Scorpions Retreat by Michael Schickinger of Lambs&Lions located in Mykonos, Greece | The Hardt
Scorpions Retreat by Michael Schickinger of Lambs&Lions located in Mykonos, Greece. Situated on the picturesque island of Mykonos, Greece, Scorpios by Michael Schickinger of Lambs&Lions is an exclusive getaway that celebrates beach culture. The project was developed in close collaboration with interior designer Annabell Kutucu to merge natural textures with functional contemporary amenities: “We tried to infuse Scorpios with the classic materials and construction tactics found in Cycladic architecture to root it in its internet site and context. It was then peppered with collected objects discovered by Michael and Annabell on their travels”, the designers stated. Inspired by the contrasts revealed by the island of Mykonos (mainly its rocky, hot landscape juxtaposed by the invigorating the blue sea), the project tea envisioned a holistic retreat: “We wanted the place to be a stage that invites all aspects of Mykonos life but often with a concentrate on leisure. The style is inspired by natural components that set a laid back, down to earth and comfy backdrop for all the various activities that will take place there. It is a spot that simultaneously excites the senses and calms the soul.”
Photos by Carolin Saage
Aesthetically and Geographically Related Projects:
Amangiri Resort located in 4 Corners Utah by an all-star squad of architects Marwan al Sayed Wendell Burnette and Rick Joy | The Hardt
Amangiri Resort located in 4 Corners Utah by an all-star squad of architects Marwan al Sayed Wendell Burnette and Rick Joy | The Hardt
Amangiri Resort located in 4 Corners Utah by an all-star squad of architects Marwan al Sayed Wendell Burnette and Rick Joy. Amangiri is located on 243 hectares (600 acres) in Canyon Point, Southern Utah, close to the border with Arizona. The resort is tucked into a protected valley with sweeping views over colorful, stratified rock towards the Grand Staircase – Escalante National Monument. The resort is a 25-minute drive from the nearest town of Page, Arizona and a 15-minute drive to the shores of LakePowell. Architecturally, the resort has been designed to blend into the landscape with natural hues, materials, and textures a feature of the design. The structures are commanding and in proportion with the scale of the natural surroundings, yet provide an intimate setting from which to view and appreciate the landscape
Arrival to the resort is via a winding road that descends into the valley and leads to the central Pavilion. Built around the main swimming pool, the Pavilion embraces a dramatic stone escarpment. Within the Pavilion is the Living Room, Gallery, Library, Dining Room, Private Dining Room, and Cellar. Two accommodation wings lead from the Pavilion into the desert: 17 suites are located within the North Wing and another 17 suites together with the Aman Spa are located within the South Wing. Outward views from the resort look over the untouched valley surrounded by lofty bluffs. Amangiri offers 34 suites in total: 13 Desert View Suites, 14 Mesa View Suites, one Terrace Suite, two Pool Suites, two Terrace Pool Suites, the Girijaala Suite and the Amangiri Suite.
Entry to each suite is via a private the courtyard that features a Douglas Fir timber screen and includes a dining table, two chairs, and a sculptured light form. A glass wall with a central door opens to a combined bedroom and living area which includes a writing desk and a king-sized bed. Beyond the bed is a sitting area which features a low-set sofa, a coffee table, reading chairs and a side table. A soaring timber cabinet separates the bedroom and living area from the dressing room and houses a television and combined CD/DVD player. Concertina glass doors open from the sitting area to a spacious desert lounge that frames the view of the natural landscape beyond. The lounge contains a plinth with resting mattresses and a central fireplace.
The adjacent sky-lit dressing room extends the full length of the suite and features an extensive wardrobe with a personal safe and spacious dressing area with twin vanities atop a stone plinth. To one end of the dressing room is a separate toilet room and to the other, a spacious bathroom lined with sage green tiles. The bathroom features twin rain showers and a comfortable soaking tub with uninterrupted views of the landscape.
Design finishes include white stone floors and concrete walls that echo the natural stone of the surrounding landscape. The furniture features rawhide, natural timbers, and fittings in blackened steel, while light-colored cushions and soft throws add warmth.
