The three storey family residence of 721m2 is situated on a square plot with south-eastern orientation on the Amwaj Islands, an upmarket location comprising of artificial islands, on the north-eastern side of Bahrain, facing the Persian Gulf.

The residence is open to the northwest, maintaining a small residential scale with simple lines so that the three storeys would not be a visual disruption. Orthogonal protruding volumes are interspersed with careful details of reclaimed timber with walnut veneer, such as the double height main door, the sliding gate to the parking space and the shading louvres on vertical openings of communal spaces on the façade.

The building structure is concrete painted in shades of white and grey, with partial cladding in grey limestone on the fencing that protects the internal court.

To the right and left of the residence’s main entrance, mini pockets of green with palm trees and indigenous plants and shallow rectangular ponds offer much needed relief from the hot local climate.

A linear staircase and an elevator connect the three levels. Above the entrance hall is a skylight. On the left, one step below, the formal sitting room opens up to a deck with a secluded WC. One step up to the right, a large dining area ends up as a kitchen. The lounge two steps up opens up to a green lawn facing northwest. At ground level there are also a wet kitchen, a gym with its own WC, two en-suite staff bedrooms and auxiliary spaces.

The first floor contains two large en-suite children’s bedrooms with walk-in wardrobes and an industrial style communal sitting room with a balcony. The second floor houses the master suite with a luxurious semi-open bathroom, a walk-in wardrobe and a private sitting room – home cinema.

Interior surfaces are dominated by the colour white with sections of grey and silver travertine, as well as especially selected black and white wallpaper and slate wall claddings that add character. Floors are in Greek marble throughout.

Moriq Interiors & Design Consultants

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

The T shaped residence comprises two sections, the ‘parties’ section and the ‘family’ section and was designed so that its private areas can be separated from the communal space where the couple can entertain their guests unperturbed.

An orthogonal water element located along the home’s entrance further increases the visitor’s experience, welcoming him to the internal communal space. Emphasizing on its entertaining value, the communal space was placed at the centre of the property, thus creating a courtyard on either side, one on its facade and another at the rear. With internal height reaching six metres it was constructed as a unit that allows for the total nullification of the walls between the space and the outside. Glass display windows on both sides are pulled back into one side thus allowing the space to totally blend in with both the front and the rear courtyards. Around the cluster of windows, an aluminium framework made of different shapes adds dynamic to the space and regulates the light entering, creating a flow of light and shade throughout the day resembling a party of shadows dancing in the space. A pergola cools the outside seating area and functions as a “negative” to the windows’ aluminium frames, creating shadow play. During night time, the framework transforms into a filter for the artificial light as it flows outwards, creating a unique element of light to the facade and the rear elevation of the residence. Internally, the communal space’s central element is a wall along which there is a six meter high wine cooler and a ladder accessing the cooler’s shelves. A bar, as a piece of sculpture with unique sitting angles for guests, completes the space.

The second section of the building, the “family” zone contains the bedrooms and spaces for family activities. A bridge connects the “parties” and “family” sections via a central staircase, allowing for a visual connection between the spaces.

Pitsou Kedem Architects

The post House of parties

 was originally published on ek magazine | Architectural Publications | ek magazine – Architectural Publications.

The holiday residence, situated on a rocky hillside in south-western Crete, has a southern orientation, with a charming seaside view.
The volcanic environment, with a large, protruding rock at its centre, was the starting point for the architectural design. The imposing presence of the natural surroundings led to the conscious avoidance of conventional construction, so as to prevent any disturbance to the landscape during the build. Therefore, the use of an assembled metal frame, with a wood and glass shell, was deemed necessary in order to minimize any deterioration to the surroundings by the construction site (heavy vehicles accessing the road, intense excavation, debris etc.). Materials from the surface rock excavation, undertaken for levelling, were used for the construction of masonry walls at the blind, northern elevations of the building.
The residence comprises three private spaces over two levels, with autonomous bathrooms. Due to the private spaces’ large size, the bath and sink benches are located within the main space, to benefit from the southern views.
The open plan entrance hall, living room, dining area and kitchen are at the top level of the building, unified with the outdoor decking, which provides dining and seating areas; accessible via sliding glass panels. There are two water elements (the swimming pool and a decorative water zone) in front of the two bedrooms below; while all terraces are green roofs, planted with local flora and herbs to maximise integration with the landscape and provide a more efficient, bioclimatic behaviour. Partition walls were avoided and replaced with glass, in order to maintain visual connection with the rocky landscape and the indigenous, shrubby vegetation from the building’s interior.

