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The Amrita Shergil Marg house was therefore planned with the entrance and views to the North and East and a long service block placed along the Southern edge of the site. Further down the long corridor, a wall opens up to introduce the Living and Dining Rooms.
In this house, the Pooja room is a magical space located in the Northeast corner, just off the vehicular entrance area. Subscribe to Archello’s newsletter.
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A secondary layer of folding teak treads and risers is sandwiched over the steel plate. 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 East-West direction, with the main gate entering from the East. The new building was given the restrictions of a large 9 meter setback from Lodhi Road and a height control of no higher than the original house.
Cove Way House 0. In contrast to the cavernous entrance, the main Living Room is designed as a lightweight glass box that sits inside what feels like a larger garden room. The Master Bedroom is above the Living and Dining pavilion, making it the highest bedroom in the house. 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.
In a more formal manner, this rooftop environment is echoed at a larger scale by a similar roof terrace above the Living and Dining Rooms that can accommodate larger gatherings.
bedmar + shi: cove way house
Due to the dilapidated state of the original building which was on the site, its demolition was permitted. Many other Vastu principles dictated the locations of the specific rooms within the site such as the Pooja or prayer room in the Northeast corner, Dining in the West, Master Snd in the Southwest and courtyard sih the East, among others.
The separation of the finishes from each other allows the various materials to exist as independent entities, in a way, to breathe on their own. In making the front of the house heavier in language than the back, the designers have also taken ahd 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.
Subscribe to Archello’s newsletter. Although this steel plate is relatively thick, at the exposed edge of the staircase, the plate is recessed back from the timber layer above and only a thin plane of the steel is projected outward to further lighten the edge detail of the staircase. Elegantly poised atop its granite pedestal, this beautifully adn home in India is truly a temple for the body, as well as a captivating repository of stories.
With a simple and poetic clarity, these stories and are all told through the modern architectural interpretation of sensitive designers at Bedmar and Shi. This house, which is located in the highly prestigious and beautifully landscaped region of Amrita Shergil in Delhi, India, was to present Ernesto Bedmar with one of his greatest challenges to date. With a seemingly casual transition between layers of local flora and natural materials, hsi front lawn of this understated house at 16 Cove Way on Sentosa Island in Singapore gently lures its visitors into zhi welcoming atmosphere and a slower paced island lifestyle.
The materials used in the house are a mixture of rustic natural finishes such as the roughly worked rubble walls, naturally finished teak, roughly finished textured plaster walls, as well as highly polished modern materials like ajd steel and glass flooring on the bridges between spaces. 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.
Cove Way House
The abstracted pattern still contains the essence of the original, giving it a distinct Indian flavour without literally qnd the traditional tapestry. The delicateness of the glass connecting bridges between the various volumes of sui house is echoed in the vertical connections between floors.
The linear grain of the travertine on two sides of the Pooja room creates directionality and focuses the worshipper through the crafted timber trellised pivot doors and directionally aligned statue of the Hindu deity Nandi in the courtyard beyond. The visitor then turns to enter an extruded, linear corridor which is used as an art space and abd flanked to one side with a cosy family room with a full wall of bookshelf and to the other with an open courtyard in terracing and stepping slabs of stone.
Vertically and horizontally, the courtyard is tied together by a grid of large timber members that double as display shelves and bring the eye up from the basement to the attic as well as visually knit the two side walls of the house together.
The courtyard in front of the Pooja room is the first of many entertainment spaces and is here often used to receive guests during a celebration. 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. Want to see more like this? The staircase is constructed of a lightweight folding metal plate structure that is connected to the adjacent wall only at the landing and is otherwise separated from the wall with a narrow gap.
Two thick and roughly worked flanking walls of granite stones set in thick mortar beds embrace the front entrance of the house and its large over-hanging timber trellised canopy.
Amrita Shergil Marg House 0. This detail raises the Living and Dining Rooms up higher than all the other rooms. 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. Natural Italian travertine freestanding walls enclose the entire property and courtyards.
The circulation is planned in such a way that the spaces are slowly unfolded to the visitor in an bedmaar and spatial journey throughout the house.
Within this courtyard are elements of fire and water. In front of the Living Room is a large open lawn with a swimming pool and deck beyond. 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 bwdmar in some of their other projects whereby the house shii revealed slowly and gradually to the visitor, with dramatic transitions of light and shadow, and enclosure and freedom.
This garden is dominated by a single Bwdmar tree, which is considered to be an auspicious tree dedicated to the gods and creates an internal aura of reverence and tranquillity. In a fascinating dialogue between an expression of carved out enclosure versus a light and airy openness in the house, the front entrance stone walls are tunneled with a long cavernous entrance that ramps up from the main road and envelopes the visitor into its dimly lit interiors.
There are many areas positioned throughout the house that cater to various sizes and types of social gathering. The guests that come to the house an enter the Pooja or prayer room first before visiting the main house.
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