The Lodhi+ Aman New Delhi by Kerry Hill Architects located in New Delhi, India | The Hardt
The Lodhi + Aman New Delhi by Kerry Hill Architects located in New Delhi, India. The luxury hotel won the Commendation for International Architecture at the AIA’s 2010 National Architecture Awards. On the streets of New Delhi’s Lodhi quarter, the Hotel Aman New Delhi explodes onto the pious and solemn outskirts of the city, adjacent to the Nizam Uddin mausoleum. Sprung from the imagination of the celebrated Australian architect, Kerry Hill, this luxury establishment is daringly trendy in style, plunging guests into a delicately contemporary universe. The design furniture and sculpted Rajasthan stone walls make the Aman New Delhi a worthy representative of the prestigious Amanresorts hotel group. The 31 rooms and 8 suites spread over 9 floors contain jaalis (perforated stone with geometric patterns) and open onto the hustle and bustle of the Indian capital. But for perfect moments of relaxation, there’s nothing better than taking advantage of the wide range of massages and treatments available at the hotel’s spa.
The stunning silhouette of Aman New Delhi is located not far from the mausoleum of Nizam Ud Din, an Indian Sufi master. Although the neighborhood is as described in the Blue Guide as a “survivor of the medieval world marked with poetry and fervor”, the hotel is a perfect example of a contemporary and daring contrast, in line with all the other contradictions that one finds in the Indian capital. Owned by the Aman Resorts group, the hotel’s 31 rooms and 8 suites are on 9 levels with a magnificent view of Lodhi quarter and its monuments. The sophisticated, modern and elegant interiors are the work of Australian architect, Kerry Hill who created an intelligent blend of traditional Indian architecture and contemporary furniture. Sculpted walls from Rajasthan, windows and partitions pierced with jaalis or embroidery type stone decorations and dark wood furniture give the rooms a discreet luxury, conforming to the Aman group’s policy of hospitality.
Amanresorts and The Lodhi have created a six-night itinerary to experience the vibrant culture of India, including two night stays at The Lodhi and Amanbagh and Aman-i-Khas, in Rajasthan. It includes daily breakfast for two and one activity per resort per stay. Visit India’s cosmopolitan capital New Delhi. Located in Lutyen’s Delhi, just minutes from Rashtrapati Bhavan, the peaceful Lodhi gardens, Humayun’s Tomb and many other iconic sites, The Lodhi provides a tranquil heart for one of the world’s most colorful and cosmopolitan capital cities. Offering essential respite on a six-acre property, this city-based retreat is an elegant haven of leisure facilities including The Lodhi Spa, Gym, Pilates studio, Tennis and Squash courts and a variety of restaurants. All Lodhi rooms and suites feature private plunge pools. The Lodhi, formerly the Aman New Delhi, is the ideal base from which to experience the city’s wealth of historical, cultural and contemporary attractions.
As a haven of serenity in the midst of the urban hustle and bustle of New Delhi, the Aman spirit, a word derived from the Sanskrit word for peace, prevails throughout the hotel. In addition, it’s hard to resist the traditional Indian treatments offered by the hotel’s spa.
Aesthetically and Geographically Related Projects:
Snow Hotel by 1990 UAO + Archigroup MA located in Banpo-daero 14-gil, Seocho-gu, Seoul, South Korea | The Hardt
(Translated from Korean to English) It is a common sense that detailing takes its place at the later phase of the process, and this is especially true for an architectural design. However, on the other hand, I think it is possible for detail to be the beginning of the process. The more so, if the process is for interior design. Although Mies van der Rohe said, “God is in the details” to emphasize and Rem Koolhaas stated, “no money, no detail, just pure concept” to put off the plan before anything, the detail was what connected the beginning and the end of this project. The detail is not limited to properly joining and finishing the materials. It motivates the design, brings harmony to neighboring materials, and sometimes the detail itself grant certain characteristic to the whole space. Every material has its own unique characteristics and it can be revealed through the detail. Properly displayed detail distinguishes itself from the other materials, and that uniqueness became the main material for the design for this project.
