically located at the water’s edge on an island in the Stockholm Archipelago, is the latest addition to a complex that will eventually include a home, wellness areas and a guest house. Designed by the Italian-born, Sweden-based architect Matteo Foresti for a private client, the sauna sits between two rocky hills, a few metres up from the water, on a small, flat area covered in soil and low planting.

‘My main concern was to find the optimal place for the sauna and preserve the beauty of this pristine site,’ says Foresti. ‘On the one hand, we wanted to find a place close to the water, with a beautiful view and the perfect sunlight (facing the sunset), and on the other hand, we really wanted to minimize the impact of a building in the landscape.’ The sauna’s light timber construction, with a heat-treated pine frame and exterior skin and aspen wood interiors, was placed lightly on the ground, avoiding expensive and invasive foundations on the rocky landscape.

The building is reasonably small – just 15 sq m – as is often the tradition in its typology. Foresti allowed the simple structure of the typical Nordic sauna to guide his design, keeping this piece of architecture compact and functional. Minimalist interiors and a large glazed façade overlooking the water focus the eye on the natural context and the sauna experience. ‘Our main goal was to find the right proportions, the right scale and material rather than “invent” something new,’ says the architect. ‘A humble, small and simple volume to enjoy a sauna and the beautiful view.’

The small scale of the scheme was a particularly attractive challenge for Foresti, who had worked on private saunas before and relished the chance to work on the more ‘human’ dimensions such a project offered. He also appreciated the speed and immediacy of the construction (‘It gives us the opportunity to test new solutions and ideas,’ he says), while the natural beauty of the environment was another key draw in this commission. ‘[It is] a privilege that also entails a responsibility to cohabit and respect the surroundings,’ he adds.

INFORMATION

matteoforesti.com

5 Fin Whale Way is a holiday house, a structure designed to connect its owners with the outdoors as much as possible. The two-storey house is built on a site in the village of Kommetjie, 40km south of Cape Town on the Cape Peninsula. It represents a contemporary interpretation of the Cape cottage vernacular that characterises the region, a South African holiday home style which in turn contained a hefty dose of Victorian seaside architecture with its timber-clad façades and dormer windows. 

A South African holiday home by Salt Architects

The sprawling ground floor covers a substantial proportion of the triangular site, with a wide terrace acting as a buffer zone between house, pool and garden. Inside there is a large open-plan kitchen and living area, set alongside a slightly more formal dining space, a second terrace, as well as a generous utility area and double garage. A bedroom, bathroom and study complete the space.

The upper floor is much smaller, tucked into the pitched roof above the living space. This is home to a spacious principal bedroom suite, complete with a freestanding bath and large dormer windows. 

The terrace is the house’s focal point. A deep verandah provides shelter from the sun and rain, while expansive sliding glass windows allow the sitting room to be completely open to the elements.

The second terrace off the dining room is a slightly more private space with a fire pit and seating area. 

The key design elements are the verandah and terrace, both of which were governed in part by the design guidelines of the neighbourhood, but also by the clients’ desire to live a very outdoor life when they are at the house.

Cantilevered 2.5m away from the building edge, the verandah canopy is supported by a substantial stainless steel plate, and contains angled timber louvres that allow winter sun into the house but shade it during the summer. 

Other important design elements include a contemporary reinterpretation of the dormer window in the pitched-roofed first floor.

The windows contain seats with a north-facing view towards Hout Bay, while the external stainless steel dormer frames contrast with the traditional shutters, which in turn pair with the timber cladding on the exterior. 

Numerous details inside and out showcase how hard the Cape Town-based studio has worked to give the impression of an effortless update of vernacular style. The seamless joints and big spans could only be achieved by concealing structure within the house’s clean lines, and by using skilled craftspeople to shape the façade.

The result is a contemporary building that respects its surroundings while providing just the right balance of public and private spaces in an idyllic coastal spot.

INFORMATION
saltarchitects.co.za

Perched high above the beaches of the Gower Peninsula, Maich Swift Architects’ Rhossili House is an elegant fusion of traditional forms and minimalist architecture details; a wooden house informed by its context.

This part of South Wales is wild and rugged, with a long history of settlement and agriculture. Although the coastline is beautiful, it is also subjected to strong winds and treacherous currents – many ships have foundered in Rhossili Bay over the centuries.

Maich Swift Architects’ task was to face up to this scenic but demanding landscape with a house that served as both sculpture and sanctuary. The village of Rhossili and its surroundings have been part of an Area of Outstanding Natural Beauty since 1956, the very first such designation in the whole of the British Isles.

As a result, there was extra scrutiny on the design, which occupies a prominent clifftop site at the edge of the village. As well as consolidating and incorporating two existing outbuildings, the bulk of the project involved the construction of a new solid timber house.

Superficially, the new house bears a strong resemblance to the white-walled, pitched-roofed vernacular that has been built along this stretch of coastline for centuries. The London-based architects undertook a forensic examination of the surrounding properties and their designs.

However, Rhossili House’s façade is shaped entirely by the interior configuration, which in turn was directed by the stunning western views out to sea and up the coast to the north.

On the elevation facing the sea, large frameless windows make the most of the views, while the rear of the house is defined by a sequence of smaller, uniformly sized square windows and rooflights. A top-lit central stair core forms the heart of the house, with four bedrooms and a bathroom on the upper floor, three of which have dual aspects.

The top floor ceilings are all taken up into the roof slope to create generous spaces, with dark timber flooring and lighter panelled ceilings. Downstairs, a grand living/dining room has a run of floor-to-ceiling windows overlooking the ocean, 70m below.

The building was constructed using solid spruce cross-laminated timber, with a lime render finish and aluminium windows and detailing. These natural materials are not only breathable and robust but provide high levels of insulation, so that an air source heat pump can provide all the house’s energy needs.

The building’s strong environmental performance and sympathetic appearance helped the architects navigate the 57 planning constraints applied to the site – the process to get permission for the project took two years. After all that, the actual final erection of the frame took just three weeks, before the pandemic closed the site down for yet another lengthy delay. 

Inside, there is custom-built furniture to match the purity of the design, with details like skirtings and door surroundings kept deliberately low key. In addition to the refurbished outbuildings, a new timber-frame garage was added, as well as a viewpoint, defined by a ribbon of white walls, that juts out over the wild landscape.

INFORMATION

maichswift.com

An architectural lake cabin has appeared on the banks of Loch Venachar at Loch Lomond & Trossachs National Park. Coorie, a holiday home designed by Glasgow studio Cameron Webster, is a project led by owners Dene and Debbie Happell, who decided to create the perfect nature retreat on their idyllic waterside plot. 

The structure, clad in dark timber in a low, gently angular form, blends happily with its forested surrounds, and indeed the word ‘coorie‘ can mean ‘nestle’. At the same time, the strong lines and geometric volumes bring the composition into the 21st century. The house has been arranged in an upside-down way – featuring bedrooms on the ground level and living spaces upstairs, making sure the long, green views are visible from key social parts of the house. An open-plan luxury living, dining and kitchen area with a covered balcony and built-in window seat nook sit at the heart of this space. A warm yet dramatic, dark staircase takes guests down to the bedrooms, setting the mood for a cosier, more private atmosphere.

‘Whether cooried up in the window seat with a good book after an invigorating walk, relaxing on the balcony with a cocktail after a swim, or snuggled up in front of the wood-burning stove watching a movie, the house provides the best refuge to experience the great outdoors,’ say the Happells. ‘You can watch Scotland’s weather whilst being protected from it.’

The interior decor mixes midcentury modern designs and utilitarian touches, such as the industrial lighting, that make for a practical stay. Meanwhile, classic designs include Hans Wegner’s ‘Wishbone’ chairs, an Ercol dining table and Timorous Beasties fabrics. 

Careful insulation plans ensured that this lake cabin needs little heating for the biggest part of the year. The home’s timber structure, an air source heat pump, underfloor heating, eco toiletries and wood-fired hot tub (with timber provided by local fallen trees), complete the project's strong eco credentials – which mean that this holiday house is as friendly as can be to its precious natural environment.

INFORMATION

cameronwebster.com

lochvenacharlodges.co.uk

The Hudson Lookout is a striking three-storey residence set within the beautiful rolling landscape of New York State’s Catskill Mountains. Designed by Brooklyn-based architect Kimberly Peck, the project brief arrived fully formed from the client. Their intention was to create a ‘modern watchtower’, a Hudson Valley house to use as a vacation rental, and they had spent many years searching for the perfect spot.

Hudson Valley house with a view

As its name suggests, the Lookout is a tower, with a 20ft square base, rising up three storeys from its site atop a small hill. Every single vista has been carefully considered, with different-sized windows precisely placed to make the most of specific views. A winding, black-painted steel staircase is set in one corner of the plan, ascending all the way up to roof level, where a full terrace offers an impressive 360-degree panorama over the surrounding wooded hills.

The main living space is set on the third level, to maximise daytime light and views. An open-plan kitchen/diner and seating area, it has a warm and comfortable feel with timber ceilings, contemporary fixtures and fittings, and a cinemascope-scale window at treetop level. Two generous bedrooms are located on the first and second floors, each with an en-suite bathroom, while there is also a utility room next to the entrance and a small office on the second floor. The master bed features a freestanding tub with a view, and the house has everything you need for a short, recuperative stay.

Designed to be as energy-efficiency as possible, the Lookout is very heavily insulated, with heating embedded in the concrete slab and ‘energy recovery ventilation’ that cools the house and dehumidifies it in summer, while reversing the process in winter, using energy given off by the HVAC system. The exterior walls are clad in vertical timber slats, which emphasises their height, with flush, frameless glazing that mirrors the trees and passing skies.

Kimberly Peck set up her Brooklyn studio in 2004, after working for Adam Tihany and Ogawa Depardon Architects. The practice has completed a number of residential lofts and private houses in the New York area, as well as working on commercial projects for W Hotels, Club Monaco, Jonathan Adler, and others. The Hudson Lookout is perhaps the most modest and low-key project in the practice’s portfolio, a structure that makes the most of its spectacular site.

INFORMATION

The Hudson Lookout is available to rent. More information can be found at @thehudsonlookout. 

kimberlypeck.com

Askim is a popular residential suburb of Gothenburg, established, and elegantly mixing family homes with nature. It is here that Villa Timmerman stands tall, perched on a south-east slope overlooking the sea – a new, semi-detached house created by Andreas Lyckefors, of architecture studio Bornstein Lyckefors, and his wife, architect Josefine Wikholm. The prefab timber Swedish home was created and self-financed by the pair as their own family base. 

‘It was a challenge to create a semi-detached house with equal qualities at both ends, as they naturally face different directions. We had to study the local conditions carefully and take into account weather, views, sun, evening sun, contact with the street and neighbours. In the end, the house could be arranged so that both parts of the house get morning, noon and evening sun. There is always sun on one terrace or balcony during the bright part of the day,’ says Lyckefors.

Swedish home for flexible living

Negotiating the slope was another challenge, in order to ensure all levels and directions get enough views and natural light throughout the day. Lyckefors and Wikholm responded by sculpting a flowing interior with large openings carved out of the façade and open-plan areas, such as the living and dining area (part of which extends to a dramatic, double-height ceiling) and the open timber staircase that connects all floors. This openness not only allows for comfortable and bright interiors, but also allows the residents to connect with the surrounding nature at every corner. 

Designed for daily family life through the years, the structure is proudly flexible. ‘We wanted the house to be able to grow with the family and function well during all stages of life. With proximity to the children during the toddler years, more privacy for the teenage family, and with a home office or a lodger for the family with adult children. By breaking up the conventional function-separated room plan, the floor plan can be given consistent qualities. The social room runs throughout the house, bedrooms and toilets are placed on all floors. The small children can sleep close to their parents, while older children, teenagers or guests can live on their own floor with a toilet and their own living room,’ the architecture duo explain.

The home is made out of timber and was entirely prefabricated, simply and swiftly assembled on site. The wood has been kept in its natural colours inside (which includes ash and veneers, for elements such as the staircase and bespoke furniture), but treated with wood tar to produce a black and brown pigment for the exterior skin, giving it its dramatic presence – in particular, when contrasting with the winter snow. 

