Situated in the UK, Jura (2016) by Lewandowski Architects | The Hardt
Situated in the UK, Jura (2016) by Lewandowski Architects. Jura is a fine example of contemporary architecture that breaks the mold in an almost entirely traditional architectural context. The Wentworth Estate, home to the world famous Wentworth Golf Club, was originally conceived in the 1920’s by the renowned builder and developer W.G Tarrant and comprises architecture ranging in style from Arts and Crafts to neo-Georgian. Most newly constructed properties on the Estate, be they privately commissioned or developments, are designed in a traditional pastiche. This is largely due to fear of the unknown and risk of jeopardizing future values. Jura looks to set a precedent on the Estate of how good quality, contemporary architecture can maximize the opportunities of a site in both design approach and planning terms.
The design vision for the house was to create a series of moments capturing vistas both inside and outside, offering a textural and inspiring journey through the building. As you approach the building you are greeted with a natural stone façade, replicating the craftsmanship and grandeur of its more traditional peers on the estate, whilst the crisp clean lines and glimpses of what happens behind begin to reveal its true identity. The sound of falling water and the ability to touch and feel the natural stone as you arrive at the entrance encourages and stimulates the experience.
The plan consists of two wings of accommodation that are connected across all three floors via a central link/bridge. This link provides not only a functional and physical connection between spaces but allows the users to always feel connected to one another by sound and sight; this connectivity of the senses can often be missing in larger properties but was key to creating a building that could function as a home. The property offers three floors of living accommodation; two floors above ground and a substantially lower ground floor which is flooded with natural light, measuring approximately 2000 sqm in total. The site offers just over 5 acres of land which is again unique for the location. A large challenge with this project, which has been built to the highest specification, was to design not only the external appearance but also the interior spaces with a very discerning ‘virtual client’ in mind. As such all spaces were consciously designed to appeal to as wide an audience as possible while remaining honest to the contemporary roots of the architecture.
The clean and contemporary lines, enhanced by the natural limestone walls and full height glazing, offer a perfect complement to the soft natural wooded surroundings. The stone walls are accompanied by areas of Iroko cladding, a hardwood that will offer durability and elegance while providing a finish that matures and mellows as the building settles into its new surroundings. High performance and ultra slim profile glass sliding doors are used extensively throughout to maximize natural light and offer panoramic views over the surrounding grounds. The result is an elegant and modern home, carefully conceived and crafted to respond to the site’s individual features and the potential end user.
© Ed Kingsford
© Jack Hobhouse
Aesthetically and Geographically Related Projects:
Black House (2017) by AR Design Studio, located in Hampshire, United Kingdom | The Hardt
Black House (2017) by AR Design Studio, located in Hampshire, United Kingdom. Black House is a private new build house in Kent, completed in the summer of 2017 by Winchester- based architects AR Design Studio. A contemporary property, Black House draws its influences from both the historic and modern buildings of Kent. A retired engineer and Conran interior designer, the clients, chose to move from a 15th century Tudor house and build a contemporary dream home in their garden. The building’s concept was formed after the design team and clients embarked on an architectural tour in Kent, in search of inspiration from the land and local context. The floating form and massing of Black House were inspired by Sissinghurst Castle Garden, home of writer Vita Sackville-West. The castle gardens are broken into a series of individual experiences hidden from each other by manicured hedges and weathered red brick walls. Only from the writing room in the central tower can the connection of the spaces and whole design be seen.
The Black House rectangular massing was divided into blocks by key site axes, a view from the pool to a large populous tree, and a previous path to the site. Each block is linked to a distinct aspect of the garden, with a final connecting view provided from the roof of a brick tower. The volumes were separated to create a central courtyard, with a cantilevering roof to tie the modules together. The design team also viewed Hasting’s historic net huts and the traditional black-clad houses of Dungeness. As a response, a vertical black timber cladding is used throughout. Visiting the interlocking volumes of the Turner Contemporary Gallery, in Margate, by David Chipperfield Architects, informed the studio how to interconnect the low massing of the black timber boxes and the brick tower.
With each block linking to a different part of the garden, a journey around the functions of the house is experienced. The journey begins with one of the three entrances, designed along the axes of the building. The kitchen diner is a 24 ft (7.3m) cantilevering room facing east to capture the morning sun. With floor-to-ceiling sliding glass doors, the orientation provides expansive views across the orchard and vineyard. The drawing room fronts the pool area to the west, two spaces linked to accommodate rest and play. A panoramic horizontal window influenced by Margate frames the view from the formal dining room across the formal front lawn. The final aspect is the bedrooms, they are provided privacy and seclusion by the proximity of the woodland to the rear of the house.
These spaces are all connected by the central courtyard, an area of extensive glazing allowing light and fresh air to continually penetrate the house, and provide year-round sheltered outdoor space. Having constructed the house, the clients have chosen contemporary living over historical, a building designed for them, to suit the way they want to live today. The result is Black House, a sequence of dramatic experiences linked to their garden, and is a contemporary response to the region.
© Martin Gardner
Aesthetically and Geographically Related Projects:
Situated in a fairly wooded area in The Netherlands, the transparent glass and concrete Villa 1 by Powerhouse | The Hardt
Situated in a fairly wooded area in The Netherlands, the transparent glass and concrete Villa 1 by Powerhouse. The home consists of two wings which are anchored by a central garage. Because of its rural location, the architects needed to meet above ground volume codes. Their plan was to invert the traditional house plan by putting the bedrooms underground while the living area remains on top. The interior is very open thanks to full walls of glass windows and central hubs, which condense all storage and service into one unit. The forest, like most of the Dutch landscape, is manmade. Mostly Douglas Pines were planted there in the 1950s for the production of straight stems that could then be used as beams. The trees became mature enough to be harvested in the 1970s, paradoxically just when it became immoral to cut trees. The landscape thus turned from industrial to being natural. Now the site falls under the local “building-in-nature” regulations, which include a number of restrictions, among which height limitations for the gutter lines and volumetric restrictions for what could be built above ground. Since the spatial needs of the house called for at least twice the volume allowed by the regulations, we designed it upside-down: all day functions above ground and all bedrooms below, but with ample daylight access.