Floor, wall, and ceiling of the room are such common elements for architecture just like the ground, column, and roof. Hence, an old history of architecture can be defined as standing on the ground with your both feet, leaning your back against the wall and keeping your body under the ceiling. However, these elements, which seem to be all segregated, are treated slightly different in this project. The material that was usually used on the floor is now applied on wall or closet, some part of the wall is connected to ceiling (corridor), and floor and ceiling are reflecting each other like a mirror. Exterior wall material that was usually seen from a balcony is not forming a wall inside the room and even surrounding the entire interior space. The top of the fathomless wall, which is tall and lengthy, is bent and folded, hence, forming front desk and half arch on top and the mosaic pattern that is decorating the floor and ceiling of the 1st floor lobby covers the entire floor, wall, and slanted ceiling once it gets to the penthouse house on the top floor.
As shown in interior finish material legend fall architecture sheet set, base boar displace at the edges fall to floor and wall. Such element, which was added due to functional requirements, is part of both wall and floor. Molding at the edge of wall and ceiling is another example that exists and travels between two different elements. Door and window also make the similar relationship with the wall in the same manner. All these regular elements that construct the architecture become a key for a design, and there results obtained from the mixture of interpretation, decision, intuition, and response to this key. Material lays in-between matter and the result of the work using that material. In other words, matter turns into material and material turned into a building. However, there is another factor that material must have in order for it to be an architecture not merely building. That factor is called attribute. The attribute is like a prerequisite for the matter to be that matter, and a special process is required in order to put an attribute into a material. It’s the respect (or attitude towards) for material. In this project, fidelity and betrayal toward that respect coexist. Real is mixed with fake, thing-in-itself and phenomenon coexist, and characteristic and accident intersect each other.
Like the way the image on a mirror exist yet differ from its origin, the stone is thin and sharp yet heavy, and the tree is soft and warm while it is still hard. Brick is thickly stacked in one place, yet sliced and added in another place. Although it is hard to distinguish tile and wallpaper using their applied location and purpose, they are in fact the same as they both serve the same purpose of the cladding. Every material stays in the place where they belong to but still appears in unexpected places with the different image. In this project, the material is made from matter, but they share half the appearance and personality of matter. “There is no sound in the mirror and me inside the mirror is unable to shake my hand as he is left-handed, however, me from the mirror, who is opposite of me, is actually somewhat similar to me.” (Yi Sang)
Oftentimes, floor and ceiling share a similarity in many ways. They both have similar size and shape. However, man always walks on the floor and stay under the ceiling and it is uncertain whether it’s good or bad. They are different, yet similar to each other, and they look alike, but certainly not the same. But now, they are made to be perfectly identical to each other. The floor becomes a ceiling and ceiling becomes a mirror of a floor producing an illusion of looking down on a ceiling while walking on the floor. So the interior lightings are projecting both floor and ceiling at the same time. Of course, neither floor nor ceiling has a mirror on them. Black stainless steel is covering the entire curved wall and distorting naturally scattered chaotic lights on the ceiling into stars (lobby). The wall with a mirror on the opposite side of room entrance creates another exit that can never be used. Once you go into the room, you will encounter two bedrooms on each side, but there is no need for making a hard decision as one of the bedrooms won’t be able to shake my hands. The shape of combined light from the floor and the door inside the mirror is the same as the one that appears on the floor when you open the door. This is the overlapping moment between reality and delusion. Everyone look into a mirror at least once a day to shave or wear make-up. A mirror is a familiar object that people use in their everyday life, but in this project, it plays the role that grants a bit of unfamiliarity.
There are many pieces of furniture that are occupying the room, such as bedside table, closet, table, shelf, sin, and tub, but not all of them are brought from the outside of the room. Part of the wall pops out and changes its form to a headboard and certain part of that headboard turns into a small table. The floor, which has different heights like wide stairs of the plaza, changes into the chair or back support, center part of the floor rises and functions as table and headboard, sink and shower booth, which is part of a bathroom, are actually an extension of the room floor. A long table, where the television and laptop are placed on top, can be a mat for closet, bathroom and entrance floor. When water fills the sunken floor, it naturally becomes a tub, and carved round stone sticking out from the wall becomes a sink. When this wall reaches the bedroom horizontally, it becomes a large headboard that surrounds the bed obliquely.At last, the bed is no longer furniture. The bed is now part of the bedroom.