Three grids externally (diagonal and vertical ribs) add to that effect. ‘The grid was an experiment that proved to work well as extra protection against solar radiation on the façade and as a protective layer against the drifting rain on the west coast,’ the architects add. Meanwhile, the roof combines tarred wood panels and solar panels, supporting the home's energy consumption.

INFORMATION
bornsteinlyckefors.se

Set among rich foliage on the rugged Welsh coastline, this private house is a contemporary new-build with a sustainable vision to boot. Its architects, Cardiff-based Loyn + Co, crafted the home using the site and its natural surroundings as their starting point, wrapping the structure in wood. At the same time, greenery is accessible everywhere in this Welsh home – either in the form of planting, both inside and out, or the long natural views the home offers through its extensive, glazed openings.

The house's volume was planned around the plot’s mature pine trees, ensuring the structure meanders around them, partly nestled into the sloped site. This floorplan arrangement also allows for the creation of various courtyards and clearings, which the clients, who are keen gardeners, appreciated. Apart from the outdoor planting, there is also an enclosed winter garden, ensuring they can continue with their passion year-round, whatever the weather.

Welsh home that embraces nature

The façade cladding is made of Kebony wood, a Norwegian product created through the treatment of softwood using environmentally friendly, patented processes that allow it to be used in a similar way to hardwood – making it perfect for outdoor use. The architects are passionate about sustainable architecture, in particular following the recent COP26 climate summit, so are committed to using products that can improve a building's eco credentials. 

‘The new home has been thoughtfully knitted into this complex site to work with the varying levels and existing beautiful trees,' says Loyn + Co’s director James Stroud. ‘The design truly brings the outside in, not only through “inside outside spaces” and visual links through the house to the sea beyond, but through the indoor garden within the central atrium where nature is the focus. Simple measures such as bringing the Kebony cladding in and through the atrium reinforces this concept.’

A Welsh home that balances its angled terrain and existing mature trees with an eco-friendly approach that responds to its owners’ daily needs, this design by Loyn + Co is a perfect countryside hideaway; a space that feels at one with nature at every corner.

INFORMATION

loyn.co.uk

British-based prefabrication specialist Koto has been hard at work developing modular home design, from compact work cabins to agile mini abodes, since its inception in 2017. The forward-thinking company, founded by couple Johnathon and Zoë Little and architect Theo Dales, has completed a range of minimalist cabins, such as its off-the-grid sauna in Ireland, all infused with Scandinavian style and sustainable architecture principles. But the energetic brand is not resting on its laurels, taking its minimalist Nordic architecture aesthetic to the larger scale and launching its first ever, two-storey modular design – meet Falcon House.  

The project, an elegant design made of two stacked and twisted volumes that cantilever out towards the landscape, features an inverted version of the traditional house layout – its bedrooms and more private, enclosed spaces are located on the ground floor, while living and entertaining areas are upstairs, making the most of the views. ‘We believe well-designed spaces can transform our environment. Koto creates simple, flexible and functional homes which embrace slow living,' says Dales. And Falcon House’s strong connections to its surroundings, through both views and materials, underlines this approach. 

Modular home design for slow living

A dark timber skin envelopes the clean, boxy volumes of Falcon House, and inside, the wood theme continues – only in lighter colour tones that flow from floors to walls and ceilings, as well as bespoke joinery and cabinetry everywhere. The building is made of an exposed CLT structure and walls, and the whole is energy neutral. ‘Koto homes and cabins are designed with the belief that beautiful buildings can be accessible to everyone and can correspond with our natural environment. Using form, material and texture to create minimalistic yet highly efficient “healthy” homes,' say the team. In addition to using wood, some ground-level spaces are treated with St Leo plaster paint, which creates an organic, ‘perfectly imperfect’ feel. 

A coveted space to retreat to, an environment of ‘quiet luxury’, this home is seen as somewhere to slow down, the team emphasise. ‘This is a house where spaces have been designed [for the users] to contemplate and watch the leaves rustle in the trees, or to be social and embrace the joy of celebration with friends and family.’ This Nordic architecture-style gem of a modular home design is situated in the Lower Mill Estate in the Cotswolds, by developer Habitat First Group. 

INFORMATION

kotodesign.co.uk

Offering a contemporary take on the traditional Austrian farmhouses of the region, Haus im Obstgarten is the brainchild of local studio Firm Architekten. The beautifully poised house – a small, minimalist timber tower – sits on a slope in the village of Frastanz-Gampelün, on a plot owned by the client and their family for decades. The new structure replaces an old stable building nestled on a hillside between two farmhouses. 

The minimalist architecture approach evident in Haus im Obstgarten’s exterior continues inside, where the only decoration is provided by structural details and the tactile nature of the wood – making this project a contemporary ode to timber construction. Embellishment is kept to a minimum throughout, contrasting with the regional farmhouses' more ornate interior styles, the architects explain.

Mini timber tower for pared-back family living

Built using wood (with the exception of a concrete plinth upon which the main building sits), the house features untreated spruce on its external cladding, while solid spruce was used inside where possible. The woodworking expertise, material and labour were all sourced from within the region, to benefit the local economy and help maintain age-old traditional crafting skills. Meanwhile, the wood used comes from the client's own private forest.

‘The clients' great-grandparents built the neighbouring farmhouse from their own wood and then reforested the forests,' say the architects. ‘The great-granddaughter was able to build her own home now from this wood. In this tradition, the forests have been reforested with 750 young trees for future generations.'

Inside, uncluttered interiors in light, natural spruce are pleasingly contrasted by white clay plastered ceilings and a black steel bookcase design on the staircase. The use of these different materials serves to further highlight the wood that underpins everything in this project, from its architecture, to its conceptual connection to the client's family history.

For more timber architecture, see the winners of the Wood Awards 2021

INFORMATION

firm.ac

The Wood Awards 2021 winners have been revealed, recognising six buildings and two products as the year's best structures made out of timber. The annual honours, which were established in 1971 as the ‘premier competition for excellence in architecture and product design in wood', are a coveted industry accolade that celebrates the trusted material – a frequent and key protagonist in sustainable architecture and design in both modern and traditional projects. The selection spans a wide range of scales and typologies, from smart products and bespoke commissions to private homes and cultural buildings. It includes the Gold Award, which is given to a project that the judges ‘deem to be the winner of winners', and this year went to the Magdalene College Library in Cambridge by Níall McLaughlin Architects.

The Wood Awards 2021 winners

Gold Award winner and Education & Public Sector winner: Magdalene College Library

A substantial addition to an existing complex, the Magdalene College Library project features simple brick volumes, timber windows and pitched roofs ‘that echo the gabled architecture of the college', which is part of Cambridge University. The interiors are made using a glulam (glue-laminated timber) and CLT (cross-laminated timber) structure, with oak shelving joinery. From columns to floor beams, shelves, window frames and desks, timber is omnipresent and working hard in this architecture project by Níall McLaughlin Architects.

Commercial & Leisure winner: The Alice Hawthorn

London architecture studio De Matos Ryan led the transformation and contemporary update of a beloved local pub in Nun Monkton, North Yorkshire, the village's last remaining such space. The building has been redesigned around principles of sustainable architecture to include the addition of 12 guest bedrooms, eight of which are entirely timber-frame constructions. They are all arranged around a central courtyard. 

Private winner: The Boathouse

This family home by Adams + Collingwood Architects sits in leafy surrounds overlooking the Salcombe Estuary. The residence's use of natural materials includes extensive use of timber, such as the yellow cedar tiles and cladding on the roof and exterior, and the Douglas fir upstairs floor. The timber used was sourced from Canada.

Small Project winner: Built: East Pavilion

A team of two, OGU Architects and Donald McCrory Architects, are behind this winner, Built: East. Also the winning design in The Belfast Flare competition run by the Royal Society of Ulster Architects, the structure was conceived to represent the area's rich manufacturing history, combining traditional crafts and innovative technologies. Using CNC methods, the project was created in parts off site and transported on site for rapid assembling.

Interiors winner: St John Street

The transformation of a Victorian warehouse space into a warm and welcoming family home, with a nod to its site's history, St John Street is the work of emerging architecture studio Emil Eve Architects. Exposed concrete and brickwork is matched by swathes of bespoke joinery that covers shelving, storage and bespoke fittings and furniture. The interiors feature lime-washed birch plywood against oak parquet flooring.

Structural Award winner: The Welcome Building, RHS Garden Bridgewater

The Welcome Building sits within a new garden at the Royal Horticultural Society Garden Bridgwater, in Worsley, Salford. Hodder + Partners created a low, linear building that contains a visitor centre, a restaurant, a gift shop, offices, and educational spaces. ‘All public elements are contained under a single overarching glulam timber diagrid, supported on structural glulam trees,' say the architects. 

Bespoke winner: Gayles Farm 5

This bespoke private commission crafted by designer and manufacturer Wycliffe Stutchbury was created entirely in European oak and explores blending the qualities of wood and fabric-making techniques. The piece, which is conceived as a curtain, is composed of thousands of small oak tiles glued to an open-weave cotton twill.

Production winner: Iso-Lounge Chair

Isokon Plus produced this new chair design by Jasper Morrison. The piece was inspired by Isokon's archive and in particular ‘the brand’s original logo; Gerald Summers’ “Bent Plywood” chair with its single flowing plywood surface; and Gerrit Rietveldt’s “Zig-Zag” chair'. The main material is plywood, which beautifully follows the curved design.

INFORMATION
woodawards.com

The dramatic, undulating roof of the Yang Liping Performing Arts Center in Dali is set to become a new urban landmark for the southern Chinese city. Dominated by a cloud-like wood mesh ceiling structure, the free-flowing design was inspired by the setting’s powerful natural backdrop, says its creator, internationally acclaimed Chinese architect Zhu Pei. 

Set within a breathtaking landscape dominated by the Cang mountain chain, Lake Erhai and historic architecture, Dali is a popular tourist spot. This centre was conceived as a key cultural hub for the city, and its sculptural form nods to its surroundings. Flowing indoor and outdoor spaces are created by the formations of its defining roof, which mimics the swells and valleys of the terrain around it. The roof cantilevers over a plaza and touches the ground, inviting visitors up to an accessible top via a wide wooden staircase. An open-air amphitheatre and several gathering spots are created through this dialogue between open and closed, building and nature. 

‘As with mountains and valleys, the strong shape of the roof reflects the more organic landscape below and points to the old Chinese principle of yin and yang, where two opposites combine together to form a whole,' say the architects. 

The undulating roof structure moulds to host a main theatre, the amphitheatre, rehearsal and multi-function areas and offices. These are matched by a café and tea room, a restaurant and a design shop, which remain open to all – whether visitors are attending a performance or not. 

Beijing-based Studio Zhu-Pei is no stranger to creating impactful public buildings. Founded in 2005, the practice was propelled to global prominence with the Digital Beijing Building, completed in 2007 and one of the landmark architecture pieces of the 2008 Beijing Olympics. Founder Zhu Pei, also a respected figure in architecture academia, has continued to develop the studio’s credentials in crafting thoughtful and eye-catching cultural works with a strong conceptual basis.

INFORMATION

studiozhupei.com

A glazed wood extension completely transforms this Haringey home, courtesy of the London architecture studio of Satish Jassal. Located in Stroud Green’s conservation area in north London, the house adds much needed space to a typical historical brick townhouse. Jassal and his team completely refurbished the existing structure and added a double-height glazed and oak-framed conservatory to the rear of the 19th-century property. 

‘The existing building was of very poor condition with damp and sloping floors. So, 80 per cent of the existing building was stripped out, reconfigured, restored and replaced, explains Jassal. The result is a tactile, bright box addition that glows like a crafted lantern at night. 

The architect aimed to create a contemporary space, which looks at once modern and refined, and is up to 21st-century standards in terms of functionality and services. At the same time, it was equally important to keep the character of the original house, by maintaining original features and creating new elements that are in fruitful dialogue with their historical peers. The timber’s colouring and feel works towards that, matching the textures and hues of the original brick – all the while marking clearly the old from the new in the finished composition. 

