Search results for "Neighboring western" in Home Design Ideas
CHROFI
A warm palette of materials.
The Balmoral House is located within the lower north-shore suburb of Balmoral. The site presents many difficulties being wedged shaped, on the low side of the street, hemmed in by two substantial existing houses and with just half the land area of its neighbours. Where previously the site would have enjoyed the benefits of a sunny rear yard beyond the rear building alignment, this is no longer the case with the yard having been sold-off to the neighbours.
Our design process has been about finding amenity where on first appearance there appears to be little.
The design stems from the first key observation, that the view to Middle Harbour is better from the lower ground level due to the height of the canopy of a nearby angophora that impedes views from the first floor level. Placing the living areas on the lower ground level allowed us to exploit setback controls to build closer to the rear boundary where oblique views to the key local features of Balmoral Beach and Rocky Point Island are best.
This strategy also provided the opportunity to extend these spaces into gardens and terraces to the limits of the site, maximising the sense of space of the 'living domain'. Every part of the site is utilised to create an array of connected interior and exterior spaces
The planning then became about ordering these living volumes and garden spaces to maximise access to view and sunlight and to structure these to accommodate an array of social situations for our Client’s young family. At first floor level, the garage and bedrooms are composed in a linear block perpendicular to the street along the south-western to enable glimpses of district views from the street as a gesture to the public realm. Critical to the success of the house is the journey from the street down to the living areas and vice versa. A series of stairways break up the journey while the main glazed central stair is the centrepiece to the house as a light-filled piece of sculpture that hangs above a reflecting pond with pool beyond.
The architecture works as a series of stacked interconnected volumes that carefully manoeuvre down the site, wrapping around to establish a secluded light-filled courtyard and terrace area on the north-eastern side. The expression is 'minimalist modern' to avoid visually complicating an already dense set of circumstances. Warm natural materials including off-form concrete, neutral bricks and blackbutt timber imbue the house with a calm quality whilst floor to ceiling glazing and large pivot and stacking doors create light-filled interiors, bringing the garden inside.
In the end the design reverses the obvious strategy of an elevated living space with balcony facing the view. Rather, the outcome is a grounded compact family home sculpted around daylight, views to Balmoral and intertwined living and garden spaces that satisfy the social needs of a growing young family.
Photo: Katherine Lu
Studio Bua
The Guesthouse Nýp at Skarðsströnd is situated on a former sheep farm overlooking the Breiðafjörður Nature Reserve in western Iceland. Originally constructed as a farmhouse in 1936, the building was deserted in the 1970s, slowly falling into disrepair before the new owners eventually began rebuilding in 2001. Since 2006, it has come to be known as a cultural hub of sorts, playing host to various exhibitions, lectures, courses and workshops.
The brief was to conceive a design that would make better use of the existing facilities, allowing for more multifunctional spaces for various cultural activities. This not only involved renovating the main house, but also rebuilding and enlarging the adjoining sheep-shed. Nýp’s first guests arrived in 2013 and where accommodated in two of the four bedrooms in the remodelled farmhouse. The reimagined sheep shed added a further three ensuite guestrooms with a separate entrance. This offers the owners greater flexibility, with the possibility of hosting larger events in the main house without disturbing guests. The new entrance hall and connection to the farmhouse has been given generous dimensions allowing it to double as an exhibition space.
The main house is divided vertically in two volumes with the original living quarters to the south and a barn for hay storage to the North. Bua inserted an additional floor into the barn to create a raised event space with a series of new openings capturing views to the mountains and the fjord. Driftwood, salvaged from a neighbouring beach, has been used as columns to support the new floor. Steel handrails, timber doors and beams have been salvaged from building sites in Reykjavik old town.
The ruins of concrete foundations have been repurposed to form a structured kitchen garden. A steel and polycarbonate structure has been bolted to the top of one concrete bay to create a tall greenhouse, also used by the client as an extra sitting room in the warmer months.
Staying true to Nýp’s ethos of sustainability and slow tourism, Studio Bua took a vernacular approach with a form based on local turf homes and a gradual renovation that focused on restoring and reinterpreting historical features while making full use of local labour, techniques and materials such as stone-turf retaining walls and tiles handmade from local clay.
Since the end of the 19th century, the combination of timber frame and corrugated metal cladding has been widespread throughout Iceland, replacing the traditional turf house. The prevailing wind comes down the valley from the north and east, and so it was decided to overclad the rear of the building and the new extension in corrugated aluzinc - one of the few materials proven to withstand the extreme weather.
In the 1930's concrete was the wonder material, even used as window frames in the case of Nýp farmhouse! The aggregate for the house is rather course with pebbles sourced from the beach below, giving it a special character. Where possible the original concrete walls have been retained and exposed, both internally and externally. The 'front' facades towards the access road and fjord have been repaired and given a thin silicate render (in the original colours) which allows the texture of the concrete to show through.
The project was developed and built in phases and on a modest budget. The site team was made up of local builders and craftsmen including the neighbouring farmer – who happened to own a cement truck. A specialist local mason restored the fragile concrete walls, none of which were reinforced.
