Bay House takes complicated site constraints as an idea to create a dynamic space with beautiful views of the bay. The location of this house is on a barrier island, which have characteristic as a wetlands and full of lawn and bulkheads. The architects started this project from the reclamation of the site and bringing grasses and native vegetation. Because of the site’s characters, Bay House need to build on the piles. These piles support a house floor and surrounding decks, including a narrow boardwalk.

Main living room of this house is designed with the large expantion of alumunium curtain wall and allow it to open onto the surrounding wooden deck. This technique give a larger shared public space. Walls shelter this family space from the close proximity of the neighbors. Storage elements and built-in furniture, including a desk and wine-storage wall, are built into the perimeter walls to add to the feeling of enclosure. Small windows are punched through the protective veil to frame intimate views. At the client’s request the dining room was located closest to the water and oriented toward the sunset. The angled forms allow spaces to capture views up and down the bay.

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House Plan – White Perrin House

This new dwelling was designed to make the most of it’s spectacular context. Views to the east are captured from every room of the house, while a 5 star energy efficiency rating was achieved through careful attention to the passage of the sun and high value double glazing and insulation.

Here are the pictures of White Perrin House Plan

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House Plans by Scott Edwards Architecture

Project description:
This home designed by Rick Berry of Scott|Edwards Architecture, rests on the banks of the Columbia river in Vancouver, Washington. The home exemplifies a northwest contemporary vernacular in its 2,000sf. The one level home, built for a retired couple, was placed on the site to maximize the southern view to the river. A large overhang creates a dynamic outdoor living room and creates enough overhang to shield the harsh rays of the sun from penetrating the interior of the home. Radiant floor heating, exposed wood structure and walnut cabinetry create a contemporary, yet warm home.

Here are the pictures of Hotchkiss Residence House Plans

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Located in rural Iowa, Lake Okoboji is a part of a glacial lake system surprisingly located amidst endless cornfields, 2.5 hours from the nearest metropolitan area. The house sits on a diminutive lot on the dense shoreline where old cottages and new McMansions sit tightly together. Our strategy resulted in a deceptively simple footprint that minimized the size of the house on the site while allowing for a series of spatial frames within the house that focus on the view while excluding the neighbors. This allowed for a sense of total privacy within the house itself. Additionally, the lake itself is ringed by numerous oak trees which form beautiful a canopy around the lake, separating it from the corn fields.

Volumetrically simple from the exterior, opaque and slatted vertical Ipe clads a stacked set of spatial tubes (the primary living spaces) that are open to the lake and woods views, but visually closed to neighbors on the sides. We formed the house’s spatial tubes around view axes running through the site, perceptually linking the lake through the forest to the fields beyond. These view-framing tubes are literal voids in the mass of the house bounded at their ends only by glass. Light and air also enters these rooms through operable windows set behind the slatted Ipe cladding. Dense service spaces (“program solids”) fill the remaining volume.

The first level is dominated by continuous subtly amorphous space that opens to the exterior in with lake views in several directions. This space bounds the primary living spaces while suggesting connections and extensions to the surrounding landscape, lake and sky.

In contrast to the spatial tubes of the public areas, the smaller private spaces (bedrooms and bathrooms) are treated with a pronounced sense of interiority. As spaces become increasingly intimate, the intensity of color increases as well. All interior surfaces in these rooms are subsumed by intense color to the extent that each feels like a zone of pure color.Here color becomes equivalent to the Lake that dominates the spatial tubes, providing and autonomous interiority in contrast to the site-oriented “tubes”. Color becomes an important tool of space making, an additional layer that can reinforce or contradict the other components of spatial geometry, intensifying the experience or adding complexity.

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For the interior side, Jonas Retamal still play with the wood as the main material. The ceiling made from casting board with white color for natural impression. uniform with the house itself, Jonas manage the interior with wooden furniture. Bright color dominate the interior of Maintencillo house.

See the detail of this house below:

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“An architect is a builder employing the process of art,” Charles Greene once wrote. This is proven to be their governing belief, not only in the final product but also throughout the process. The brothers were known to veer from the initial blueprints, showing that they were enthralled with transition and process, the blueprints as a point of departure rather than a set of instructions.

The drawings of the house were completed in February of 1908, the site ground-broken in March, and ten months later the house was completed and the first custom-built piece of furniture delivered. The family moved in immediately, and the house and all of it’s specially-designed furnishings were officially finished in 1910.

The early projects of Greene and Greene reflected the traditional tastes of their clients, but in time they achieved recognition for developing the California bungalow to a high art, as well as for creating houses with the quality of fine furniture. The Gamble House represented an American-style which sat amidst an abundance of imitations and interpretations of classical European buildings, the influence for many mansions at the time. It was designed to be very suitable for the southern California climate, with a sleeping porch and beautiful transition spaces from the inside to outdoor patios, a garden and a pond.

The developed style of Greene and Greene is very distinguishable in the design world, as their Japanese inspirations are incorporated into stain glass windows, details carved and formed with wood, joinery and joint pieces traditional to architecture in Japan. The emphasis on the horizontal line, the use of modular units, a taste for the asymmetrical, the absence of clutter, extensive areas of unpainted wood, a preponderance of natural and subdued colors, a close relationship with the outdoors were all key elements of Japanese architecture that are incorporated into the Craftsman style.