In the glazed extension, three bespoke oak chandeliers hang from the ceiling, illuminating the space and providing shading from the sunlight during the daytime. The chandeliers become a central design element in this busy family space. Their craft and refinement represent a spatial celebration and bring sophistication to the interior – an attitude that appears everywhere in the property's new, simple yet carefully considered design. 

The extension’s flowing interior space blends various functions, while keeping the whole seamless and practical. ‘A painted steel and oak staircase cantilevers over the kitchen, and the worktops become part of the staircase,’ Jassal adds. ‘The living spaces open onto each other and onto to garden beyond.’ 

INFORMATION

satishjassal.co.uk

When a south London family of four decided to upgrade their Balham house into an expansive home with extra living space, an indoor swimming pool and a sauna, they turned to emerging architects Jaam, luxury specialist Mascot Bespoke, and joinery expert Blakes London for help. Now, the house, a Victorian property redesign called Nightingale Triangle, has just been completed – sporting a striking wood clad extension that cuts a distinctly contemporary figure within its sleepy residential neighbourhood and offers a fine example of home improvement. 

‘The client was looking to avoid the pastiche London Stock brick-based extensions that were commonplace within the area,’ explains Chris Scott of Mascot Bespoke Homes. As a result, an intensely collaborative approach between all parties led to the final design that features the rear extension’s impressively sculptural larch cladding, which defines the whole scheme.

‘The cladding by Mascot Bespoke was set at a 45-degree angle and is mitred at the soffit. This increases solar shading while creating a graphic linear language to the elevations,' Scott says. The wood skin mixes burnt and silvered Scottish larch. Inside, the deep-set fixed window by the kitchen creates a garden bench seat, perfect for relaxing while looking to the architectural gardens outside, which were created by Shelley Hughes. 

‘The aim was to create an ambitious, unique and design-led home that accentuated and contrasted the existing Victorian building with a contemporary extension to the rear,’ adds Scott. ‘It was important to the client that the home ended up being an appropriate blend of modern sophistication in the new parts of the building both architecturally and decoratively, yet also retained a warm, inviting, friendly vibe for visitors and guest of all ages.’

Glazed expanses mix with timber, original brick and soft fabrics to create a home that is both comfortable and modern. The swimming pool, located off the side of the building, under the narrowest part of the garden, features a cleverly angled ceiling that promotes a cosy, cave-like feel, while also allowing views out to the verdant garden – showcasing how this design blends inside and outside in more ways than one.

INFORMATION

jaamarchitects.co.uk

mascotbespoke.com

blakeslondon.com

Set within the leafy countryside outside Antwerp, House BPB, designed by the Belgian architecture practice of David Bulckaen, cuts a dark, minimalist figure against the soft foliage. The project, a family house, was inspired by the Tom Ford movie A Single Man, explains the architect. Bringing together a clean and low, rectangular volume with a moody, somewhat mysterious cladding of dark insulation panels, the project is a clever 1960s bungalow renovation and extension. 

‘One summer evening, the idea took shape when it turned out that both the client and myself were big fans of the residence featured in the movie – the house built in California by John Lautner. That shared love brought about instant chemistry. I based the design on the principle of the viewfinder of a camera, a reference to the professional activity of one of the residents.’

Creating the right views and framing the landscape through strategic openings were key in crafting this careful, cinematic experience. ‘[It is] as if you were looking through the lens of your camera,’ says Bulckaen. The structure’s spaces alternate views through rooms and glimpses of courtyards and the woods surrounding the house, consistently reminding the residents of their leafy location. 

This suited the owners perfectly. ‘The owners are very outdoor-minded, and love to throw open windows and doors whenever the weather allows it,’ the architect says. ‘The old house, however, was very closed and introverted, had very few windows, and there was almost no connection to the garden and wider outdoors.’

The ‘summer room’, a living space sitting in the structure’s new addition, becomes a centrepiece for the project. This room provides 180-degree views of the garden and when the windows open and the weather allows, it becomes one with the green landscape. The dark external cladding both insulates and unifies visually old and new, while pleasantly contrasting with the light concrete and white plaster interiors.

INFORMATION
David Bulckaen Architect

Bringing his unique take on tropical modernism to the idyllic natural setting of the Fari Islands in the Maldives, Marcio Kogan and his studio, MK27, have revealed their latest design – the sustainable contemporary retreat Patina Maldives, Fari Islands, the Brazilian architecture studio's first ever resort design. A landscape of cabins standing in the water raised on stilts, modest rectangular structures on land, lush green gardens, and plenty of open space to breathe, relax and commune with nature, this complex was conceived to push the boundaries of hospitality architecture and promote modest luxury. 

At first glance, Patina seems to combine everything the typical nature-inspired island escape would offer – green surroundings, crystal clear blue seas, contemporary architecture and a rich list of amenities for guests. Yet this is a hotel with more to it, as owners Capella Hotel Group and the Brazilian architect joined forces to create an extraordinary escapethat has a positive impact on its people and place. 

The project’s identity, architecturally led by Kogan and Renata Furlanetto, with interiors by studio MK27’s Diana Radomysler and Pedro Ribeiro, was born out of several, informal yet deep discussions between the architects and the client's head of design and hospitality, Evan Kwee. ‘In every meeting we would talk more about food, music, art, feelings rather than just architecture. The brief was always open and inspiring,’ Kogan recalls. ‘A privilege!'

The hotel brand also felt Kogan was the perfect fit. ‘I have always respected his aesthetic,’ says Kwee. ‘He is able to marry the super precise contemporary and clean architecture but he manages to soften it with textured and tactile materials in the interior. Also, he’s never done a hotel before. We weren't creating a hotel block, we wanted to create a set of smaller structures, and we appreciated the mindset of somebody who designs amazing homes.’ 

While the brief encouraged the restectful blend of nature and architecture, the Maldives’ striking environment effortlessly provided heaps of inspiration for the design team. Add to this Kogan’s passion and experience with filmmaking, and what you get is a truly cinematic experience with framed views, dreamy landscapes and carefully selected materials and atmospheres to suit each function in the hotel. The structures are comfortably spread across a generous campus and all have their own, distinct identity, at the same time clearly belonging to the same family, and remaining low-key, allowing the nature to take centre stage. Expert designs by VDLA - Vladimir Djurovic Landscape Architecture helped weave everything in seamlessly.  

‘Along the Maldivan sand, skies and ocean, all architecture can do is humbly filter the light, frame the views, create different narratives as one strolls around the magnificent surroundings,’ Kogan explains. ‘We were able to produce architecture that is much less important than nature. Contemporary, classic and elegant. It is like the hotel does not exist in this place. Everything disappears. Life, people and nature are more important than architecture.’ 

The local island vernacular also informed the humble, yet highly refined architecture, which is mostly built in wood and other natural materials, put together by expert craftsmen of the region. ‘The vernacular design in the Maldives is basically fisherman villages spread among the islands, that sometimes one can’t even notice from the sea,’ says Furlanetto. ‘Coral stone for walls, and wood for roof structures were some of the natural materials available to create an architecture that is fully integrated with nature. That was our biggest inspiration, to respect nature and allow the guests to enjoy such a special place.'

Sustainable strategies enrich the architectural concept, developed hand in hand with the masterplan and individual architectures. Reducing waste in the construction process, prefabrication using cross-laminated timber elements, and organic fabrics were part of the plan. The architects stress that their aim was to make the most of what was already there, reinforcing a lifestyle that seamlessly merges indoors and outdoors and feels truly of its place. ‘We simply recreated a relationship between humans and nature that has existed for thousands of years,’ says Radomysler.

Solar panels for energy needs; beach clean-ups; a dedicated venue for children, where kids can turn recycled ocean plastic into models using 3D-printing and laser-cutting technology; a range of charitable programmes to support local communities that have been heavily impacted by climate change; and a culinary offering that promotes plant-based dining and a head-to-tail, zero-waste approach are just a few of the relevant initiatives on site. There is even an on-island organic permaculture garden. Add to that the picture-perfect views, clear waters and tropical setting, and this is a retreat that ensures a stay that has a positive impact to both guests and locals. 

There are places to find peace, and others to party; over 100 sparsely built private rooms and villas, juxtaposed by bustling areas for socialising. As for Kogan’s favourite spot? ‘The view of the framed sky at the very centre of the James Turrell pavilion. The delicate presence of a tiny flower stand, as you enter the village. A low chair under a tree shadow, overlooking the most beautiful bright shade of blue water in the world, listening to Chet Baker. Can it get any better?’ he smiles

INFORMATION

studiomk27.com.br

patinahotels.com

Manea Kella is a champion of slow architecture. The movement, which favours an appreciation of crafts, simplicity, locality and sustainable architecture, ultimately leads to better buildings and improves the lives of people, say the London architecture studio's directors Adrian Manea and Elena Kella: ‘We believe that thoughtful architecture and design benefits society and is a force for social good – regardless of scale, architecture has the potential to shape and transform society for the better.’ 

The emerging studio has recently completed Casa Popeea, the renovation of a majestic historical townhouse in Romania to transform it into a boutique hotel. The project has been led by everything the slow movement stands for and has now opened its doors to the public. Here, we catch up with Manea Kella to find out more about Casa Popeea, the practice's work, and how to achieve ‘slow' architecture.

Wallpaper*: You have described your work, and Casa Popeea, as ‘slow architecture’. Please could you tell us more about this approach?

Manea Kella: Our perception of this term, ‘slow architecture’, or better called ‘good architecture’, considers people at the forefront of design – we believe that an architect’s only role is to design buildings in which people can lead a decent life, whether these are used for working, living or leisure. The ‘slow’ movement in architecture is dedicated to simplicity, fitting buildings with nature and with people, and producing buildings that evolve. 

Casa Popeea is a project that transforms a single-family dwelling into a hotel, repurposing this historic building through carefully selected materials, construction techniques, the use of light and the creation of charm, while balancing this with the contemporary needs of its guests. We believe that this project will offer fresh thinking about future development within the historic Hellenic quarter of Brăila, Romania.

W*: How does one apply a ‘slow’ approach to an architecture project?

MK: This movement has been described as ‘slow architecture’ by a thinking that encompasses locally produced buildings based on local materials and skills. Architects have long called for the return of architectural craft and more locational context for buildings. At Manea Kella, we are preoccupied with creating architecture that is rich in character and distinct in identity. We investigate historic and vernacular precedents to best inform our response to projects. We strive to create buildings which last and can adapt. Within a rapid and sometimes thoughtless commercial industry, we pride ourselves on our rooted approach and direct relationship to material application and construction. Considerations of local identity and sense of place go hand in hand with our belief in creating sustainable places.

W*: Can slow architecture work for any project, or any type? And what makes Casa Popeea a perfect candidate for it?
 
MK: Well, there is an argument to say that considering materials, end users and consumption is what architects do anyway – ‘slow architecture’ ought to be an architect’s job description in the first place. Conservation through retrofitting is perhaps the most environmentally sustainable approach within the wider construction industry. Retrofitting buildings usually results in significantly lower upfront emissions than demolition and rebuild because of the embodied carbon in existing structures. Moreover, we believe that this project can demonstrate sustainability in a cultural, social and economic sense also. Heritage buildings in Romanian city centres have long suffered from neglect due to a web of complex economic, legal and bureaucratic issues.

W*: What are the gestures and materials defining the space at Casa Popeea?

MK: The restoration and repair of the existing fabric was driven by the idea that the original structure should be emphasised in its spatial context and original materiality – the new reflects the lost without imitating it. The compressed, dark stained palette in the reception, lobby and coffee shop, with stained solid oak floors, joinery and bespoke furniture, opens up to a light-filled stairwell. The building’s original oak staircase has been meticulously restored, guiding you towards the tranquil sleeping quarters above. Carpenters from Transylvania were called upon for their expertise and life-sized 1:1 models played a part in rigorous design development workshops.

Our design for the spa aims to create a sequence of restful spaces, using a refined palette of natural materials, including Bulgarian limestone, black marble and stained solid oak, which work harmoniously to create an intimate environment. The architecture of the spa aims to transport the visitor from the busy raised ground floor into a quiet, considered inner environment that invites a feeling of reflection and relaxation. Lighting apertures in the ceiling and through the window louvres offer the subtle feeling of cool light outside and also bring out the reflective quality of the natural stone and warmth of the solid oak.

