The family house in Boadilla del Monte, Madrid, was complete in 2021. The determining elements for the design have been the dialogue between the natural terrain of the plot with its views. Simple lines and clear volumes, natural lighting and horizontal features combine harmoniously.

The access to the house is from the highest point of the plot and then following the outer slope of the land we cross the first garden through large stone platforms, which lead us directly to the access of the main volume.

The foyer reveals an interior patio that organizes the uses of the house, clearly dividing the day program: living room, dining room, kitchen and service area, and the night program with the bedrooms.

The day area has a spacious terrace with large windows where there is a gradual and fluid transition towards the garden and the pool, which is located at the lower level of the plot, thus providing a feeling of protection and privacy through the natural environment of the terrain.

The most intimate program – the night area –  oriented to the east, is made up of bedrooms, allowing maximum privacy. Under this wing of bedrooms is the cellar room.

FH2L Arquitectos

The post Hage House was originally published on ek magazine | Architectural Publications | ek magazine – Architectural Publications.

This competition proposal for the redesign of the townhall square of Farsala, a small town in central Greece, draws inspiration from the centuries-old history of the city and the wider area, which has been an important passage between the north and south of the mainland.

Through its 4000-year history, the area has faced multiple and important military conflicts as a battlefield for ancient Greeks, Romans, Ottomans, and modern Greeks. At the same time, Farsala is considered the birthplace of Achilles, the mythical Iliad hero. Achilles’s figure is not only the epitome of the unbeatable heroic warrior, but also connected with the turbulent transition from the old era of heroes to the upcoming era of the city-states.

Inspired from these historical facts and mythologies, the proposal employs the concept of “conflict” and depicts it in the paving design of the new square. Multiple clashing square-shaped parts whose geometry affects one another shape a paving that begins from the entrances to the square leading to its center, where the proposal suggests repositioning Achilles’s statue, alongside the central floor fountain.

The initially square-shaped parts are each time reshaped because of the clashes between them. These reshaped parts consist of a zone of exposed concrete at their perimeter, while their inner segment contains sequential parallel zones of local stones and marbles that are either new or recycled from the site.

The flowerbeds and the floor fountains follow the same design logic. Small bumps with trees and low vegetation shape the flowerbeds that surround the central part of the square forming a garden, which aims to advance and enrich the microclimate of this public space. The multiple floor fountains placed at key points of the garden enhance the presence of nature in the square, offering moments of play and surprise. The floor fountains at the central part of the square and at the garden are concealed in the paving. Brass ribbons designate the drainage zone of the fountains, an area that appears as a continuation of the paving. Water surprises the visitor of the space by jumping out from the nozzles concealed in the paving, and it either creates an ephemeral shallow pond, or drains directly using the nozzles drainage system. The design of the lighting fixtures as brass bells refers to the Byzantine history of the area, while timber and marble seating equipment is positioned in a way to follow the paving pattern.

Oikonomakis Siampakoulis Architects

The post New Farsala Square was originally published on ek magazine | Architectural Publications | ek magazine – Architectural Publications.

Sanderumgaard garden was established on the danish island of Fyn between 1793 and 1828 by Johan Bülow, the most famous garden designer of his time in Denmark. Its 15 hectares are connected via a network of paths across various natural structures, as well as a 2 km channel system that grants access to visitors via small boats.  The scenic beauty of the garden immediately became a source of inspiration for Bülow’s contemporary artists, authors, and poets of the Romantic period (Clemens, Eckersberg, Molberch, Winther).

In order to create contrast with nature, and emphasize the romantic character of the garden, Bülow dispersed 14 small pavilions in hut-like forms across the site. The pavilions were placed amidst lush vegetation, at secluded locations and could only be discovered by the “wandering souls” who dared to walk off the main road. Those small pavilions were monuments to a thought or a notion, often written above their door (“Døden vis, dødens tid uvis”, “Death known, its time unknown”). They were meant to be experienced in solitude, the preferred state of being of the Romantic soul.