Aristomenis Varoudakis,
Giorgos Varoudakis

The post Villa at Leivadia in Kissamos was originally published on ek magazine | Architectural Publications | ek magazine – Architectural Publications.

The house in the midst of a banana plantation in Sea Caves area, near Peyia in Paphos, Cyprus, comprises living spaces that, defined by the external walls, extend beyond the interior of the house and spill among the banana trees.

The ground floor layout is focused around the long swimming pool. The kitchen, dining and living areas are on one side. They are connected to the library, on the opposite side of the pool, via a glass corridor. The corridor runs along the width of the pool, making the water a focal element of the living spaces.

The separation of the library from the rest of the house differentiates its function as a more quiet and private space that can also be used as a study. It has its own access to the garden, with concrete walls that define and separate the external areas and have built-in seating benches. The landscaping provides features such as planting beds and a waterfall into the pool, bringing the garden to life.

Equivalent details are designed for the interior, with insets in the walls creating horizontal surfaces for objects, devices, or seating, and a shallow pit filled with sea pebbles. The use of concrete on the floor, walls and ceiling gives a public character to the space, with selected surfaces in white becoming accents. In the library, an entire wall becomes a wooden bookshelf, in a configuration that resembles architectural facades.

The upper floor consists of two bedroom suites, each in its own shell with no common walls. It breaks away from the layout of the ground floor and creates two different volumes that add variety to the formal composition.

The materials palette is limited to boarded concrete, marine plywood and white paint, with large expanses of glass making the interior permeable and further integrating it with the courtyard and pool area, as well as the landscape and plantation beyond. The plywood-clad upper floor sits atop the concrete volume of the ground floor, appearing almost arbitrary in form, creating tension between the timber and concrete forms.

Vardastudio

The post Residence in Peyia was originally published on ek magazine | Architectural Publications | ek magazine – Architectural Publications.

The residence that is located in a gated-residential community with poorly ventilated generic architecture, in the outskirts of Bangkok, Thailand, was designed in a minimalist style with bioclimatic principles, placing emphasis on the functionality of spaces.
Despite the restricted usable space of the site, the owners asked for a large garden, accessible by all spaces in need of cooling, shading and protection from the heavy rainfalls of the area’s tropical climate.

As a result, the white box typology with clean lines and compact spaces is followed: the residence unfolds in two levels with a central green atrium to which the communal spaces on the elevated ground floor open out physically, and the private ones on the first floor, visually. Thus the sitting and dining areas and the kitchen are placed along the atrium’s perimeter, with the central staircase leading to the upstairs bedrooms placed in its middle.
The atrium allows natural light throughout the interior of the residence, linking the inside to the outside and creating an intimate environment.
Modern minimalist elements are utilized, such as the white wall, the continuous glass panels and (heat-resistant) aluminium. The frame is in strengthened concrete, with white plastered brick walls. The flat roof of the first floor has a concrete slab laid with metal sheets with thermal and acoustic insulation, while the flat concrete roofs of the ground floor and parking area, are laid with heat-reflective gravel that absorbs direct sun light. Vertically striped silver aluminium sheets clad the main façade, completing the residential identity.

Ayutt and Associates design

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

This residence on Tanager of the Hollywood Hills is on this tiny but very exclusive street in West Hollywood, in a hilly location, with spectacular views of the city.
The corner plot allows for a separate pedestrian and vehicular entry to the property. From the street, only the entry gate is visible between two large stone walls.

The main aim of the project was to achieve a large program while maximizing the available views of the city below. To achieve this, the architects opted for a single story over basement design. Private areas such as bedrooms are placed on the basement, whereas communal areas are situated on the ground floor where the entrance is.

Upon entering, the view is revealed to the user through the spectacular glass living space which is reached by means of a bridge over a linear light well, which properly separates the street from the house, as well as a water feature at the bottom. The intent of the bridge is to slow the user down and clearly mark the transition from the street behind. The light well was created as a solution in order to maximize light and create spaces that people would want to inhabit on the basement.

The light well opens completely to an entertainment space and an office area, light is bounced in by means of a white marble waterfall. The water feature fills the light well except for a floating platform ideal for reading or admiring the living green walls at either end. The basement is further enhanced by a sky lit stairwell and bedrooms that fill with daylight and enjoy the view beyond.