The strong ties to the outdoors are brought to the interior as well, through flowers and trees which are engraved in the windows, doors and lanterns. Indigenous Japanese shapes appear throughout the house, in the contour of the dining room table, the cloud lift in the transom bar of each window, the recessed handles on drawers and the ebony frame of the master bedroom furniture.

There are also European inspired aspects to the design; the cantilevered second story over the front terrace, window boxes and shingles on exterior walls, the long roof lines and Swiss-like exterior elevation south of the front door, the living room inglenook, and the Gothic fireplace in the den.

The original patrons lived in the house until death, and it was continually passed down through the Gamble family until 1966, when it was almost sold to a family who intended to paint the interior teak and mahogany woodwork white. They immediately realized the artistic and architectural importance of this home and deeded it to the city of Pasadena in a joint agreement with the University of Southern California Department of Architecture. Tours are offered now, as the Gamble House is both a museum and a National Historic Landmark.

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From a basic form, defined by the municipal urban plan, sculptural “eyes” emerge with direct views to the varied countryside landscape. The form and orientation of the building avoid visual contact with the adjacent houses: at the ground floor the angled ceiling of the kitchen accentuates the intensive contact with the garden. On the first floor, the different shaped openings in the roof and facade offer, like “fingers of light”, varied daylight experiences.

The routing through the house starts in the hall, a section of the ground floor volume. After experiencing the entrance area and passing the gigantic pivoted door, the visitor arrives at the “heart of the house”, the kitchen. Here he looks through the big glass wall straight into the garden, which suggests being outside again. Behind him, the stair cuts a wooden wall inviting to follow the route towards the first floor. Its angled form and extreme proportions (small and high) and the daylight entering from the ceiling, offer the feeling of walking in a medieval street.

At the end of it he discovers the living room, a quiet, north-lighted attic space, from which a big opening exposes the surrounding green like in a framed painting.

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Rather than to offer typical layout for the typical plot, the architects first strictly classify programs into two boxes: a massive box for well partitioned private areas and services that would include bedrooms, kitchen, maid quarter, bathrooms, and a garage and a transparent box for open common areas including the living, dining, studio, and circulation areas. The massive box is an entirely concrete construction, finely plastered and painted, whereas the transparent box is a steel construction clad with glass and vertical layers of local teak-plants – a common technique in contemporary tropical building construction.

The strategy is to combine the two boxes to form an intermediary space that articulates the transparent box into well defined spaces for various activities. The transparent box is both a double-height interior space for the family to share, as well a shelter for an open-air tropical veranda. The base of the transparent box is bound by a built-in concrete slab that can perform as a seating platform, table or staircase with built-in storage compartments. The platform is integrated with a koi pond and a raised garden to provide a feeling of being slightly underground.

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Project Description from The Architects :
The “Lockyer Residence” is a small, contemporary extension onto a post war house in Bardon, a heavily treed and hilly fringe suburb in Brisbane. The design looks to address two primary architectural issues, the first is about context and language, the second is about finding the “essence” of what is needed from an accommodation/ resource perspective in an effort to create a engaging but practical and economical outcome.

The extension is essentially a “pod” added onto the end of a post war house which, while largely leaving the original house in tact, allows for the overall outcome to be reprogrammed. The architecture is unapologetic in its overt, contemporary nature that sits in stark contrast to the original. Notwithstanding this bold move, the original proportions and integrity of the cottage are left in tact to preserve the virtue of both.

The planning, layout and architecture of the space is about the family, the connection to the landscape and the engagement with the sky. The space was to address the cold winters and to allow for increased summer breezes, both of which were inadequate in the original cottage.

The extension was an experiment in achieving a qualitative outcome at a very low cost. The process afforded a relatively high degree of craft and joy in what is essentially a very simple, easy to construct little box. (source : contemporist)

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Description from the architect:
The house is built between two narrow streets in the old part of the town of Lemesos, about 50m from one of the most popular stretches of sandy beach in Cyprus, and just down the road from the house I grew up. The site was previously occupied by an old carob mill that burnt down in a fire in 1989, leaving only the ruins of the stone walls.

The aim was to create a family home for me, my wife, and our four boys. For convenience and privacy, we wanted our place of work to be within the same plot but to have a separate entrance. The building had to fit into it’s surrounding environment of both traditional two storey stone and adobe single family dwellings, and some small old industrial buildings. At the same time it had to be modern, learning from traditional architecture but not copying it. Towards my aim of creating a coherent and safe environment for my family, I drew ideas from my own childhood memories of playing under huge plane trees in a house next to a mountain stream.

Last but not least, I wanted to apply ecological solutions to heating, cooling, lighting and water management.Most rooms in the house face the partly covered internal courtyard. This is a traditional way of building in Cyprus helping to keep the family together and safeguard the privacy of the occupants. A neoclassical proportional system that relates to human scale, is applied to both interior and exterior surfaces and can be seen in plan, elevation and section. (source:contemporist)

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