W*: What is the next ‘slow’ project on your list?

MK: We are delighted to be working on an intriguing project in the historic heart of Bucharest, Romania. Originally designed by architect Dimitrie Hârjeu (chief architect of Bucharest 1910-1916) in French Neoclassical style, the building is located in the vicinity of Cismigiu Park on the Mihail Kogalniceanu boulevard. It was built in 1914 as a private residence measuring approximately 1,000 sq m, and it later served as the Gestapo headquarters and German Embassy, until 1944. After 1990 it was occupied by local film production company Rofilm. Our brief will entail retaining the commercial use of the building and we will be exploring options to transform it into a high-performance, 21st-century workplace that could provide choice and balance between work modes. The post-pandemic world will be different, and this project offers a great opportunity for thoughtful, adaptable and sustainable intervention.

INFORMATION

maneakella.com

Slovenian studio OFIS has launched the newly redesigned Hotel Bohinj, located in the heart of the country’s Triglav National Park beneath the Julian Alps. OFIS teamed up with young investor Damian Merlak for the radical overhaul, a celebration of timber architecture and part of Merlak’s ongoing project to bring sustainable, new life to the key hotels in this dramatic glacial valley, from the Zlatorog Hotel to the Vogel Ski Hotel.

The business was formerly known as the Hotel Kimpas. It had evolved slowly over the years, a mix of ersatz alpine vernacular and awkward modern extensions. OFIS founders Rok Oman and Špela Videčnik led the refurbishment project, which runs to 69 rooms, alongside a restaurant, a spa, a café, and a conference centre. 

A new extension completely alters the hotel's entrance façade, providing space for a canopy, a double-height lobby, and a restaurant. The extension increases the emphasis on the region’s traditional pitched roofs, as well as making an oblique reference to the distance peaks. The hotel now contains 69 rooms of varying sizes, all with panoramic views and a balcony. Some suites have a bathroom that is semi-open to the elements for alfresco bathing.

Larch cladding is used throughout, with patterns and details inspired by the landscape and traditional local crafts. The long common corridors are inspired by the region’s unique hayracks, elaborate wooden structures that are fast disappearing due to neglect. OFIS hopes that flagging up these examples of unique cultural heritage can help with their preservation.

The existing hotel wasn’t befitting of the impressive location, which is raised up on a plateau on the edge of Lake Bohinj, against a stunning alpine backdrop. OFIS preserved the basic volume of the structure but has enveloped the entire structure in a wood and metal frame that has completely transformed the building. As well as creating new balconies and changing the massing, the frame provides structural protection against the region’s frequent earthquakes.

The framework gives the façade a dramatic angle, as well as incorporating gutters and other services that would have been expensive to retrofit to the existing building. Specially varnished larch wood cladding covers other new exterior elements, giving the hotel a naturally patinated appearance.

In addition to a focus on local produce and suppliers – the wine club is based around Slovenian vintners – all the hotel’s furniture and fittings are made by local companies, including the chairs, benches, curtains, upholstery, and lighting. The architects also worked with pioneering Slovenian studio Futro Design on the graphics. A new pool forms part of the hotel’s wellness centre, and guests are encouraged to swim in the glacial waters of Lake Bohinj, said to be exceptionally pure, albeit cold.

The refurbishment greatly enhanced the energy efficiency of the original building, adding key sustainable architecture elements, such as new insulation and glazing, while geothermal heat pumps provide part of the energy requirements. LEDs are used throughout, with the external lighting scheme toned down to preserve the dark skies of the national park. §

INFORMATION

ofis.si
hotelbohinj.si

A writer’s cabin in the north of Madrid is a striking bolthole for a children’s book author. The small home office, created by Barcelona-based MuDD Architects, uses a combination of digital fabrication and skilled building work for a curving sanctuary in the Sierra countryside.

With temperatures reaching lows of -20 degrees in winter, the design accommodated the challenges of the area’s climate. ‘We wanted to achieve a very transparent building while still offering some comfort in winter,’ explains MuDD Architects founder Stephanie Chaltiel. ‘To do so, thick 20cm stone wool insulation was used in between the wooden structure, while a hung chiminea placed in the middle heats the cabin.’ A rich mix of woods adds to the ambience, with different tones of maple syrup finishings in the wood a warm juxtaposition to the locally sourced pine of the bookshelves.

The curves of the bookshelves follow the sloping line of the roof, forming a sculptural wave against the clean lines of the cabin itself. A complex process, it required the precision which comes with computer-aided design. ‘With this project, there was the opportunity for us to highlight the possibility of using digital fabrication for everyday use,’ says Chaltiel, avoiding the complexity and expense usually present in parametric design. ‘The CNC cut vertical and horizontal doubly curved parts of the bookshelves and had a 0% imprecision tolerance while being drawn in 3D, but were difficult to mount on site,’ she adds. The pieces were then assembled like a jigsaw puzzle, held together by the friction of the wood.

The wood is a warm foil both for the glass and also the folded oxidized iron of the roof, a living material with a colour dependent on the levels of oxidation. The restrained cut of the slender oxidised iron frame of the main façade ensures a seamless transition to the vibrant garden outside. ‘The idea was to create a game of forces, where heavy elements look like they're held in equilibrium, stressed by the cast hung iron chiminea and the pale bookshelves inspired by horses captured in the midst of their frenetic race,’ says Chaltiel. ‘This project came a few months after the author almost lost her life during the pandemic crisis. The writer’s cabin is an architectural symphony of her being alive and being able to create in this unique new built home.

Information

muddarchitects.com

Designed by ReVærk Arkitektur in order to promote nature and learning about outdoor life, this sustainable architecture project is part of the Silkeborg folk high school in the Danish countryside. House of Nature, as the project is called, was conceived as both a venue and a medium to teach environmental values. It is suitably located between open fields and a forest, and is entirely made out of wood. 

The aim was to create a structure that is fit for purpose within an education setting, but also uses a material that minimises the ‘life cycle carbon footprint of the building', explain the architects. As a result, the team used timber for everything – from interiors to exteriors, as well as insulation and construction. They even used screw pile foundation techniques in order to eliminate the need for concrete on site. This way the project can leave the natural site untouched if ever it needs to be dismantled.

Designed as a composition of four volumes, interconnected internally but visually distinct, to provide different classrooms and facilities, House of Nature fans out in plan. The arrangement can be accessed by a purpose-built decked footpath over the fields. This approach breaks down the overall volume, and so, in combination with the building’s timber skin, helps it blend effortlessly with its wooded surroundings. 

The structure's distinct cladding – made of shingles of acacia wood framed by an exoskeleton of oak – defines the House of Nature's identity and will allow it to weather beautifully over time. Meanwhile, inside, the visible Douglas fir construction and Douglas plank cladding ensure users remain connected to the trees throughout. At the same time, the forest and surrounding park are framed by large openings. A slim, steel staircase connects the interior's two levels. 

Every little detail was carefully considered to fit the overall theme and character of the building, as the architects explain: ‘Light fixtures as well as switches and power plugs are all handpicked to complement the rustic nature of the building and to contrast with the soft colours of the wood.' Nature and learning come together seamlessly in this powerful Danish design.

INFORMATION

revaerk.dk

Pup Architects has designed a colourful, all-timber outdoors stage in the leafy British countryside for the Charleston Trust. The project, located in Sussex, UK and just revealed, has been conceived as a temporary stage to host a season of talks and events for the Trust, from now until September. Named The Yard, this design was inspired by the region's vernacular architecture and specifically, barn roof structures. 

‘The structure is imagined as half of a barn roof opening up to the audience, whilst the colours of the roof are inspired by the painted interiors of Charleston house itself,' say the architects. ‘Like the house, the stage reflects a sense of exuberance and vibrancy, intended to welcome people back from the winter's lockdown.'

The stage was built by Pup Architects themselves and constructed in just five days by a small team. While the structure draws on the local typologies and the colours are referencing those inside Charleston, when set against the green countryside, they make the stage stand out. Its positioning and location were also very carefully considered, so that it sits comfortably in its context, while also acting as a ‘colourful billboard', advertising the activity on site. 

Remaining true to its commitment to environmentally friendly architecture, Pup Architects only used sustainably sourced solid timber for their design. The wood is fully biodegradable and if required in the future, the whole structure can be deconstructed, re-constructed, or be 100% recycled. The paint used is equaly eco-driven, provided by paint supplier Colour Makes People Happy from Lewes, who promotes natural and eco-friendly product.

The Charleton Outdoors Stage is set to provide a riveting programme, with speakers including Selena Godden, Sebastian Faulks, Shirley Collins, Jeremy Deller, John Cooper Clarke, Stewart Lee, Calab Azumah Nelson, Helena Bonham Carter and many more.

INFORMATION

puparchitects.com

An all-timber kindergarten in the west Austrian countryside has been designed to bring nature into the classroom, courtesy of local architect Armin Neurauter. The project, situated outside the village of Silz, is set among greenery, forested mountains and fresh air. It has been conceived to encourage a relationship with wood and nature through an educational setting, using natural materials and sustainable architecture solutions. As a result, the scheme won the Big See Wood Design Award for 2021. 

The design – the result of a competition – is made as a entirely wooden construction. Timber slats make up the building’s skin, allowing for a naturally ventilated interior. Everything, from floors, ceilings and walls, to furniture and play structures, is built in various types of wood, highlighting the material’s scope and variety of applications, while creating a unified, seamless interior design aesthetic. 

Large rectangular openings frame the views out, enhancing visual links with the natural context. Meanwhile, strategically placed skylights ensure natural light reaches every corner. Generous outdoor spaces, both at the front and back of the building, offer more options to connect with the surroundings, including architectural gardens and an adventure playground constructed of wooden elements.

The interiors feature a range of classrooms, a lunch room, an auditorium, and a room for physical activities with a shared play area enriched by timber creations in fluid, carved forms inspired by wood and nature.  

‘In order to convey the relevance of natural and sustainable materials to the children in a playful way, we made a point of using organic raw materials,' says Neurauter. Dinesen Douglas planks in a natural oil finish are used for the flooring throughout. ‘The Dinesen floor is ideal in this context and makes the different spaces blend together harmoniously. We think the Douglas planks help make the movement zones and the open spaces into pleasant play areas for the children.’

California's Donum Estate – a 200 acre winery that is equally famed for its pinot noir as its enviable collection of contemporary art – unveiled a new, Scandinavian design for its hospitality centre this week, adding an architectural dimension to its allure. Created by Danish architect David Thulstrup, the new Donum Home, as the hospitality centre is called, occupies a 2017 building by Matt Hollis of San Francisco-based MH Architects. Situated in the south-west of the estate, surrounded by sculptures by Yayoi Kusama, Lynda Benglis and Marc Quinn, the structure already boasted soaring ceilings, generous skylights and spectacular views, which proved a perfect canvas for Thulstrup’s ‘honest, simple and not over-designed’ intervention.

To the existing two tasting rooms, Thulstrup added another three, each looking out to the rolling hills of southern Sonoma. Expansive windows, judicious use of light wood, and the pairing of midcentury design classics (such as Hans Wegner’s ‘Flag Halyard’ chair and Poul Henningsen’s ‘Artichoke’ lamp) with contemporary pieces (including Thulstrup’s own ‘Arv’ chair, originally designed for Noma) have resulted in a space that feels serene, refined and inviting. The aesthetic is distinctively Danish, in a nod to Thulstrup and Donum co-owner Allan Warburg’s shared heritage, but the architect has also paid homage to the Californian landscape in his use of local materials.

A particular highlight is the vestibule in the extension: convex-shaped to create a sense of ceremony, and delineated with wooden framed rattan screens rather than solid walls in order to make the most out of Donum’s natural light. ‘Being Scandinavian, I naturally cherish light, and how it changes throughout the course of the day,’ explains the architect.

He continues, ‘the crossover between hospitality and creating a sense of home is further highlighted by custom furniture pieces that I have introduced: a stone table made from California granite, a wood table crafted from American walnut, as well as a bespoke vase by Danish glass artist Lene Bødker.’