Ecork Hotel (2013) by José Carlos Cruz located in Evora, Portugal | The Hardt
Ecork Hotel (2013) by José Carlos Cruz located in Evora, Portugal. Ecork is a Hotel in Évora, Portugal, with a spa, health club, gym, restaurant, bar, conference rooms, outdoor pool and 56 bungalows. Built on a set of cork and olive trees, the general plan is inspired in the Medieval villages of the Alentejo, where it was common to find the main complex (Castle ) and several white buildings around it.
All services and hotel facilities are aggregated into a single building, freeing the land outside the bungalows. Influenced by the vernacular and Arabic architecture, is created a monolithic volume with small openings to the outside, which together with cork coating, fully recyclable, ensures the thermal protection of the building. Built around a large courtyard, the layout is designed so as to take advantage of crosswinds and air circulation, thus reducing power consumption to the minimum necessary.
In order to ensure the lowest possible occupation and overview of the Alentejo Landscape, outdoor pool and bar are located on the roof of the building. All 56 bungalows are suites. Their deployment, scattered among the olive trees around the property is defined by the structure of internal thoroughfares. These paths are read as a series of abstract volumes and surfaces, plastered and whitewashed.
Pensão Agricola by Atelier Rua located in Tavira, Portugal | The Hardt
Pensão Agricola by Atelier Rua located in Tavira, Portugal. Situated near the city of Tavira, between the Algarve mountain range to the north and the Ria Formosa Natural Reserve to the south, the site is inserted in a rural area where the landscape is dominated by plots and constructions destined to agricultural activities. The plot, longitudinal in its shape, is divided into two different zones by a cluster of constructions (the main house and the annexes that supported the agricultural activities). The zone to the north, where one can access the plot, is marked by a welcoming alley of olive and carob trees. To the south, a more private and secluded area is dominated by a fruit tree orchard.
The main house was renovated using traditional construction methods and technics, thus preserving its original character and ambiance. The only typological changes made to this structure were the ones strictly necessary to an appropriate adaption to its new program. Here one can find the social and functional areas of the house: the reception, the kitchen, three small living and dining rooms and two bedrooms. The ceilings are covered with the same reeds that we found in the original house, painted in white. The floor is a continuous smooth screed. Three new volumes connected by walls of different thicknesses and heights emerge around the main house, where the annexes once stood. These walls define resting places connected to the main house and individual patios for the new rooms. The new constructions adapt to the surrounding terrain, and to the south, a limit is defined where a water tank, a long bench and two windows on a wall open up to the orchard.
Matale Holiday Retreat (2009) by Thisara Thanapathy Associates located in Matale, Sri Lanka. The building is positioned to create an immense enclosure of space between the building and encircling crescent of mountains across the valley.
The building is linear in form. It does not dominate the landscape but tries to be a gentle noticeable part of it. This thin form does minimum damage to the vegetation while allowing the sun and rain to fall on the ground. All this minimizes the damage to the ecology. By being on pillars it allows the breezes to cool the building. Timber grills used on either side of the upper-level bedrooms provide ample natural ventilation. A thin metal roof with its long eaves shades the building.
Salvaged materials are used for the building. These salvaged materials had been purchased prior to designing the building. Steel and timber grills were salvaged from a demolished factory. The decks are out of salvaged railway sleepers. Rest of the timber was purchased from the locality. There are only two main masonry walls, except the peripheral walls of the toilets.
The building is approached via a long walkway by the side of an elongated wall. At the end of the long walkway begins a viewing deck which is perpendicular to it. This viewing deck is pierced through the building and is in the center of the vast space between the mountain range and the building enabling the user to fully experience it. This viewing deck is orientated towards a patch of paddy field, which is a significant feature of this landscape.
While the building tries to capture different views from the dining room and the bedrooms, it is the extreme end of the significant deck that provides the dramatic experience of an encompassing space defined by the mountain range and the building.