Studio Bua
The Guesthouse Nýp at Skarðsströnd is situated on a former sheep farm overlooking the Breiðafjörður Nature Reserve in western Iceland. Originally constructed as a farmhouse in 1936, the building was deserted in the 1970s, slowly falling into disrepair before the new owners eventually began rebuilding in 2001. Since 2006, it has come to be known as a cultural hub of sorts, playing host to various exhibitions, lectures, courses and workshops.
The brief was to conceive a design that would make better use of the existing facilities, allowing for more multifunctional spaces for various cultural activities. This not only involved renovating the main house, but also rebuilding and enlarging the adjoining sheep-shed. Nýp’s first guests arrived in 2013 and where accommodated in two of the four bedrooms in the remodelled farmhouse. The reimagined sheep shed added a further three ensuite guestrooms with a separate entrance. This offers the owners greater flexibility, with the possibility of hosting larger events in the main house without disturbing guests. The new entrance hall and connection to the farmhouse has been given generous dimensions allowing it to double as an exhibition space.
The main house is divided vertically in two volumes with the original living quarters to the south and a barn for hay storage to the North. Bua inserted an additional floor into the barn to create a raised event space with a series of new openings capturing views to the mountains and the fjord. Driftwood, salvaged from a neighbouring beach, has been used as columns to support the new floor. Steel handrails, timber doors and beams have been salvaged from building sites in Reykjavik old town.
The ruins of concrete foundations have been repurposed to form a structured kitchen garden. A steel and polycarbonate structure has been bolted to the top of one concrete bay to create a tall greenhouse, also used by the client as an extra sitting room in the warmer months.
Staying true to Nýp’s ethos of sustainability and slow tourism, Studio Bua took a vernacular approach with a form based on local turf homes and a gradual renovation that focused on restoring and reinterpreting historical features while making full use of local labour, techniques and materials such as stone-turf retaining walls and tiles handmade from local clay.
Since the end of the 19th century, the combination of timber frame and corrugated metal cladding has been widespread throughout Iceland, replacing the traditional turf house. The prevailing wind comes down the valley from the north and east, and so it was decided to overclad the rear of the building and the new extension in corrugated aluzinc - one of the few materials proven to withstand the extreme weather.
In the 1930's concrete was the wonder material, even used as window frames in the case of Nýp farmhouse! The aggregate for the house is rather course with pebbles sourced from the beach below, giving it a special character. Where possible the original concrete walls have been retained and exposed, both internally and externally. The 'front' facades towards the access road and fjord have been repaired and given a thin silicate render (in the original colours) which allows the texture of the concrete to show through.
The project was developed and built in phases and on a modest budget. The site team was made up of local builders and craftsmen including the neighbouring farmer – who happened to own a cement truck. A specialist local mason restored the fragile concrete walls, none of which were reinforced.
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CHROFI
A floating stair descends from the upper level.
The Balmoral House is located within the lower north-shore suburb of Balmoral. The site presents many difficulties being wedged shaped, on the low side of the street, hemmed in by two substantial existing houses and with just half the land area of its neighbours. Where previously the site would have enjoyed the benefits of a sunny rear yard beyond the rear building alignment, this is no longer the case with the yard having been sold-off to the neighbours.
Our design process has been about finding amenity where on first appearance there appears to be little.
The design stems from the first key observation, that the view to Middle Harbour is better from the lower ground level due to the height of the canopy of a nearby angophora that impedes views from the first floor level. Placing the living areas on the lower ground level allowed us to exploit setback controls to build closer to the rear boundary where oblique views to the key local features of Balmoral Beach and Rocky Point Island are best.
This strategy also provided the opportunity to extend these spaces into gardens and terraces to the limits of the site, maximising the sense of space of the 'living domain'. Every part of the site is utilised to create an array of connected interior and exterior spaces
The planning then became about ordering these living volumes and garden spaces to maximise access to view and sunlight and to structure these to accommodate an array of social situations for our Client’s young family. At first floor level, the garage and bedrooms are composed in a linear block perpendicular to the street along the south-western to enable glimpses of district views from the street as a gesture to the public realm. Critical to the success of the house is the journey from the street down to the living areas and vice versa. A series of stairways break up the journey while the main glazed central stair is the centrepiece to the house as a light-filled piece of sculpture that hangs above a reflecting pond with pool beyond.
The architecture works as a series of stacked interconnected volumes that carefully manoeuvre down the site, wrapping around to establish a secluded light-filled courtyard and terrace area on the north-eastern side. The expression is 'minimalist modern' to avoid visually complicating an already dense set of circumstances. Warm natural materials including off-form concrete, neutral bricks and blackbutt timber imbue the house with a calm quality whilst floor to ceiling glazing and large pivot and stacking doors create light-filled interiors, bringing the garden inside.
In the end the design reverses the obvious strategy of an elevated living space with balcony facing the view. Rather, the outcome is a grounded compact family home sculpted around daylight, views to Balmoral and intertwined living and garden spaces that satisfy the social needs of a growing young family.