And while Donum’s art collection stands out for its more monumental piece (for example, Subodh Gupta’s 10m-tall stainless steel banyan tree, with leaves made out of utensils; a giant steel spider by Louise Bourgeois; and Doug Aitken’s installation of 365 wind chimes within a eucalyptus grove), there are also impressive works within the Donum Home interior. Among them is the Tracey Emin painting Among 30 Years, a reclining nude evocatively rendered in black and white, newly acquired and displayed near her neon work Surrounded by You.

Floating above the main space, under the slanted skylights is a new site-specific work by Jeppe Hein, comprising three mirrored balloons which gently sway in the wind to create subtle play on light. ‘I wanted to create a piece of art that picked up on the predominant colours of the winery,’ recalls the artist, who imagines the balloons being lost from a child’s hand. ‘Their mirrored surfaces reflect the surroundings and you at the same time, so you become a part of the artwork.’

Donum Home is a fitting addition to an already coveted destination for art lovers and oenophiles, and a sign of how the estate has flourished since Mei and Allen Warburg acquired it in 2010 years ago. ‘David has created a beautiful space and experience for our community,’ they say. ‘It’s a stunning space – an environment where one can enjoy our wines and collection while fully appreciating the land where we are so privileged to sit.’

INFORMATION
studiodavidthulstrup.com

thedonumestate.com

A private family home commission in an unassiming neighbourhood led to a hidden jewel of a house in the city of Santa Cruz, California. Designed by Feldman Architecture, Surf House is a modern, bohemian home packed with character, sustainability credentials and connections with nature. 

Set right at the edge of one of the state’s best surf breaks, the house was conceived as a respectful, low-profile building. Its clean, modernist forms were created to be sensitive both to its immediate natural context and the community beyond, keeping a simple material palette.  

‘The home is sited as a wind break,' explain the architects. ‘The rear yard and deck capitalise on ocean views, while the entry and front courtyard, tucked behind two separate structures, sit where the sun shines most in the winter, acting as a warm, light-filled cloister all year round, protected from the coastal winds.'

The architects worked with Evan Shively of Arborica, a local timber specialist that reclaims and repurposes native Californian timber. They used Monterey Cypress for the house, cladding it inside and out for a warm, textured feel. The wood creates an all-natural wrapper for the home. ‘Waste in the milling process was minimised by holistically integrating every level of wood grade into the design,' adds the team. Interiors were done by Commune Design and landscaping by Ground Studio. 

Spanning two levels, the house contains a range of more public-feeling, flowing spaces on the ground level. The living areas open towards the ocean through a glazed front, with courtyards, decked terraces, and sliding windows at every turn, ensuring that the landscape remains strongly present everywhere. Upstairs, the architects have placed the bedrooms, tucked away in a more private setting, while large windows frame picture-perfect views of the sea.

INFORMATION

feldmanarchitecture.com

This micro-house by Bergen-based practice Saunders Arkitektur addresses every contemporary obsessions head on. The XS Minihus is a finely detailed cabin designed to be manufactured off-site, shipped in and set up as a self-contained retreat. Temporarily installed on the docks in Bergen, the project encapsulates Todd Saunders’ approach, combining hand-crafted timber and simple finishes with careful spatial planning and striking geometric forms. 

The 12 sq m triangular terrace protrudes out of the structure like an arrow. At the same time, the external cladding marries meticulous joints and details with a modernist simplicity. This micro-house is just itching to be dropped into a rural site, preferably somewhere forested and bucolic alongside a fjord. 

The tiny footprint (the 24 sq m micro-house fits within a 5m square plot) is paired with complete space efficiency. The fold-down Murphy bed can be hidden out of sight during the day, while the interior is festooned with open shelving for books, kitchen implements and even clothes.

There’s scope to expand the kitchen appliances to cater for more serious cooks. The washroom is tucked away behind the bedhead, while a reading nook is set on a platform beneath the peak of the roof, accessible by ladder. The house has integral rainwater collection systems, a composting toilet and solar panels for power, meaning it can be 100% off-the-grid. 

Norway is a country with a well-established cabin culture. One of Saunders’ first ever built projects, completed shortly after moving to Norway from Canada, was a small wooden cabin on the shores of Hardanger Fjord, constructed entirely by Saunders and his former collaborator Tommie Wilhelmsen. The experience set off a lifetime of experimentation and fascination with wooden construction; Saunders Architecture now has its own in-house workshop and carpentry experts on staff.

The XS Minihus has been carefully designed to break down into twelve key components, allowing this micro-house to be trucked or floated to remote sites and then assembled. Should you so desire, it can also be easily demounted and moved to a different spot. The structure sits on piles, so it can accommodate all kind of rough terrain. And should the ultra-remote lifestyle not appeal, you can of course hook it up to mains services if available. 

The large sliding aluminium doors and windows and 4m internal ceiling height maximise the tiny volume, along with sliding interior doors to further save space. The exterior panelling has been carried through to the interior walls. The integral storage, folding bed, and light colour palette make this a tempting, if cosy proposition.

The XS is the smallest of a proposed series of four compact micro-house dwellings developed by the architect and his team. There are also 50, 75 and 100 sq m products in the works. This particular example, Prototype One, is for sale and available right now. 

 INFORMATION

Saunders Arkitektur

Bent René Synnevåg

Finn

Casa El Gauchal, Chile

Chilean architects Iván Bravo, Martín Rojas and Gino León have collaborated on this beautifully pared down seaside retreat in the country's coastal region of Navidad. The house, a cross between a cabin and a beach hut, is called El Gauchal and spans three levels defined by a utilitarian, timber-heavy, back-to-basics aesthetic. 

This structure sits just a few meters from the beach. It was created for four families that came together to build a small holiday gateway to share and enjoy jointly and separately. As a result, the timber building includes a large, double-height open plan living and entertaining space and four large bedrooms, which can easily sleep a total of 14 people. At the same time, the project reads as a relatively small beach house from the outside, keeping things clean and simple within an area of about 110 sq m. 

In terms of the volume creation and overall composition, the architects decided to eschew the typical cabin typology that dictates a structure that is low and close to the ground, in favour of going tall. The design sits on a fairly narrow footprint and extends upwards like a small, timber tower – affording privacy between bedrooms (creating level changes and distance between the different families' private rooms), as well as long views towards the ocean and surrounding wooded area. 

Both interiors and exteriors are fully clad in exposed wood that appears rough and weathered. This, explain the architects, was a direct response to the context. ‘[The exterior] is an inert and atemporal grey that tends to eliminate the newly built status of the house,' they say. Meanwhile the interior ‘is a pristine white that is exposed to the extreme conditions of the coast, like a cuirass or plumage that shines while also protecting.'

INFORMATION

ivanbravo.cl

Is there a better place to escape the heatwave than a cool beach hut, summer house or surf shack? Beach huts are a staple of seaside living – and demand for this attractive seaside commodity is soaring. From small and basic cabins, to larger holiday retreats and more luxurious, design-led coastal structures, this waterfront typology is sure to evoke images of long sunny summer days and carefree, deck chair reading. Architects from across the globe have been exploring the genre with impressive results. The settings may vary. There are suburban mini homes and vacation pavilions, some drawing on the typical, pitched-roof, mini-house outline of the traditional beach hut, and others taking a distinctly more daring, contemporary approach. They all are certain, however, to inspire us to travel – from our sofa, or otherwise. 

Auckland Beach House, New Zealand

This beach house by New Zealand based architecture studio Donnell Day builds a magnificent, minimalist space through simplicity and traditional forms. Fine textures are balanced with a restraint material palette in composing an interior that is calming and rich; at the same time, large openings focus the eye to the wide open views of the sea. An exposed timber structure on the ceiling adds subtle drama. ‘In a similar manner to a tailored suit, (or a White Stripes album)– the palette is carefully refined and limited to a few classic materials, timber sizes, and tones,' say the architects. 

www.donnellday.co.nz

Beach House Blues, Australia 

Black, white and natural wood colours define the elegant minimalism of this excuisite beach house in a coastal town outside Melbroune. Designed by Corke Design Studio the home was designed to maximise its views, while balancing family life. ‘Our material of choice was the application of charred timber boards to the façade and internal lining; a traditional Japanese technique of blackening timber. Well suited to this coastal project, due to its durability and low maintenance but also aesthetically it is subtle, raw and unobtrusive making it perfect for Lorne,' say the architects. 

www.corkedesignstudio.com.au

Coastal House, Australia

Designed by Luke Moloney Architecture in collaboration with Arent&Pyke, this beach hut inspired house is a seaside home in Sydney's suburbs. The project involved the renovation and extension of a modest, single storey cottage. The architecture team responded by adding another floor and refreshing the whole in a crisp, white aesthetic that reminds of waterside bathing pavilions. A cut out corner of the upper level envelope and a fully glazed side allows residents to enjoy long views of the ocean and feel fully connected to their coastal context.

www.lukemoloney.com.au; arentpyke.com

Koh Kong Mangrove Lodging, Cambodia

A series of beach huts in the Cambodian peninsula of Koh Kong, in the gulf of Thailand, peaks out of the area's ecologically diverse system of mangrove forests, waterways and small islands. It is the work of Thailand based Estudio Cavernas, a non profit architecture organisation committing to supporting sustainable construction and marginalised communities. The project was designed to promote community resilience and is built using traditional techniques and a local workforce, in a minimalist design of simple geometries. Bamboo is the main construction material, which the team treated for durability through saltwater immersion. Betel nut palm (Areca Catechu) was also used. The lodgings are available for stays.

estudiocavernas.com

Uni Resort, Finland

This micro-resort in the Finnish countryside, created by nature tourism entrepreneur Kari Vainio and architecture firm Studio Puisto bridges sustainability, hospitality and cutting edge architecture. The villas are a modular U-shaped accommodation block featuring two units each. A sleek cross-laminated timber shell not only looks good, but also means the structure can be prefabricated and easily assembled on site with minimum ecological disruption. Versatile and stylish, the first Uni resort has been built on the country’s Kytäjä Golf, but it can be erected with ease in even the remotest of locations.

studiopuisto.fi

Lincolnshire Beach Hut, UK

Located on the Sandilands sea front, this modern beach hut is the work of Jonathan Hendry Architects. Stepping away from traditional forms, the studio employed contemporary shapes and materials to extend what used to be a toilet block and transform it into a new beach chalet. The structure's distinctive red top is made of stained timber boarding on three sides. The north-west façade is clad in sheets of opaque polycarbonate instead, to allow the light to flow in. ‘The unique form and identity of the proposals respond to the quirky characteristics of the existing building on this corner site and contribute to the tourist seaside character of the area,' say the architects. 

jonathanhendryarchitects.com

Casa El Gauchal, Chile

Chilean architects Iván Bravo, Martín Rojas and Gino León have collaborated on this beautifully pared down seaside retreat in the country’s coastal region of Navidad. The house, a cross between a cabin and a beach hut, is called El Gauchal and spans three levels defined by a utilitarian, timber-heavy, back-to-basics aesthetic. This structure sits just a few meters from the beach. It was created for four families that came together to build a small holiday gateway to share and enjoy jointly and separately. Both interiors and exteriors are fully clad in exposed wood that appears rough and weathered.

ivanbravo.cl

Spy Glass Beach Hut, UK

A beach hut in Eastbourne has been inspired by binoculars. Spy Glass was designed by JaK Studio as part of a competion to rejuvenate the coast in Devonshire Ward. The architects wanted to pay homage to the traditional English seaside beach hut, but at the same time create a more contemporary, fun and unexpected form. The result not only looks the part but can also physically rotate in a 180-degree direction to follow the sun, views or the bright coastal city lights. ‘A big inspiration to our project was the coin slot binoculars which allow one to gaze out to sea,' says studio founding partner Jacob Low. ‘As you can move these binoculars users can also move our Spy Glass to interact with the sun or coastline. It will hopefully bring a bit of nostalgia to local residents and those visiting on days out.' 

jakstudio.co.uk

Soulac-sur-Mer villa, France

Nestled within a pine forest in Soulac-sur-Mer, not far from Bordeaux in the west of France, sits this elegant timber structure. Designed by Paris-based architect Nicolas Dahan, the retreat is a 250 sq m family bolthole, created as a ‘space to live and move within the pine forest’, explains Dahan. With that in mind, the architect set out to compose a space that is in constant dialogue with its natural surroundings. Large openings and floor-to-ceiling glass expanses allow for wide views out towards the trees, merging seamlessly indoors and outdoors when windows are open and the living room transforms into a covered terrace. The ocean is so close, you can hear the waves. 

nicolasdahan.fr

Margate Beach Hut inspired houses, UK

A mere hour away from London by train, Margate is known for its cultural heritage, tourist charms and glorious sunsets over the Channel coast, as famously immortalised by JMW Turner. And now, this sunset could be within your daily views, should you choose to set up camp in one of Guy Hollaway’s latest residential offerings.The series of 11 beachfront houses was created for Harriss Property. The architect sought to reinterpret the ‘iconic English beach hut typology’, explains the developers. ‘Here, we wanted to create the ultimate beach hut for 21st century living’, says Hollaway. ‘Architecturally, our open-plan design allows for flexible spaces that are ideal for the modern family.’

hollawaystudio.co.uk

When sculptor Peter Randall-Page RA decided to convert a rather nondescript, modern cow barn into a storage facility for his work, he turned to his son for help. Architecture-trained Thomas Randall-Page, who worked with Studio Heatherwick and 6a before setting up his own practice in 2014, proceeded to complete the modest, but beautifully crafted piece of architectural reuse, delivering his client's wishes to perfection; this is ‘Art Barn', a jewel box of a design that has been customised to create, store, archive and occasionally show art. 