When the architects were invited to reflect on adding a new pavilion to such a stylistically complete universe, they considered two options: either continue on Bülow’s path and create a modern version of his solitary bastions of culture, or pursue quite the opposite direction: a pavilion that is a hymn to nature, only this time as a collective rather than a solitary experience. Such a pavilion should be big enough and suitably shaped to encourage interaction between people, but it should also invoke a sense of modesty and dignity which would unite people in quietly witnessing a spectacle of a far grander scale : nature itself.

The proposal introduces a circular covered arcade which circumscribes a small courtyard in its middle. The courtyard is landscaped as a hybrid Nordic / Japanese garden, with moss, runic stones, and a cherry blossom tree: Its flowers, lasting only a few days a year, reminisce the ephemerality of life -an idea the Romantics would surely appreciate. The double-pitched roof is asymmetric in size, which allows the placement of a poetry room where the plan is deepest. This gives space for visitors to warm their hands at the fireplace, drink a cup of tea and even read poetry of the Romantic era. The arcade is otherwise open and accessible from all sides, and functions as shelter for impromptu gatherings such as concerts, gardening classes, or more formal events such as wedding receptions.

The pavilion is placed at a newly created island and is accessible by boat and via new bridges connecting it to the existing path network. The project is currently under funding with more than 60% of the construction budget covered.

SQ1 – SquareOne

The post Sanderumgaard Pavilion was originally published on ek magazine | Architectural Publications | ek magazine – Architectural Publications.

The project responds to the need of creating a new area adjacent to a weekend home for a big family, located in the outskirts of the city of Quito, Ecuador. With the idea of generating spaces for leisure as well as for family gatherings, the new extension includes two wide-open areas connected to each other, one functioning as a family and game room, the other serving as a lounge-dining area with an integrated kitchen. The program further includes service spaces such as bathrooms and storage, embracing a big green patio that serves as a garden for the main house.

The project emulates the natural landscape of the site by adapting the architectural volume to the terrain. From behind the building is barely visible and it does not show its actual size, nor does it interfere with the view from the site to the nearby valleys and mountains. The visual pattern is a determinant factor of the building placement; the volumes are positioned to frame the view as well as possible. Also, the placement corresponds to an east-west axis line to try to take in the natural light.

Although from certain spots on the surrounding land, the project practically disappears, the architectural volume has a height of 4m, and the project creates open areas of 8m width and 20m length. Because of this, a constructive strategy had to be planned to allow these spaces to come to fruition while trying to avoid the placement of columns inside the space that might have divided the open areas or have interfered with the view. The height of the spaces comes from the strategy of dealing with the specific microclimate of the area, which tends to be quite hotter than the weather in Quito city. The placement of the openings in the volumes corresponds to the idea of creating cross ventilation inside the spaces, especially in the lounge-dining area.

Besides the engineering difficulties, the project proposes slanted walls as infill of the architectural volumes, which are an essential esthetic element and correspond to the idea of wanting to bring the mountain shapes near the site to the terrain itself. The project is thought in such a way that the articulation of the spaces does not interfere with the view from the site, which is why the architectural volumes are plain white with pronounced edges and some walls made of exposed concrete to contrast the white. The interior design also follows this program with plain white walls and ceiling that contrasts with grey flooring.

It is worth mentioning that the spaces created can also function as a place for reception events since the project presents open areas as well as staff areas for that complimentary use of the space.

j2ibstudio

The post La Victoria was originally published on ek magazine | Architectural Publications | ek magazine – Architectural Publications.

As all Vik Retreat destinations have come to be known, the VIK winery features a unique and unprecedented design, which is at once state-of-the-art, highly sustainable, technologically creative and a stunning visual experience which redefines the wine experience. The winery has been designed by the talented Chilean architect Smiljan Radic.

The visionaries behind Vik Retreats, Carrie and Alexander Vik, embarked on an architectural competition of Chilean architects in 2007, which ultimately lead to the selection of Radic (in association with Loreto Lyon) as the principal architect and designer for the inspired and creative winery design. After winning this competition, the VIK team spent three years working to refine and improve the original design concept and materials. Set amongst the mountains and sweeping valleys with the soaring Andes mountains in the distance, the winery has been thoughtfully designed to have minimal impact on the landscape and has implemented the most cutting-edge and advanced technology while also striving to create a unique design.