The interiors of the house, co-designed with Minotti, reflect their deep rich colour palette creating an inviting series of spaces.

McClean Design

The post T-1 Residence was originally published on ek magazine | Architectural Publications | ek magazine – Architectural Publications.

The house is located in the northeast corner of the Island of Zakynthos, in the village of Ammoudi, that means sandy beach and it is named after the small beach in front of the site.

The house is designed for a three member family and their guests as a holiday house, but the design is flexible enough to serve as a permanent residence in the future.

The area has nothing vernacular but mainly summer dwellings and hotels built amongst the beautiful natural landscape by the sea. The 2.5 acres plot has an irregular shape and a smooth slope.

The plot faces a municipal low traffic road to the west, whilst it opens up to the sea to the east.

The plot is densely planted, especially at its boundaries, with trees and vines creating a private garden.

The design is focused on integrating the building into the surrounding landscape of low vegetation, vineyards and olive trees, whilst ensuring that all significant areas of the house have a view of the sea.

This parameter dictated a mainly linear arrangement, where the living spaces are developed in the center and the sleeping areas are located on either side of the central space.

The position, orientation and the height of the building make it almost invisible from the street, while it opens up completely to the sea.

The house is composed of three low volume sections following the gentle natural slope of the site and its height gradually increases from the road into the plot.

This composition reduces the impact of the building volume on the natural and the built environment, since the long composition of the house is never perceived at once.

The lowest section near the road is integrated with the southwest pergola that defines the entrance and also connects all the sections together.

A catwalk parallel to the southwest façade extends through a semi covered courtyard into the entrance of the house. The courtyard acts as part of the garden and is directly accessible from the office/guestroom.

The main-central volume, which accommodates the living-communal areas, opens out through the large glazed screens to the sea and the stepped garden on the east, and to the courtyard and the olive garden on the west.

The internal spaces are visually extended with the construction of the pergolas.

The transparency of the parallel glazed surfaces, which occupy the entire height of the space, strengthens the visual penetrability and eliminates the boundaries between the interior and the exterior. The occupants are fully in contact with nature and the changes of the natural light throughout the day and the year.

All internal living areas can be converted into a large outdoor covered space when the sliding glass panels are opened.

The spatial continuity is further reinforced by the uniform layering of the floor tiles from the inside to the outside.

The visual extension of the interior spaces is repeated by the stepped volumes of the sleeping areas. Indoor and outdoor, shaded or open spaces constitute three unities in relation to the functions of the house, to the expression of the degree of privacy and orientation.

Katerina Valsamaki

The post Villa in Ammoudi, Zakynthos was originally published on ek magazine | Architectural Publications | ek magazine – Architectural Publications.

The residence is situated on Pani hill within the Alimos municipality, on a steep inclined site, with a north-south orientation axis and panoramic views to the sea.

The basic idea behind the synthesis was the articulation of the residence in two distinct units containing its basic functions, arranged in two levels. The first and lowest comprises of the private functions of bedrooms and bathrooms and is expressed as a more compact, heavier volume in exposed concrete. On the contrary, the higher level unit comprises of the communal functions of the residence, such as spaces for entrance, dining and living and is expressed as a lighter prism with thinner sections and slender analogies ruled by transparency and the colour white. These counterpoint units are framed by the vertical stone volume of the fireplace which extends to the roof terrace, and the linear metal cover incorporating horizontal and vertical awnings to control insolation on the first floor’s outdoors area.

The two linear, basic volumes are aligned in parallel to the site’s face towards the street, as well as to the natural ground’s contour lines. Due to the intense slope and to achieve an as smooth and satisfactory building layout as possible, regarding the topography, geometry and site plan, the entrance occurs at the street level, through a double-height space containing the staircase and allowing a thorough view to the residence’s main levels. The swimming pool is also placed on this level, posing a great challenge to the structural design.

Key factor to the internal and external design was the view to the sea, which designated the linear development – layout of the main uses, and an as much unified and open plan internal arrangement as possible.

ISV Architects

The post Villa in Alimos was originally published on ek magazine | Architectural Publications | ek magazine – Architectural Publications.