Located deep in the Devon countryside, the project sits in an idyllic location, surrounded by rolling hills and lush greenery on the egde of Dartmoor National Park. Large openings and a floor-to-ceiling sliding door not only allow the striking natural views and fresh air in, but also ensure large scale sculpture can be easily moved in and out as required. 

Meanwhile, a series of industrial scale shutters made out of cedar and galvanised steel can fold and slide, revealing more or less of the interior and views as required by the activities inside - one even transforms into a large, private balcony. 

‘My brief stipulated that the building’s exterior should appear hermetically sealed, retaining the character of its agricultural origins,' says the artist. ‘I wanted the experience of arrival to be a slow reveal with levels and apertures unfolding as one moves around the space.' 

A large, day-lit gallery sits at the heart of the building. Painted white and kept purposely simple, it becomes the perfect backdrop for viewing art. Next to it, a room-within-a-room contains the commission's office space - known as the ‘Winter Studio'. It is wrapped in cork, distinctly different to the bright, clean gallery, and contains a study and drawing space. 

Small as it may be, the project was finely detailed and carefully designed to its smallest element. As a result, it took almost nine years from the barn's purchase to completion. Natural materials, such as stone and timber, were chosen for their functionality and durability, as well as the way they blended naturally within the landscape. As a further gesture of respect towards its pristine setting, the structure is solar-powered and completely off-grid.

INFORMATION

thomasrandallpage.com

This new build home by Robert Gurney Architect in Maryland, USA, sits on a steep, wooded slope, looking towards the Potomac River in the distance. Its natural setting is matched by its wooden and minimalist architecture; Franzen House is a fairly reserved rectangular box, clad entirely in charred timber planks by Nakamoto Forestry, in the traditional Japanese style of Shou Sugi Ban. 

The house is tall, spanning four storeys. Yet its positioning means the hillside negotiates its volume, helping it appear smaller and in sync with its environment. At the same time, the angled terrain ensures its large openings enjoy framed views of the woods around it. The structure is further anchored into earth by a strong, concrete base and core.

Decked terraces and balconies on the upper levels provide outdoor areas for the residents to immerse themselves in the natural surroundings. A bridge offers access to the house's main entrance from the street, creating a dramatic sense of arrival. A red fence creates a contrasting twist. 

Inside, so as not to compete with the striking leafy context and Shou Sugi Ban skin outside, the interiors are clean and minimalist. Tall ceilings meet simple, white plastered walls and light coloured wooden floors. Open-plan, communal spaces, floor-to-ceiling glazed windows, and a pared-down approach ensure the green nature outside takes centre stage; meanwhile there's ample space for indoor flexibility, and for the owner's art collection to create focal points within. 

At the end of the day, ‘the project is modulated as a series of experiences that lead you away from the street and ultimately into a tranquil environment to enjoy the serene, wooded landscape', explains Gurney.

INFORMATION
robertgurneyarchitect.com
nakamotoforestry.com

Egaming, and in particular the intricate world of sandbox game Minecraft, has inspired London archicture practice JaK Studio to create a new modular cabin concept. The young, award winning firm has launched Home Office Module Cubed (HOM3), a flexible design that helps cater to a variety of residential – and not only – needs. 

Its secret? The product is completely customisable, aiming to respond to a very wide range of requirements. It can become from a yoga retreat-in-the-back-garden to a home office, but it could also be adapted to fit the needs of more than homes. Its creators envisage it providing valuable square footage, usage options and design style to offices, schools, play areas and gyms in the future.

‘There has been a growing trend in recent years for garden sheds and outhouses that can be used flexibly as work or leisure spaces and the pandemic has only accelerated this trend,' says JaK Studio director Jacob Low. ‘During lockdown, our team became fascinated by the principles of games such as Minecraft which allow people to transform and customise their environments, and we began experimenting with the idea of customisable, modular micro-architecture. HOM3 transports what we found in the gaming world to the physical space, offering a really unique design solution for modern living.'

The cabins are not only designed to be flexible and functional but they are environmentally friendly too. The can be easily adapted to a site and built quite fast, minimising the impact of construction. They are built out of wood, using quality, specialist joinery skills and 100 per cent sustainable materials sourced from the forests of Bosnia.

With modular design, opportunities can truly be endless. The team at JaK are currently working with indie game designers AI Interactive ‘to develop an interactive platform that will allow individuals to design their own unique HOM3 structure,' they explain, ‘opening up a myriad of design possibilities.'

INFORMATION
jakstudio.co.uk

Brown & Brown Architects' radical extension to a traditional Highlands house is set amidst a spectacular Scottish landscape. Designed by Andrew and Kate Brown and their team, Lower Tullochgrue House is located in the Cairngorms National Park. The new structure replaces a tumbledown barn to the west of the original house, on a lower part of the site.

The original plan was to restore and refurbish this barn, but the design evolved into an all-new structure, using as many of the materials as possible and re-aligning the new accommodation to better suit the views across the National Park and the Spey Valley.

Using a palette of reclaimed local natural stone, natural slate, Siberian larch timber and blackened stainless steel, the extension is mounted upon a stone plinth and then cantilevered out above the slope, with just a slender V-shaped pillar for support. The traditional underpinnings contrast strongly with the glass and steel construction set above it, and the whole ensemble is tied into the existing house by the addition of a pitched slate roof. 

The masonry plinth contains a garage and story area, as well as a secondary entrance to the house, while the cantilever doubles up as a carport, sized to accommodate the clients’ 1960s Ford Falcon. By raising the main living space up above the ground, a new axis is created through the old house to the extension, with a glazed link joining the two. This leads to a new living room with a kitchen and utility space beyond.

The external focus is on the north-easterly views with a wall of sliding glass and a terrace running the full length of the structure. The dining table is placed at the heart of the extension, with far-reaching dual aspect views.  

The project also includes a new, separate guest and games block as well as the internal refurbishment of the original house. The number of people using the house changes constantly, so a special cascade air-source heat-pump system has been installed, allowing the building to be divided into heating zones when it is only partially occupied.

High levels of insulation further reduce the environmental impact of this Highlands house. Brown & Brown specialises in distinctive, sustainable private houses, accommodating both Scottish vernacular design and contemporary forms and materials. With studios in Strathdon and Inverness, the award-winning firm was founded in 2010.

INFORMATION
Brown & Brown Architects

Gillian Hayes, Dapple Photography

A heritage estate nestled among 200-year-old maple and oak trees in Canada’s Southern Ontario region might sound like a dream come true, but for the food and beverage investor and innovator Scott Friedmann, owning a Georgian Revival mansion with multiple structures was not without its perils. After an electrical fire broke out in the property’s guest cottage in 2017, burning it down, Friedmann turned to the Toronto-based architecture firm Partisans to replace the structure with something unexpected.

‘When Friedmann purchased the property there were several historic buildings, including a coach house, a period mansion, a barn and the guest cottage,’ says Partisans’ co-founder Alex Josephson, adding that the owners were actually eating dinner in the cottage when the fire started. ‘Our clients had to run out and literally watched the cottage burn down. They were inspired to replace it with an innovative work of architecture that would be a nature-orientated escape to share with immediate family and friends, centered around a swimming pool and spa, and a guest house with a feature kitchen.’

Taking inspiration from the estate’s unique topography, Partisans created a two-storey residence that dynamically folds into the contours of a hillside. Named the Fold House, the wave-like wood and steel structure houses a pool pavilion, which has been neatly concealed into the lower part of the hill.

‘The property is spread atop cliffs to the south, and with majestic oak trees, an apple orchard, a vegetable garden, and lawns that mediate the heritage architectures of the property,’ says partner Jonathan Friedman. ‘We folded the house into the natural slope that ran through the property. This means that as you enter from the driveway, the landscape conceals the rest of the house, since the green roof blends in with the ground. Then as you pass the hill, you can take in the rest of the home and it’s scale – it’s a really surprising element.’

‘We decided we wanted to work with the land, versus work around it,’ adds co-founder Pooya Baktash. ‘We thought about how we could position the house to merge into the slope, or fold into the slope. For every step, we thought about how we could bend this surface, how we could make corners soft. We used next-generation technologies to bend the wood and steel structures to deliver the home’s shape; it was a challenging feat, but we were all very inspired throughout the process – us and the home owners.’

To turn the vision into a reality, Partisans worked with fabricators to create the compression-bent wood façade and interiors; the technique, which is frequently used in furniture manufacture and the making of musical instruments, has rarely been utilised at such a scale. A steel thin-shell structure was also bent in situ and assembled on site. Hidden behind the undulating structure is a 90ft steel structural beam that supports a cantilevered canopy, which in turn creates the impression that the front of the pavilion is floating. Finished with an external steel staircase and 80ft-long sliding glass façade, the guest house serves as an ideal retreat and sanctuary for the owners, not least because of its dialogue with the surrounding landscape.

‘Fold House is really a passion project for the owners, a representation of their inventiveness and love of architecture and the natural world,’ Josephson concludes. ‘It would not have been possible without the right fabricators who were willing to experiment, break from norms, and create the project with us. In many ways, because of our determination to create the most ambitious project possible on such a tough site, it epitomises our mantra that beauty emerges when design misbehaves.’

INFORMATION
partisans.com

The island nation of Cape Verde, off the west coast of Africa, may be tiny, but it has an outsized influence. Once a slave port, it is now an important international commercial hub, and a cultural melting pot, bridging African and European traditions. It was this rich cultural heritage that architect Kunlé Adeyemi – founder of Amsterdam- and Lagos-based studio NLÉ – and Samba Bathily – the Mali-born sustainable solutions pioneer – wanted to honour and amplify when they first started discussing working together in 2018. Adeyemi recalls: ‘We wanted a scheme to use as a point of global connection back to the [African] continent, using music, arts, culture and hospitality’.

Mindelo, on the island of São Vicente, has been central in the development of the local musical tradition that gave birth to talents such as Cesária Évora. It also became the home for Adeyemi and Bathily’s joint scheme, the Floating Music Hub. ‘[Bathily] wanted to do something with music in Mindelo and create a recording studio there,’ says Adeyemi. ‘So we expanded the idea to a floating hub to be part of the narrative of this port city, as Cape Verde was historically one of the last points of departure from Africa during the transatlantic slave trade, leading to the births of great new genres of music. It tells a story about that journey and a history of African people and their diaspora.’

