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This garden is dominated by a single Tulsi tree, which is considered to be an auspicious tree dedicated to the gods and creates an internal aura of reverence and tranquillity. In a more formal manner, this rooftop environment is amd at a larger scale by a similar roof terrace above the Living and Dining Rooms that can accommodate larger gatherings.
The roof of this double volume room is also made of teak strips with a glass sheet above them that make the space feel as airy and light as possible.
Subscribe to Archello’s newsletter. Within this courtyard are elements of fire and water. Perhaps here, Bedmar is most influenced by the Barcelona Pavilion of Mies Van de Rohe whereby the walls act as free standing objects that cut the continuous volume of the rooms into interconnected spaces.
The intention of the planning is also that once the children are married and the daughter moves out of the house, the son can take over the entire West wing of the house. Here, horizontal concrete beams are exposed below the ceiling slab and the spaces between the beams above the walls are left as high level windows.
Underneath the skylight is a timber trellis. Engraved both into its spatial organization and into the details of the house, these are stories of traditions and beliefs, of customs and of the relationship of the body to nature.
These flat roofs are still heavily used by the occupants as terraces because from this height they enjoy the desirable winter breezes.
Want to see more like this? 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 Bedroom in the Southwest and courtyard in the East, among others.
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. This courtyard, Bedmar explains, carries a memory of cultural history of central social open spaces within traditional houses that were used for artistic performances.
The openness of this space and physical separation between forms promotes the movement of light and air through the house which is, other than the view out of to the ocean at the back, mainly internally focused. The tunnel allows the designers to conceal all the services of the house into its depths while the living spaces are free to face the ocean view at the back of the property.
Cemagi House | Bedmar and Shi | Archello
Recalling somewhat the stone walled buildings in his native Argentina, Ernesto Bedmar is able with this project to redefine and modernize his tropical language and spatial organization while still echoing traditions of craft of the region. In this house, the Pooja room is a magical space located in the Northeast corner, just off the vehicular entrance area.
The circulation is planned in such a way that the spaces are slowly unfolded to the visitor in an experiential and spatial journey throughout the house. The delicateness of the glass connecting bridges between the various volumes of the house is echoed in the vertical connections between floors.
The elongated pattern of the screen emphasizes the overall horizontality of the house but at the same time allows light and air through it. A light and breezy atmosphere is created on the roof terrace atop the guest suite onto which is erected a series of steel columns supporting tensile fabric that shades it from the sun.
Bedmar and Shi
The timber screens or andd timber panels were designed by Bedmar with the use of a traditional Indian pattern that had been reduced in its geometry, and then cut it into the wood of solid Burmese Teak doors. The heavy stone walls grounding bemdar front entrance of the house form a natural portal that allows Bedmar and Shi to recreate a sequence of circulation seen in some of their other projects whereby the house is revealed slowly and gradually an the visitor, with dramatic transitions of light and shadow, and enclosure and freedom.
Cove Way House | Bedmar and Shi | Archello
The visitor then turns to enter an extruded, linear corridor which is used as an art space and is 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. 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.
With a seemingly casual transition between layers of local flora and natural materials, the front lawn of this understated house at 16 Cove Way on Sentosa Island in Singapore gently lures its visitors into its welcoming atmosphere and a slower paced island lifestyle. Further down the long corridor, a wall opens up to introduce the Living and Dining Rooms. 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.
With a simple and poetic clarity, these stories and are all told through the modern architectural interpretation of sensitive designers at Bedmar and Shi. Subscribe to Archello’s newsletter.