BEDMAR AND SHI PDF

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bedmar + shi: cove way house

The screen is detailed as a series of thin travertine horizontal strips with recessed stone supports at intervals. The delicateness of the glass connecting bridges between the various volumes of the house is echoed in the vertical connections between floors. The tunnel allows the designers to conceal all the services of the house into its depths while the living spaces are free to face the ocean view at the back of the property. By continuing to browse our website, you consent to our use of cookies in accordance with our cookie policy.

Within this courtyard are elements of fire and water. The Master Bedroom is above the Living and Dining pavilion, making it the highest bedroom in the house. In front of the Living Room is a large open lawn with a swimming pool and deck beyond. Perhaps here, Bedmar is most influenced by the Barcelona Pavilion of Mies Van de Rohe whereby the walls act as free standing objects that cut the continuous volume of the rooms into interconnected spaces.

Recalling somewhat the stone walled buildings in his native Argentina, Ernesto Bedmar is able with this project to redefine and modernize his tropical language and spatial organization while still echoing traditions of craft of the region.

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Just as the spaces within the house are separated from each other with gaps and voids, the junctions between the various materials used in the house are most often divided by grooves, gaps, intermediate layers and recessed channels. The roof of this double volume room is also made of teak strips with a glass sheet above them that make the space feel as airy and light as possible.

The abstracted pattern still contains the essence of the original, giving it a distinct Indian flavour without literally replicating the traditional tapestry.

Due to the dilapidated state of the original building which was on the site, its demolition was permitted. Adding to the free-standing nature of the walls in the Living and Dining Rooms is the visual disassociation of the concrete flat roof from the walls. We use cookies on our website. Subscribe to Archello’s newsletter.

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The visitor crosses over this void on light glass-floored bridges that accentuate the separation between the two structures. The fire is represented by a small stone block on the ground that shoots up a flame into the air and the water is in a white basin.

In this house, the Pooja room is a magical space located in the Northeast corner, just off the vehicular entrance area. The timber screens or jali timber panels were designed by Bedmar with the use of a traditional Indian pattern that had been reduced in its geometry, and then cut it into the wood of solid Burmese Teak doors. The slab of the Living Room floor is pulled away from the floor of the garden room, creating a gap or void into the lower level.

In a clever re-definition of a traditional tropical housing planning arrangement where the rooms are expressed as separate pavilions that sit in a larger garden, this house by Bedmar and Shi operates in a more dense urban situation.

There are many areas positioned throughout the house that cater to various sizes and types of social gathering.

This courtyard is also traversed only by the delicate glass bridges at each level. With only slits of openings along the edges of the entrance space, the contrasting framed view into a sun basked rock garden at the end of the portal draws the visitor forward in a distinctly tropical experience of light. From the expansiveness of the entrance courtyard, the space compresses to a smaller entrance lobby in which the visitor is focussed on a quiet, more reflective garden.

The surrounding neighbourhood is full of greenery and is a highly conserved area of very horizontal houses, mostly single storey, that sit on elevated platforms and are topped with flat roofs. The guests sni come to the house often enter the Pooja or prayer room first before visiting the main house.

The extra height not only emphasizes the space as significant, but it also creates the hierarchy of the sleeping spaces above. This house, which is located in the highly prestigious and beautifully landscaped region of Amrita Bedma in Delhi, India, was to present Ernesto Bedmar with one of his greatest challenges to date. The heavy stone walls grounding the front entrance of the house form a natural portal that allows Bedmar and Shi to recreate a sequence of circulation seen in some of their other projects whereby the house is revealed slowly and gradually to the visitor, with dramatic transitions of light and shadow, and enclosure and freedom.

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Cove Way House | Bedmar and Shi | Archello

In making the front of the house heavier in language than the back, the designers have also taken advantage of the intrinsic planning reversal in all of the plots of land on the Island, where the front street entrances to the sites oppose the magnificent view of the ocean and canals at the backs of the properties.

These walls, which are formed of huge slabs cut from giant pieces of stone, are so well cut and the grain book-matched that the entire long stretches of wall appear to be formed out of a single piece of stone. We use cookies on our website. Want to see more like this? The shape of the site itself was favourable to the implementation of the principles of Vastu as it is a rectangle that is elongated in the Abd direction, with the main gate entering from the East.

Here, horizontal concrete beams are exposed below the ceiling slab and the spaces between the beams above the walls are left as high anf windows.

Underneath the skylight is a timber trellis. Natural Italian travertine freestanding walls enclose the entire property and courtyards.

bedar These walls never meet each other so that the space is never geometrically static. These flat roofs are still heavily used by the occupants as terraces because from this height they enjoy the bermar winter breezes. Bedmar designed the glass box Living Room to feel like an independent floating volume within a larger timber trellised garden room. Engraved both into its spatial organization and into the details of the house, these are stories of traditions and beliefs, of customs and of the relationship of the body to nature.

This deck steps downward to the left into the swimming pool itself in the same random type of stepping pattern as seen the first courtyard.