An existing building has been renovated into a home for a family of four, in Voula, Attica. The structure of the building has been preserved and added to where necessary, so that it may fulfil the intrinsic functions of the new residence.
The existing building, built as a stand-alone construction, was situated on site, ignoring its rather interesting, natural contour. Additionally, its architectural language was dominated by roofs, with intense and varied inclines, a diversity of openings and balconies in disparate shapes, creating an unpleasant aesthetic result which was at odds with the serenity and peacefulness that a residential building should convey.
During the re-evaluation process, the architects aimed to simplify the geometry and elements of the building volume, in order to create a form which would be characterised by architectural clarity and integrity, as well as to landscape the immediate surrounding area, so as to restore its harmonious relationship with the building.
The residence was separated into two units; one for the living areas, covering two levels at the western section of the building and the other for the bedrooms; unfolding over three levels at the eastern side. Simultaneously, it was redesigned to access the habitable spaces from the inside out, so that both internal and external areas could participate equally in the residential experience. The elevation facing the street was addressed as a barrier, shielding the family from its intrusion; while the elevation facing the courtyard was freed from all unnecessary, morphological elements and opened up to nature.
The main colour chosen for the interior and exterior of the building is white, in order to showcase the clarity of its architectural form, while the retaining walls in grey granite, restrain soil and create courtyards. Frames are metal, in a black hue and parapets are in glass, adding to the austerity of the architectural vocabulary.

ISV

The post Residence in Voula was originally published on ek magazine | Architectural Publications | ek magazine – Architectural Publications.

KLab architecture (Kinetic Lab of architecture), is an architectural firm formed in 2008 by Konstantinos Labrinopoulos, following the success of Klmf architects. Mr Labrinopoulos with a series of experimental projects has cemented his place not only in the pages of Greek architectural history, but also internationally as klab architecture has been featured among the 20 hottest young architectural firms in the world according to Wallpaper* magazine.In the following interview, Konstantinos Labrinopoulos discusses the basic principles of architectural design.

Your projects and texts suggest an interest to novelty and the avant – garde. What do you consider to be the essence of innovation in contemporary architecture and who are its recipients?

I think that every creator ought to search for novelty and the avant-garde. However, they may be found in several facets of the architectural process. For example, differentiation in programme – i.e. how someone experiences space, differentiation in the selection of materials and, naturally, variation in form – are only a few of the countless practices that can confer something new. What is easily written cannot be realised as easily.

Mainly because tradition, in Building, is hard to transcend. People are usually conservative; they want that which is proven to work. But as people desires change, technology continually develops and materials evolve. The architect has to foresee these changes, or should I say, dictate them – without, however, forgetting the reason why such buildings come to be. In our experience, the recipients of alternative and experimental architectural design do not belong to any particular category of education, aesthetics, or even age. Obviously, their familiarity with modern aesthetics helps, but is not an a priori catalyst forsuch an architectural proposal may be accepted.

Distinct geometrical gesture is the basic characteristic of your recent work. Sometimes, in particular, your compositions start off from with a closed rectangle or cube – open box (Horizon House, 2008, Donald Judd summer house, 2009, Terminal House, 2009, habitation unit in Elliniko, 2010, urban cubes, 2011). At other times they move to its deformation (Cubic Distortion House, 2008-09). Would you care to explain your mark on geometry and its influence in your work?

Geometry is the architect’s powerful tool and an endless experimentation laboratory. We are interested in its integrated use in particular concepts and contexts. There are certain sections in our work that we are interested in exploring, but we always take into account the convenience to programme and functionality. Respectful of the building tradition of each place, we use geometry to infiltrate new areas of synthesis without escaping building logic by searching for ad – hoc construction details that will blow costs out of proportion. Our logic is to attempt anything necessary to evade mundane frameworks of geometry, seeking some plasticity or surprise.

Another defining characteristic of your work is the creation of surprises and antitheses through your designs, use of materials and manipulation of daylight – which ultimately evoke emotional reactions from the user (Wunderman offices, 2005, Placebo pharmacy, 2009). Would you tell us more?

The charm of architecture is that you have so many tools to create spaces, but the dominant one is lighting. We work in time based on lighting and its variations. For us, space becomes alive when it evokes and incites different sensations at different hours and seasons.

We are interested in using living materials that have their own aura, texture and odour, and we like to experiment with materials in other roles and uses than what is customary. All our buildings describe a life scenario that is not ordinary and common, but as you say, full of surprises and antitheses. We create from inside out and from outside in. Quality of living in our spaces is of capital importance, and if our architecture evokes feelings that endure over time, this means we will have succeeded. Therefore we believe buildings ought to be designed with multiple reference levels. We are concerned with synthesising concepts; sensations that operate subconsciously in the user.