The winery’s design features a uniquely transparent, stretched fabric roof that allows for natural sunlight to permeate the winery and thereby to operate without artificial lighting. The entrance to the winery is an arresting visual display of a two-degree sloping plaza of running water streaming over the space, which provides an additional cooling element. Placed throughout the plaza of the running water is a sculptural installation by Smiljan Radic and Marcela Correa, Chile’s talented husband and wife team. Walkways have been cut into the plaza, allowing visitors to walk through the water-filled landscape. The majority of the building is located underground to naturally cool the wine during the wine making process by maintaining a consistent temperature of 57 degrees using the natural thermal amplitude of the valley. The fabric roof, the primary architectural element which can be seen from the outside, gives the impression of an enormous white wing suspended over this underground winery.

Smiljan Radic

The post VIK Winery was originally published on ek magazine | Architectural Publications | ek magazine – Architectural Publications.

The project was developed at Povo, in the outskirts of Leiria, Portugal; an area where rocky elements, limestone lands, irregular topographies and sharp contrasts dominate the landscape. Thus arises the idea of a cave: An austere, carved and denticulated refuge that is humanized by its occupants. This premise is a tribute to the beginnings of humanity and its symbiotic relationship with the environment it inhabits; it contains in itself the paradox of the perennial and harsh stone that becomes a natural and maternal refuge.

The project is marked by a multiplicity of circuits that order spaces with harmony and simplicity through a central element: light, which interacts breaking the primitive elements and the sinuous lines with subtlety.

The program for this 3 bedroom house was divided in two and a half floors, where a patio distributes, arranges and connects both the interior spaces and the exterior paths. The main access involves the existing pine forests and frames the vegetation between its walls at sharp angles. This structure at the entrance uses a double height space of generous proportions to connect with the livingroom and to allow the view of the north / west landscape, but also provide light and heat from the south-facing patio, that is adapted to the irregularity of the terrain. From the living room there is access to a concrete balcony, a space for contemplating the sunsets.

On a different level, an external access leads to the office, distinguished by the wide glass opening. This division is half a floor above and also leads to the roof that provides a 360º degree view of the surroundings. From here it is possible to circulate through another ramp connected to the patio and to a private secondary access that allows visitors to access the office directly without going through the house.

Casa Povo respects and adapts to the terrain, differentiates itself in a subtle and delicate way, maintaining a harmonious relationship between the public and the private. The spatial distribution and volume of the rooms follow and reflect the topography of different levels. The soft elevation ramp allows direct access to the patio, the living room and the kitchen, connecting all elements both inside and outside.

The creation of an internal garden with ramps gives the project the necessary integration, in addition to the almost playful sensorial expression used by children with the interconnection of the garden to the roof, allowing a permeability of the cave with the frameworks that section the spaces built with the garden.

Underneath the office, halfway through the room is the service area with connection to the outside. The solution allows light and natural ventilation through the gaps between each level of the staircase that connects the balcony of the room to the office on the upper floor.

The need to connect spaces creates a strong narrative of spatial distribution and fulfills its function while guiding the rhythm and composition of the shape of the architectural object.

The exposed concrete with, wooden slatted formwork, is the predominant constructive element on the facades and follows a monolithic volumetry, providing the protection that inspires it: a humanized cave.

Contaminar Arquitetos

Fernando Guerra – FG + SG

The post Casa Povo was originally published on ek magazine | Architectural Publications | ek magazine – Architectural Publications.

Overlooking the village of Casamaccioli, “a Casa Vanella” is a guest house nested in a natural landscape in the heart of Corsica, in front of three major summits: Monte Cinto, the Paglia Orba, and Cima a i Mori.

The program involved the creation of common spaces, a dining room and lounge areas, as an extension of the main house which accommodates the guests’ bedrooms. The idea was to detach the extension from the house and to situate it in the back of the plot, against a retaining wall in front of the village and the row of mountains. The extension is placed in the back of the “casone” (the family house), which occupies the center of the plot. The architects’ consideration was to integrate the new building in the site without imposing a gesture; instead, the objective was to highlight the particularities inscribed in the project itself.

