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This courtyard is also traversed only by the delicate glass bridges at each level. The stepping also continues more steeply to the right of the deck and reaches adn onto the roof of the guest wing and Pooja room to a small informal roof terrace. 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.

The fire is represented by a small stone block on the ground that shoots up a flame into the air and the water is in a becmar basin.

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.

In front of the Living Room is a large open lawn with a swimming pool and deck beyond. Bedmar explains that the East and North directions are considered more favourable in terms of views and openings bedmarr the house according to Vastu, while the South is considered unfavourable due to the intensity of the sun from that direction. Subscribe to Archello’s newsletter.

Bedmar and Shi | Archello

The visitor crosses over this void on light glass-floored bridges that accentuate the separation between the two anv. 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 shu the region. 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 sh focused.

Two thick and roughly worked flanking walls of granite stones set in thick mortar beds embrace the front entrance of the house bfdmar its large over-hanging timber trellised canopy. 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. 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 stainless steel and glass flooring on the bridges between spaces.


Cove Way House

Perhaps here, Bedmar is most influenced by the Barcelona Pavilion of Mies Van de Rohe bsdmar the walls act as free standing objects that cut the continuous volume of the rooms into interconnected spaces. By continuing to browse our website, you consent to our use of cookies in accordance with our cookie policy. Beedmar 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 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 seen in some of their other projects whereby the house is revealed slowly and gradually to the visitor, with dramatic transitions of light and shadow, and enclosure and freedom.

These flat roofs are still heavily used by the occupants as terraces because from this height they enjoy the desirable winter breezes. The roof of this double volume room is also made of sji strips with a glass sheet above them that make the space feel as airy vedmar light as possible.

Want to see more like this? Bedmar designed the glass box Living Room to feel like an independent floating volume within a larger timber trellised garden room. The timber screens or jali 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. 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.

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. The abstracted pattern still contains the essence of the original, giving it a distinct Indian flavour without literally replicating the traditional tapestry. The extra height not only emphasizes the space as significant, but it also creates the hierarchy of the sleeping spaces above.

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The slab of the Living Bedmae floor is pulled away from the floor of the garden room, creating a gap or void into the lower level. 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.


Due to the dilapidated state of the original building which was on the site, its demolition was permitted.

Bedmar and Shi

There are many areas positioned throughout the house that cater to various sizes and types of social gathering. 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 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 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 contrast to bdmar cavernous entrance, the main Living Room is designed as a lightweight glass box that sits inside what feels like a larger garden room. This courtyard, Bedmar explains, carries a memory of cultural history of central social open spaces within traditional houses that were used for artistic performances. Subscribe to Archello’s newsletter.

In this house, the Pooja room is a magical space located in the Northeast corner, just off the vehicular entrance area. Within this courtyard bedamr elements of fire and water. The Master Bedroom is above the Living and Dining pavilion, making it the highest bedroom in the house.

In making the front of the house heavier in language than the bedmwr, the designers have also taken advantage of the intrinsic planning reversal in all of the plots of bemar 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.

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.