In the Wide Open Villa (2006 – 09), we read some references to Richard Meier. I would like to use this as an excuse to ask you about your possible internationalist references, in your older projects, and today.

We are all citizens of the world, even more so because of the internet, so the incentives exist, even if subconsciously. However, I believe that finding common intersections with great creators is not flawed but interesting. In art, many have stood on the shoulders of their predecessors, attempting to fathom the greatness of their works.

We are interested in grasping the qualities of some masterpieces and understanding why they are considered as such. It makes sense that we are influenced by great designers, older and contemporary, but our aim is for our buildings to have their own identity, for any subconsciously occurring reference to be invisible. Our references are conscientious when we borrow elements from our building’s landscape, as when we borrow from our traditional architecture.

Your style is certainly internationalist, while the constitution of your office is international. You are also part of a synergy of offices from several European countries, the European Architects’ Alliance. Do you believe that in 21st century architectural design, it makes sense to discuss the international and the local, something that defined Hellenic architecture throughout the second half of 20th century? And beyond this, is there an identification margin for Hellenic architectural projects in the world scene today?

You are not the only one to call our style internationalist. But we insist on trying, in several projects, especially where the landscape is clearly Hellenic and Mediterranean, to magnify the Hellenic ethnicity of our forms, without obvious correlations but by reinterpreting elements of our architectural tradition for a new era. Personally I am not interested in existing as a Greek architect, but when I build in Greece I ought to be Greek, which is not as hard as being English when building in England. I believe internationalism in Architecture is only appropriate for architects who design regardless of context. That is to say, for the majority and also those few who consider their signature style and mannerism to fit greatly all over. Wherever it may be derived from, this local architectural culture still exists I trust, and I think this is good. Japanese architecture has, for years, been based on national tradition and culture; similarly a new Spanish and especially Portuguese architecture has recently emerged in the footsteps of a great master, Alvaro Siza. I would be interested to see a Hellenic example but consider it difficult, as this country has so many different aspects in its tradition and architecture.

Evidently, half a century after functionalism’s homogenizations, the dogma associating form with function unequivocally has been outgrown. How would you interpret the intense need for stylistic phrasing of a large part of contemporary architecture, in relation to your own (Maiandros House, 2004 – 07, Paper Plane House, 2008 – 09) work? Could we speak of neo – modern formalism?

I cannot say I am influenced by particular movements any more. When I was at university I liked deconstruction, but I nowadays view everything with a deeply critical eye. Novelty is important in architecture also. People are impressed by something new, but in recent years we have become devotees of an unprecedented competition for creating new avant-garde forms, while neglecting other very necessary issues in architecture. We are concerned with covering the basics first, to solve the problems of function, orientation, view and privacy, etc. Along with these, we will never abandon our pursuit to take our own design a step forward. We turn to form and experimentation when we lack external stimulation, or an idea derived from the programme, or expressed by the client. We then try to discover the magic, the surprise, by creating our own framework of relevance. We want our buildings to last for centuries, to assimilate and be reborn in new eras. Consequently, we search for elements that render architecture and a building that is relevant for every era, trying not to follow the currents and trends of our times, no matter how difficult this sounds.

Clearly, international architectural theory discusses less and less the socio – political components of urban planning and architecture which used to define the modernistic forefront, turning instead to issues of environment and energy. What would you consider to be the social legalization of new architecture?

I think this stopped because architects and planners were defeated by free-enterprise and land purchase. For us, the political dimension of architecture is not over yet, but it is rather difficult to implement it via single houses. Public funds, for a long time now, in Greece, through obscure conditions, do not go to the best architects but to those operating inside an obscure network. The planning department is non – existent, while big opportunities like the Olympic village produced uninspired results. The social dimension of architecture also extends to environmental and energy principles through sustainable architecture. Lately, some efforts in engaging architects in charitable non-government projects have taken place, with significant results.

To be honest, I cannot recall architects and planners creating anything of urban importance in times of democracy; on the contrary, in dictatorial and authoritarian regimes, the conditions for imposing important urban interventions did exist. Between the two I prefer democracy, even if we don’t get to radicalize the shaping of cities. Social legalization of architecture can be possible, I think, when we remember its principles and choose an anthropocentric design over that of lifestyle, profit or excessive ambition.

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