Best Music Venue at the 2021 Wallpaper* Design Awards

The architect used his Makoko Floating System (MFS), a prefabricated, modular, A-frame, sustainable timber structure that was first realised in 2012 as the Makoko Floating School in Lagos. Three more versions followed – one at the Venice Architecture Biennale in 2016, and one in Bruges and one in Chengdu, both in 2018. Mindelo’s is the fifth version of the concept to complete, and it includes four parts: a small, medium and large wing, and a central triangular plaza that links to dry land. The complex, which can hold about 300 people at capacity, includes a performance space, a bar and canteen, and a recording studio. ‘It’s a way to expand Cape Verde’s cultural impact, create a platform for local musicians, and bring international artists to record and co-create,’ says Adeyemi.

The MFS was customised for an ocean environment that can sometimes be aggressive. Apart from sapele hardwood, the NLÉ team used stainless steel and aluminium to better withstand corrosion, and the anchoring system was also improved. ‘Mindelo has one of the highest wind speeds in the world, so it challenged us to push the design further, to be more resilient, as it had to withstand almost hurricane wind speeds,’ says Adeyemi. ‘We improved the quality of materials and made it adaptable for various future uses.’ The structure is scheduled to stay in place for 15 years, but there is the possibility to extend its leasehold. We can’t wait to check out its first live event.

INFORMATION

nleworks.com

It’s taken eight years for this remarkable French hotel to rise from the wooded hills around the village of Breitenbach in the French Alsace. Located about an hour south-west of Strasbourg, the Hotel 48° Nord was designed by the Norwegian studio Reiulf Ramstad Arkitekter in collaboration with the French firm ASP Architecture. The key element of the hotel are the 14 hytte, self-contained guest cottages and cabins, that are scattered across the sloping meadow. The architects have created four distinct types of hytte, ranging from 20 sq m to 60 sq m and arranged in groups.

At the bottom of the hill is a main building containing the reception, restaurant and a spa, together with staff accommodation. Parking is set well away from the ‘rooms’, creating an aura of splendid isolation for guests. Just four trees were felled for the construction and another 1,000 shrubs planted to green the two-hectare site. Sustainability is a core component of the project, with high levels of insulation, local Alsatian chestnut used for wooden cladding and the restaurant placing great emphasis on local produce, with its own vegetable plot.

The four cabin types are given names that reflect their forms, from the four Fjell (‘mountain’) cabins, with their pointed pitched roofs and u-shaped plan, which each contain two rooms over two levels, to the compact Eføy (‘ivy’) with its double-bed set beneath a mezzanine living area, and the Gress (‘grass’), which contains a single open-plan living and sleeping space. Finally, there are the elegant Tre cabins – ‘tree’ – which house four beds over three levels, with far-reaching views from the top floor. Each hytte sits lightly on the ground, with folded timber forms inside and out and large glazing to connect occupants with nature.

The project is a true blend of Scandinavian design sensibilities with the hospitality and culinary traditions of the Alsace. Reiulf Ramstad worked closely with the hotel’s owner, Emil Leroy-Jönsson, and the project enjoyed strong local support in Breitenbach, a community that has taken a pioneering ecological approach to farming, food production and ecological business.

INFORMATION
hotel48nord.com 

reiulframstadarkitekter.com

Chile’s Pacific coastline – a 6,435 km stretch of rock formations, sandy beaches, lush green forests and coastal communities – is about as close to wild nature as you can get. And so it made perfect sense that, for this pair of holiday homes in Navidad, Santiagobased studio Croxatto & Opazo looked to the region’s rich, natural context and character for inspiration. The two buildings are sited approximately 80m above sea level, on steeply angled terrain, overlooking the beach below.

Each structure features a main living space – kitchen, dining and sitting areas – that looks out through carefully framed, large expanses of glass, to far-reaching seascape views (sea lions frequent these parts, and they are often seen from the cabins). A ladder leads up to a bedroom, and each structure has a north-facing terrace, which, with its overhang, helps to protect the structure from rain, harsh sun and strong winds.

The main frame is made of pine, treated and dried for durability, while the exterior cladding is formed from treated, reclaimed oak sleepers and the interior features recycled pine board. Local labour and materials were used in the construction, insulation was carefully planned to preserve heat when it’s cold, and solar-powered outdoor lighting helps reduce overall energy consumption.

Drawing on the natural landscape, these twin cabins offer a dreamy escape, but are also humble, respectful and functional. ‘We were looking for a way to both “dominate” the steep slope, and blend in with the surrounding nature,’ say the architects, who named the structures La Loica and La Tagua, a nod to the two bird species that are local to the region.

INFORMATION

croxattoyopazo.cl

Set in an idyllic seaside spot outside Mumbai, near a small farming village, The Other Side Studio is a newly completed artists’ retreat hosting local and international creatives working in a variety of media, and with a particular focus on art therapy.

‘The owner [an artist herself] realised that there are not many places in Mumbai to work with art.Mumbai real estate is very expensive and pushes artists to the margins,’ says architect Robert Verrijt. ‘This site is easily accessible via boat from central Mumbai, and then you arrive at this beautiful, perfectly pristine area and calming environment.’ The retreat’s design is the brainchild of India- and Netherlands-based studio Architecture Brio, led by Shefali Balwani and Verrijt. It was conceived as a response to its context and draws on national and local building traditions. 

‘If you visited the site a hundred years ago, it would have probably been a swampy area. Now during heavy monsoon rains, the palm orchard floods, but more recently seawater has also been coming in due to climatic changes. Because of the ecological sensitivity you shouldn’t build anything permanent there,’ says Verrijt. This prompted the team to create a mini campus of smaller buildings, raised on stilts and designed as lightweight, temporary structures that can be easily disassembled and moved to a different location if needed. As long as buildings were impermanent and under three storeys, there were few restrictions as to where to build within the site.

The complex includes accommodation for artists, who can stay there both long and short term, a canteen and a flexible, central space to host workshops and various residents’ activities. The workshop space is the heart of the design. It is divided into two similarly shaped, adjacent volumes with interiors that can be left flowing and open, or adapted to different uses through timber screen partitions. One of them has a mezzanine.

‘The workshop's figure comes from the idea of a Sri Lankan ambalama,’ explains Verrijt. ‘A beautiful, delicate pavilion at the edge of a rice field [traditionally used as a rest stop for travellers] that really speaks to the landscape and lets the space sort of flow. So we wanted to create something that is very light, has a simple framework of columns; to make a roof that is very dominant, like an industrial space almost; and to create light in the heart of the workshop, where we put skylights that capture north light.’ 

The south side of the roof has integrated solar panels, the main building frame is steel, while most of the remaining structure is created using inexpensive, off-the-shelf products. The roof is made of a bamboo framework. It is a tradition and construction craft that is disappearing in India, says Verrijt. ‘At most, homebuilders use it in the informal sector in rural areas. We wanted to re-introduce bamboo as a construction material to normalise it in the formal construction industry, as it has so many benefits as a sustainable structural material.’

A version of this article originally appeared in the October 2020 issue of Wallpaper* (W*258)

INFORMATION

architecturebrio.com

Two things immediately jump out when you first look at Patio House by Chilean architects Guillermo Hevia and Catalina Poblete. First is that it is entirely made out of wood, its structure proudly defining its character, its dark brown pillars, struts and beams reading almost like a sophisticated and enlarged version of a utility construction. The second is its striking location, set within woodland next to the South American country's Lake Ranco. However, what you cannot instantly see is what gives the project its name – a generous, square-ish courtyard sitting at the heart of the building. 

‘Entirely made of wood, the project is governed by two concepts: order and structure,' explains Hevia. ‘In our many visits to the area in recent years, we have always been struck by the mid-twentieth-century shed typology there, with its structure of beams, pillars, and struts, which can be observed as one enters the nearby village of Futrono from the north.'

For his process of transforming the traditional local shed vernacular into a substantial holiday home, the architect worked with a simple and clean, orthogonal floorplan which he punctuated at the centre with the ‘patio'. The timber ‘exoskeleton' that holds it up is also what defines the house and gives its volume rythme.  

‘The house is configured by means of a single section, repeated and systematized, with all of the structural elements exposed beneath a large roof,' says Hevia. ‘We decided to use an exoskeleton, making the structure independent of the cladding, so that the structure and roof could be built during the dry weather and the rest of the work finished during the rainy season.'

The interior, designed to meet the needs of a large, extended family, has been designed almost like a mini-hotel, spanning some 400 sq m across a single level. A series of bedrooms, each with its own bathroom, alternate with public areas and open air sections. Generous communal spaces allow for both seclusion and group entertaining as needed. A continuous, glass-enclosed corridor wraps around the patio, forming the house's main circulation route, while bathing the interior in natural light. 

INFORMATION

hevia.cl

This retreat in the green countryside of Chile is not only a dreamy getaway, guaranteed to have you relaxed by the time you put your feet up on that balustrade, gazing out towards the leafy views; it is also an ode to building with timber, as demonstrated by the architects, Santiago-based Guillermo Acuña Arquitectos Asociados (GAAA). 

Riñihue House, which owes its name to the namesake nearby lake, is part of a series of works by the architecture studio, who has been honing its wood-building skills by creating timber constructions across the country using CNC mechanisation. ‘It is a new construction experience for us, which has made us rethink entirely the design process and urged us to look to traditional carpentry for new possibilities in the way we work,' says the team.

The house's construction schedule had to be planned carefully, as the plot sits nestled in woodland in a remote location in the country's south, impacted by heavy snowfall at certain times of the year. The architects had an eight-month window to complete any work there.

GAAA created a comprehensive list of wooden parts that would need to come together to create their building. The different elements were numbered and put in a manual with a building sequence to guide the contractors on site. ‘It helped us trace all the materials needed, control the number of specialists involved in the works, as well as helping significantly reduce construction times and therefore costs and construction waste,' they explain.  

The idyllic residence can be accessed by a wooden pathway that lifts off the ground turning into a bridge that guides the visitor up to the house's slightly elevated ground floor (to accommodate level changes and existing flora), where four bedrooms and bathrooms are located. 

A circulation core at the floorplate's heart leads up to piano nobile. This is an open plan floor containing the main living spaces. Wide, glazed walls open up the interior towards the landscape beyond. A pitched roof – a minimalist, modern interpretation of traditional countryside local typologies – tops the structure.

INFORMATION
gaaa.cl

Ongoing pandemic-induced restrictions across many parts of the world have only highlighted further a problem many had already encountered, when it comes to optimising our living space: we could all do with a spare room. Be it to use as a home office, or for leisure and relaxation, extra space is valuable commodity in the residential market. Now, a collaboration between three Finnish studios was conceived to offer just that in the shape of a cabin. Enter, Space of Mind. 

The project was designed as a modular cabin by three enterprising creative firms – architecture studio Puisto, specialist interiors manufacturers Protos Demos and design house Made by Choice. ‘Space of Mind is a modern cabin that acts as a dedicated space to think, recharge and unwind – somewhere we can find our own peace of mind,' explains the team. 

The cabin, a clean, minimalist, contemporary design, is made as a mass timber construction using ecologically sourced Finnish wood – this means it's very durable against the elements too. Coming at just under 10 sq m total, the compact space comes with its own custom furniture that attaches to the wooden structure. It has been created light enough to travel and install even in the remotest locations.  

‘As a concept, Space of Mind was initially developed in response to the on-going pandemic,' says the team. ‘With many of us now spending significantly more time at home than ever before, our collective notion of a ‘home away from home’ needed to be redefined to fit our newly limited range for travel.' 

Yet the concept could be easily applicable to several scenarios and life post-pandemic too, used as workspace, personal yoga or meditation studio, art studio, and guest bedroom. It could sit in a back yard, a more rural setting, or even a rooftop. Flexibility and that coveted extra space to breathe is exactly what this concept offers.

INFORMATION

studiopuisto.fi

protosdemos.com

madebychoice.com

A holiday house designed both as an escape for a family of five, and a retreat to receive up to 16 guests to socialise and entertain in larger groups, this new house in Gerardmer, northeast France, is the brainchild of Strasbourg based Atelier Ordinaire. Composed of three interlocking volumes, the 200 sq m building is an experimentation in both typologies and material use, as per the studio's ongoing fascinations.

‘As this is a second home, it presented an opportunity for us: to question the "holiday home" programme,' say the architects. ‘We wanted to give it a very specific scale, between the small hotel, the refuge and the hut. We also wanted to make it possible to work in groups around large tables, as well as working alone in small rooms with views of the landscape. There are very few objects needed to live in this house, no decoration. We wanted space and emptiness to dominate so that everyone can use the house freely.'