Lit by the western sun, a Casa Vanella lies in the middle of a unique, timeless landscape. Walls of granite and slate line the chestnut-punctured plots. These majestic trees dazzle with their colors throughout the seasons, until they bare their branches at winter.

As if it were an inhabited retaining wall, the building frames the main constituting elements of the landscape. Three openings are oriented towards each of the three summits. The building becomes landscape, it becomes a place of contemplation, where the sun mediates between a space and its respective summit. In that sense, every evening of the year the setting sun makes those spaces unique.

Through this landscape in constant evolution, the architects wanted to create a project suggesting a duality; a duality between inside and outside. A first glance, the project barely reveals its openings; it appears like a solid mass of granite. Then, as it unfolds, this wall opens, becomes fragmented in order to allow the outward gaze and invite the light, in a controlled and measured way.

In a different way, the building interacts with time by means of its materiality – concrete and stone. Indeed, the juxtaposition of these elements unravels a narrative about the site, but also about time and technical means. Concrete is used in its truest way, forming posts and lintels. Stone is used as infill at the voids of the structure. Inside, the lime plaster incorporates and conceals the technical infrastructure.

The architecture blends the project to the point of dissolution inside a mineral mass, and leaves untouched the principal building, “u casone”. The project wants to graft itself in time, developing a sensibility between tradition, landscape and architecture.

Orma Architettura

The post A Casa Vanella was originally published on ek magazine | Architectural Publications | ek magazine – Architectural Publications.

Border Crossing House, the private residence designed by Simone Subissati Architects and built in Polverigi, Ancona, is located on the ridge of a hill, between the city and the countryside, in a direct and open relationship with the natural environment that hosts it. An architecture with a strong conceptual soul, inspired by the search for a sense of openness, now captured by director Federica Biondi in the short film Rustico she just completed.

Taking place during a day of harvest, Rustico is a refined and poetic story told through images. The short film is an opportunity to explore and decline some of the themes that have guided the project by Subissati: “Love for nature and the land to which we belong, the space ( in the sense of architecture) that man builds for himself and that favors this profound and structural need and, finally, the absence as an inexorable constitutive factor in our life.”

This way Rustico investigates the built space as well as the natural one, through the movements and actions of the house inhabitant, interpreted by Pietro Conversano. The swimming pool that becomes a sort of washtub, the simplicity of the frugal pear-based meal, the contact with the ground both in the house and outside on the lawn and with the wind on the walkway: the interrelationships between domestic and natural space are not limited to the geographical location and the crossing points along the perimeter of the house, but continue in the choice of materials and in the use of the designed spaces that the inhabitant experiences through an unmediated contact and guided by a desire for communion with nature, with the forms of life that surround it.

In this short film Biondi translates the intentions of the project into images. The director’s gaze accompanies us from outside to inside the house, to discover the shapes and spaces designed by the architect, from the living room, to the winter garden, to the water pool outside, from day to night, to a new dawn. As Subissati tells us, “the space acts as a composition, a balance, a score, between closed and open. Open to the outside to let in. Closed to protect.”

“Man plays with the house, with its colors, its lines, its perimeter, its lights, it intersects with it as if one were the skin of the other. They tickle, tease, and in the sequences they bring together their similarities,” said director Federica Biondi.

Alternating drone views with domestic details, director Federica Biondi, accompanied by the music of Giardini di Mirò, depicts with sensitivity a space that is aware of its geography and a time marked by the passing of the seasons, focusing on the materic and the luminous components, thanks to a careful photography, curated by Michele Coppari.

“Luxury is how we use the spaces. It is the kind of lifestyle implied by the project and by the site. It is not an ostentation of fancy and precious artifacts,” said architect Simone Subissati.

In accordance with the considerations of Subissati, who when defining luxury uses terms such as usability and freedom, the story of Federica Biondi is in fact a story of appropriation of space and communion with the domestic environment and with the territory. The director declares: “Our origins are not only the ones within our family, but also the ones we build with the house we feel at home in (rather than the one where we were born), with the place in which we feel in connection with the universe, Nature. A place where we can be pure once again.”

Simone Subissati Architects

Federica Biondi

The post Rustico was originally published on ek magazine | Architectural Publications | ek magazine – Architectural Publications.