We started with the paintings on the wall. The works are by John Prentice (the owner’s grandfather), an artist and engineer. Prentice has written about colour selection turning it into a language akin to a musical score in his thesis Colour Plane. He uses this theory of colour to tell stories.
A growing family needed a larger kitchen and wanted a family room that opened up the garden – there was, however, a large tree that sat directly next to the existing kitchen. It was loved by the family, they have enjoyed sitting under it in the summer, watching the seasons change against it but it was threateningly close to the house and blocking the light and views out.
Architecture often begins with understanding and embracing the constraints of a particular brief and site. This proved especially true for the reconfiguration and extension of an existing building in Hampstead, where – given its prominent yet nestled position between Hampstead High Street and Bird in Hand Yard – space was considerably confined. The Bird in Hand, once a local watering hole of Hampstead until it changed hands to The Dome cafe in the early ’80s and later Cafe Rouge, is a five-story Victorian structure, which included two cramped flats to the upper floors, accessed via an external escape stair to the rear. It has been refurbished and extended to create two two-bedroom flats to the upper floors, offices to the first floor, and flexible retail/restaurant spaces to the ground and basement floors.
The client runs his own construction company, which built the project. The site is part of a range of heavy brick-built barns that sit within the curtilage of a Grade 1 listed manor house in a village outside Cambridge.
Our work on 10-12 Kooyongkoot Road Hawthorn is just the latest in an extensive and diverse range of architectural assaults visited upon this grand old dame. We believe that the particular significance of the house is as an unusual hybrid with more than one heritage expression of great value.
This roof extension project located on the outskirts of the city of Geneva provides for the addition of three floors to the existing building dating from the 1960s. The result is the construction of fifty new apartments with views over the lake.
The Walters asked us to make a significant addition to their 1920’s bungalow to accommodate their growing family. The new volume has a lofted den, two children’s bedrooms, a shared childrens’ bath, an office in the loft, a new primary bedroom suite, and an upper-level deck, the location, and elevation of which was selected to gather views of the city. The kitchen, living, and guest functions remain in the original house. The addition is different than the house, connected to it by a glass hall, but still crafted from real materials to communicate empathy for the old bungalow.
The Atherton pavilions are two accessory structures rich in detail and imagined by the owners to be of the landscape. Both of identical footprint, height, and materials, these jewel boxes have two distinct functions: one serves as an outdoor kitchen and dining space, and the other as a meditation or workout room. After searching extensively for their perfect home, the homeowners fell in love with a contemporary house on a flag lot in Atherton, continuously adding to the property over the years. A small garage expansion and a top floor addition provided additional space for their growing family, but the clients had yet to realize the full potential of their lush and private backyard.
Located less than 50 meters from Camburí beach, in a condominium of just four houses, where simplicity, colors and Atlantic forest meet.
Situated near Jægersborg Dyrehave, north of Copenhagen, Ordrupgaard houses Nothern Europe’s most comprehensive collection of French and Danish art from the 19th and early 20th century. Originally built as a three-winged country mansion in the neo-classical style during World War I, the museum was expanded by a modern 1,150 m2 glass and black lava concrete extension in 2005, designed by Zaha Hadid. Snøhetta’s design, most of which is underground, but also partly excavated from the landscape, creates a holistic and continuous path throughout the entire museum and its surrounding park and gardens, linking Hadid’s extension for special exhibitions with the museum’s original building and permanent collection. In total, Snøhetta’s design comprises landscape interventions as well as five brand new, subterranean exhibition spaces, two of which create a continuation of Hadid’s exhibition space, and three specially dedicated to one of the museum’s main attractions: its extensive and permanent collection of French impressionistic paintings.