One volume contains the entrance hall, a sauna, a kitchen and auxiliary spaces; the second one includes the main living areas, offering long, green views through large openings; while the third is where six generous bedroom suites are located. Of course, functionality and the clients' brief played a key role in the design solution, but the project was equally inspired by the Vosges area's farms in terms of its use of simple forms and materials. There is a steel roof, grey larch cladding and an interior made mostly of spruce wood and CLT panel construction. 

‘As is often the case, our references come from rural typologies, such as the farm, the shed, the shelter...' explain the architects. ‘These references serve as a guide, but we do feel more and more free in our design. Our position as architects is to question the ordinary. In this project we wanted to suspend a part of the house to create passages and limit the impact on the ground. This is not common, there are no references to lead us to this choice, it is only our feeling in relation to the context. Atelier Ordinaire seeks this duality between the evidence of a context and the liberty to dare to question it.'

The interior was elevated by incorporating built-in, bespoke elements, created in collaboration with Stattmann Furniture – as a result, anything from storage units to beds and benches are integrated smoothly into the design to present a holistically designed, complete concept.

Wallpaper* Architects Directory

INFORMATION

atelierordinaire.tumblr.com

stattmannfurniture.com

maisonhiltiti.com

The Brixton Windmill rises unexpectedly in the midst of a residential park on the edge of the neighbourhood known for Electric Avenue (London's first electrically lit market), the best Caribbean food, and the David Bowie memorial. A protected landmark as well as a still-functioning mill (albeit on a small scale), the windmill was built in 1816.

Originally known as Ashby's Mill, after the family who owned it, it would cease industrial scale production in 1934. From the 1960s, when the public park in which it sits was founded, it started to gain its cultural reputation, al the while caught up in the increasingly urbanised sprawl of the city.

Passing city dwellers might dismiss the windmill as a creaking monument to history, yet the locals will inform you otherwise. The Brixton Windmill is an active protagonist in the community, at the heart of educational classes, community events such as the annual Beer and Bread Festival and as a functional mill supplying batches of flour to bakeries, restaurants and retailers of Brixton. This activity has been in development since 2011, when the Friends of Windmill Gardens (FoWG) united with Lambeth Council to secure Heritage Lottery funding and enable the public use of the building.

Developing a sustainable business model was important to FoWG and a new multi-functional building was to be the catalyst for the future thriving of the Windmill and all of its activities – and more. The plan was that the building with its cafe and space to hire would generate money for the preservation of the windmill, its architecture and the legacy of its impact in the community.

Part of the architects' challenge was to design all of these functions into the building in a versatile, flexible and durable way. Locally-based architecture practice Squire's thought about the segregation of space, the flexibility for multiple types of activities, and storage and the importance of well-designed facilities such as a kitchen. The design needed to suit a broad range of people, from young to old, newcomers and locals.

Squire and Partners was introduced to the Windmill by local print designers Eley Kishimoto, who designed a colourful sailcloth for the Windmill in 2016. Squire & Partners moved into their Brixton office, a creative renovation of an old department store that also brought new retail space to the street level, in 2019, and have been participating in the community ever since.

The building features a main activity space, supported by a useful group of rooms including a a grain store, kitchen, administration room, cycle parking and WCs. Specially designed units made of plywood multi-task as tables, storage, and seating, and also offer the possibility of being retail display units for additional income generation.

The materials and design responds to the original miller’s outbuildings. A pitched roof and Douglas Fir frame is clad with dark weatherboard. Inside, the timber frame is exposed, the walls lined with ply-wood and skylights bring in plenty of natural light. Glazed doors with shutters fold out onto the decked terrace that overlooks Windmill Gardens and the Windmill.

INFORMATION

brixtonwindmill.org

squireandpartners.com

Jonathan Tuckey describes the Wachtuus Mountain restaurant as a ‘relatively small project in a really spectacular location.’ Like much of his studio’s work, it contains a substantial element of re-use and re-purposing. Tuckey’s own house, one of his earliest projects, was what our attention to this emerging architectural designer when he featured in the 2006 Architects’ Directory. A refurbished factory in North London, it sought to retain patina and materials and a sense of history and use that could all too easily have been scrubbed away.

In the years that followed, Tuckey and his team have doubled down on this approach, becoming well known for their ability to build within context, convert with sensitivity and still create contemporary statements. His association with Switzerland has only deepened over the years, following a chance meeting on the slopes that eventually evolved into a chalet project that involved his family moving to the country for a two-year stint. Now back in London, the connection continues, and the restaurant is the fourth finished project in the Andermatt area. 

The modest structure began life as a military hut, part of the country’s vast networks of bunkers, barracks and outposts. Andermatt was once a strategic strongpoint and the nascent inter-war ski industry gave way to decades of military oversight. Built in the 40s as a watch house, with space for a small number of troops to live and sleep, it ultimately ended up surplus to requirements and on the open market.

Tuckey’s client worked with the designer to come up with a plan, and the idea of a restaurant serving Andermatt’s prime ski runs won approval. ‘It’s an ordinary chalet shape, but it actually conceals an entrance to a network of tunnels,’ Tuckey explains, ‘there are military fortifications deep within the mountains that allow you to get around the whole country underground.’

The structure has been left substantially unaltered, with the original wooden beams spruced up and paired with new colours and elements like the marble-backed fireplace. ‘It was in pretty immaculate condition,’ he admits, ‘but we also wanted a language of materials that could work with the existing timber.’

The red and white triangle designs on the external shutters are a nod to the signage of the slopes. ‘It’s a building you can pass quite quickly and often in poor visibility,’ he says, pointing out that the shutters reference local Canton flag designs as well as Richard Long's nearby installation “Wind Line over the Furka Pass,” dating from 1989.

Whereas the Wachtuus has benefitted from Tuckey’s light touch, other current projects require a great deal more involvement. ‘We enjoy working with buildings that have character but which people don’t really know what to do with,’ he says, ‘we’re now known for re-using buildings and it’s nice that this is a subject that the architectural community is finally coming around to.’

A new hotel in northern Norway, carved from a former cod liver oil factory, is on site, as are residential projects in London, Italy and Austria. Other work includes a theatre for a school in Berkshire and a recording studio in Somerset. All this is achieved with a relatively small team of 15, based in a central London. ‘I’ve never been interested in making studio very large,’ he explains, ‘we have a great team and we’re comfortable choosing the projects we want to do.’ 

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INFORMATION

jonathantuckey.com

Just off the coast of the picturesque Mindelo bay in the island of São Vicente of Cape Verde, West Africa, construction has been progressing fast at the site of the Floating Music Hub, NLÉ's latest incarnation of the Amsterdam- and Lagos-based architecture studio's Makoko Floating System (MFS™). The project, which is set to complete this winter, is designed to host a variety of activities around music and performance, enhancing the region's cultural infrastructure and showcasing its rich creative output and heritage.

The elegant timber structure consists of three vessels of varying sizes, which will be anchored around a triangular floating public plaza, creating a little creative ‘village'. These distinct floating wings will host a multipurpose performance hall (in the MFS™ large), a professional recording studio (in MFS™ medium) and a service bar (in MFS™ small). They all feature the system's signature triangular shape and pitched roof. 

The exciting scheme is championed by NLÉ principle and founder Kunlé Adeyemi and is a further development of his Makoko Floating System (MFS™), a prefabricated design engineered to higher performance specifications and quality for marine environments. The system was first launched to the public eye through the studio's prototype project, the Makoko Floating School in Nigeria in 2012, and is conceived ‘to generate sustainable, ecological, alternative building systems and urban water cultures for the teeming population of Africa’s coastal regions,' says the firm. 

The concept has since been rigorously modified and perfected, with the Cape Verde's upcoming completion marking the system's first edition to be created in the Atlantic Ocean, a new territory for the team.

INFORMATION

nleworks.com

A decade ago, the Japanese architecture master Hiroshi Sambuichi started researching the unique characteristics of the endemic architecture on the small island of Naoshima in the Seto Inland Sea. He was intrigued by the many old minka (the local traditional farmhouse vernacular) dwellings and the fact that they all shared many similarities that pointed towards a common understanding of what had worked architecturally on the island for generations. For instance, most homes have two gardens (one north and one south) that allow the predominantly south-north wind to cool the houses when doors and windows are left open. Sambuichi used this knowledge when he designed the striking Naoshima Hall in 2015. The oversized hip-and-gable roof has a air tunnel that utilises the same breeze to cool the 1,000 sq m hall through a clever cooling and ventilation system.

Naoshima is also home to the internationally acclaimed Setouchi Triennale. For the 2019 edition, Sambuichi turned a former post-office on the island into an exhibition of his research findings with a special focus on water, and how this once was used on a grand scale via a large area of rice paddies to cool the whole Honmura village. This took the form of a pavilion, and it has now become a permanent part of the Naoshima village.

MORE FROM WALLPAPER* ARCHITECTS DIRECTORY 2020

Japanese businessman Soichiro Fukutake has spent the last two decades working on a series of buildings set across the Seto Inland Sea. Pictured: Naoshima Hall

Using the same title and theme as in his stunning exhibition at Cisternerne in Copenhagen in 2017, ‘The Water' uses the water from an old well in the central courtyard of the renovated post-office to create a large artificial pond that helps to cool the indoor/outdoor space. There is a large deck shaded by a large roof (both created in hinoki wood) where visitors are invited to linger and rest while experiencing the moving materials of the sun, wind and water that much of Sambuichi's work revolves around.

At the back, the former residence of the wealthy family who ran the post-office has been left mostly untouched both because of the excellent condition of the building, but also as a reminder to the villagers and visitors alike of the unique historical architecture of this little treasure island.

Swedish architecture firm In Praise Of Shadows likes experimentation. Ever since we featured the small, dynamic studio in our Architects Directory in 2013, the Stockholm based firm, founded by Katarina Lundeberg and Fredric Benesch, has been exploring ways of creating architecture, focused on sustainable materials and wooden constructions as an intelligent way to build.

‘[In this context] our aim and interest is to create clean, easily legible spaces and clear forms, while being practical and meeting the needs and dreams of our clients,' says Lundeberg. ‘We also hope to create twists on what is considered normal, or the ordinary, but without going too far towards the impossible.'

Their Wallpaper* Handmade pavilion Passage of Wood, created with Danish wood specialist Dinesen and Carpenter Oliver Beer, a cabinetmaker from Bregenzerwald, in 2014 was a key example of their investigative nature – the pair not only truly enjoyed the process of discovery and collaboration, but they even ensured their design got a new lease of life as a kayak house a few years ago (see the May 2018 issue of Wallpaper*). Now, the studio has just completed a new project that allowed them to test materials and ideas; welcome to Atelier Grytnäs.

The compact holiday cabin was created as a small retreat for Lundberg and her family, and as such it contains just one main living space and three modest bedrooms and a bathroom. It was also a chance to try out the potential of CLT (cross-laminated solid timber) in a small scale structure – the project spans just 44 sq m.

A simple volume with a clean, pitched roof outline features large openings that frames sea views, as the cabin is perched on rocks and orientated towards the water. Creating this using CLT wooden boards from KLH in Austria, the architects were able to achieve a comfortable 4m x 10m span, which allows a column-free interior. The bathroom and a concrete chimney create an anchoring core for the structure.

The project also includes sustainable, wood fibre insulation from Steico, a copper roof, and Swedish wood facade. Interiors are warm and similarly minimalist, featuring Dinesen Ash wood flooring and linseed oil treated walls. 

Sat in its beautiful natural setting, on Lisö Island, an hour's drive south of Stockholm, Atelier Grytnäs is in good company; the Gunnar Asplund-designed Summer House, and Blueberry house by British architect Ralph Erskine can also be found nearby.

‘We feel that our ten year old office is still in the beginning,' says Benesch. ‘Our aim is to do interesting architecture while maintaining a relatively small scale (we now have a staff of five-six employees), in order to be able to be personally involved in the design process, from initial idea to the last detail.'

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INFORMATION

inpraiseofshadows.se