The site has a slight incline. It offers beautiful views of the forest and great sun exposure that we wanted to fully take advantage of. We thus came up with the distinctive Y-shape of the house: every wing is optimally oriented on the terrain and to the sun. There are three wings: one wing for work, studying and music making (North-West exposure); one for cooking and eating (East-South-West exposure); and one for living and painting (South and North exposure). In the basement, the Y-shape creates a similar functional clarity: one wing is for the master bedroom, one for cars and one for storage and guestrooms. A patio provides light for the guestrooms. A singular frame envelopes the house, thus allowing for maximum transparency. The central area where all wings meet in the Hardt of the house. It is a large space that serves as the entrance hall, dining room, bar, and music-room. The Y plan stretches the house into the site and provides large panoramic views of the surrounding scenery. On the South and East sides, two large covered decks create sun shading in the summer and smooth the transition from outside to inside. In the basement, the Y plan creates a clear division between the private quarters for the guests (with private entry through the patio), the garage and the master bedroom.
Every room on the ground floor can enjoy open views onto the landscape thanks to the wide transparent facade contained within the frame. Each wing is spatially organized in a sort of centrifugal manner. All mass is concentrated in a central core: a piece of furniture that contains all services and structural elements and that simultaneously creates different rooms within the entirely glazed space. These large pieces of furniture allow for a free flowing distribution of functions without creating closed off rooms. It is thus possible to enjoy a pleasant stroll longer than 150 m through a variety of rooms immersed in the landscape. Counteracting the extreme openness of the ground floor, the basement level shelters the most intimate rooms of the house and takes on opposite spatial qualities, emphasized by the brutal and protective feeling of mass. Here, the scarcity of daylight is complemented by a richness in spatial effects. The rooms are carved out in the mass, creating vaulted ceilings and thick walls as a paradoxical result of the lightness of the vertical structure above ground. In the basement, the heavy architecture retrieves the primordial qualities of Roman architecture.
The three furniture pieces on the ground floor are distinctively different in their design, materials, feel and smell. We used wood to the North, slate to the East and concrete to the South. In the North wing an American nut-wood furniture piece ‘swallows’ a staircase, cupboards, a bed and a small bathroom. The curves of its outer shape create the entrance, a small and a large study and an acoustically sound piano-room.
The kitchen is the second piece of furniture. It is entirely made of Norwegian slate and incorporates all kitchen appliances and storage, a toilet and a bar. It is as solid as a rock, yet gentle in its use – a sort of primordial sophistication. The third furniture piece consists of two concrete walls that incorporate a fireplace, storage, and video projector. This element opens up to create a patio bordered by a living room, garden room and atelier. The glass facade is suspended between window frames hidden in the ceiling and floor. There is no vertical structure, only silicone joints to hold the glass. The only large opening is a huge green marble sliding wall (a sort of mobilized Mies wall) which opens the intimacy of the living room onto the terrace. Although made of marble, the sliding wall is very light as it is mounted on honeycomb aluminum plates (a Chinese invention called stone-veneer now produced in Texas, USA, with predominantly Middle East stones). The marble sliding wall wraps around a cross-shaped column clad with a black rubber skin: this is what we called the “Miessian Gimp”.
Structurally the house is a stack of different industrial building techniques. The basement is cast in concrete. The roof, with extreme cantilevers, is a complex steel structure designed by the audacious structural engineer Gilbert van der Lee. The bookshelf in the North wing is made entirely of solid steel plates and functions as a structural Vierendeel frame stabilizing the structure of the roof. As a result of its Y shape and architectural dichotomy, the villa provides a wide array of extreme spatial qualities, going from narrow, dark, vaulted corridors to wide-open, transparent garden rooms. The result is a landscape of different spatial perceptions that goes beyond the mere pragmatic diagram of functionality. This house is the result of an involuntary yet conscious choice to radically change a way of living. It is a house for the new life of a man and his new partner. A house that can provide him with a new place to live in, after losing his beloved one with whom he had lived thirty years in an old farmhouse bought in the seventies and which they had remodeled 8 times to fit their changing needs. This house had to be something radically new for him. It had to offer a new balance to a disturbed life. It had to provide a new anchor point. It is a house designed for a family to be re-rooted.
Aesthetically and Geographically Related Projects:
Art Port by Stelle Lomont Rouhani Architects located in Water Mill, an affluent hamlet of Southampton, New York, USA | The Hardt
Art Port by Stelle Lomont Rouhani Architects located in Water Mill, an affluent hamlet of Southampton, New York, USA. Art Port is free of charge standing pavilion produced for an art dealer as an addition to a present residence. It creates an arrival sequence for the homeowners and their visitor
Formed from a single flat roof that rests on 2 reliable volumes, it is separated from the major residence by a bamboo garden. A wood walkway slices via the garden creating a bodily connection between the pavilion and the primary residence. The basic open prepare of the pavilion gives versatility, simply transforming into an impromptu art gallery. Huge glass openings welcome the outdoors in. The pavilion generates the best backdrop for events, in which the architecture and landscape highlight the installations.
Photos by: Matthew Carbone
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