Photo Credit: Katherine Lu
Studio Bua
The Guesthouse Nýp at Skarðsströnd is situated on a former sheep farm overlooking the Breiðafjörður Nature Reserve in western Iceland. Originally constructed as a farmhouse in 1936, the building was deserted in the 1970s, slowly falling into disrepair before the new owners eventually began rebuilding in 2001. Since 2006, it has come to be known as a cultural hub of sorts, playing host to various exhibitions, lectures, courses and workshops.
The brief was to conceive a design that would make better use of the existing facilities, allowing for more multifunctional spaces for various cultural activities. This not only involved renovating the main house, but also rebuilding and enlarging the adjoining sheep-shed. Nýp’s first guests arrived in 2013 and where accommodated in two of the four bedrooms in the remodelled farmhouse. The reimagined sheep shed added a further three ensuite guestrooms with a separate entrance. This offers the owners greater flexibility, with the possibility of hosting larger events in the main house without disturbing guests. The new entrance hall and connection to the farmhouse has been given generous dimensions allowing it to double as an exhibition space.
The main house is divided vertically in two volumes with the original living quarters to the south and a barn for hay storage to the North. Bua inserted an additional floor into the barn to create a raised event space with a series of new openings capturing views to the mountains and the fjord. Driftwood, salvaged from a neighbouring beach, has been used as columns to support the new floor. Steel handrails, timber doors and beams have been salvaged from building sites in Reykjavik old town.
The ruins of concrete foundations have been repurposed to form a structured kitchen garden. A steel and polycarbonate structure has been bolted to the top of one concrete bay to create a tall greenhouse, also used by the client as an extra sitting room in the warmer months.
Staying true to Nýp’s ethos of sustainability and slow tourism, Studio Bua took a vernacular approach with a form based on local turf homes and a gradual renovation that focused on restoring and reinterpreting historical features while making full use of local labour, techniques and materials such as stone-turf retaining walls and tiles handmade from local clay.
Since the end of the 19th century, the combination of timber frame and corrugated metal cladding has been widespread throughout Iceland, replacing the traditional turf house. The prevailing wind comes down the valley from the north and east, and so it was decided to overclad the rear of the building and the new extension in corrugated aluzinc - one of the few materials proven to withstand the extreme weather.
In the 1930's concrete was the wonder material, even used as window frames in the case of Nýp farmhouse! The aggregate for the house is rather course with pebbles sourced from the beach below, giving it a special character. Where possible the original concrete walls have been retained and exposed, both internally and externally. The 'front' facades towards the access road and fjord have been repaired and given a thin silicate render (in the original colours) which allows the texture of the concrete to show through.
The project was developed and built in phases and on a modest budget. The site team was made up of local builders and craftsmen including the neighbouring farmer – who happened to own a cement truck. A specialist local mason restored the fragile concrete walls, none of which were reinforced.
Studio Bua
The Guesthouse Nýp at Skarðsströnd is situated on a former sheep farm overlooking the Breiðafjörður Nature Reserve in western Iceland. Originally constructed as a farmhouse in 1936, the building was deserted in the 1970s, slowly falling into disrepair before the new owners eventually began rebuilding in 2001. Since 2006, it has come to be known as a cultural hub of sorts, playing host to various exhibitions, lectures, courses and workshops.
The brief was to conceive a design that would make better use of the existing facilities, allowing for more multifunctional spaces for various cultural activities. This not only involved renovating the main house, but also rebuilding and enlarging the adjoining sheep-shed. Nýp’s first guests arrived in 2013 and where accommodated in two of the four bedrooms in the remodelled farmhouse. The reimagined sheep shed added a further three ensuite guestrooms with a separate entrance. This offers the owners greater flexibility, with the possibility of hosting larger events in the main house without disturbing guests. The new entrance hall and connection to the farmhouse has been given generous dimensions allowing it to double as an exhibition space.
The main house is divided vertically in two volumes with the original living quarters to the south and a barn for hay storage to the North. Bua inserted an additional floor into the barn to create a raised event space with a series of new openings capturing views to the mountains and the fjord. Driftwood, salvaged from a neighbouring beach, has been used as columns to support the new floor. Steel handrails, timber doors and beams have been salvaged from building sites in Reykjavik old town.
The ruins of concrete foundations have been repurposed to form a structured kitchen garden. A steel and polycarbonate structure has been bolted to the top of one concrete bay to create a tall greenhouse, also used by the client as an extra sitting room in the warmer months.
Staying true to Nýp’s ethos of sustainability and slow tourism, Studio Bua took a vernacular approach with a form based on local turf homes and a gradual renovation that focused on restoring and reinterpreting historical features while making full use of local labour, techniques and materials such as stone-turf retaining walls and tiles handmade from local clay.
Since the end of the 19th century, the combination of timber frame and corrugated metal cladding has been widespread throughout Iceland, replacing the traditional turf house. The prevailing wind comes down the valley from the north and east, and so it was decided to overclad the rear of the building and the new extension in corrugated aluzinc - one of the few materials proven to withstand the extreme weather.
In the 1930's concrete was the wonder material, even used as window frames in the case of Nýp farmhouse! The aggregate for the house is rather course with pebbles sourced from the beach below, giving it a special character. Where possible the original concrete walls have been retained and exposed, both internally and externally. The 'front' facades towards the access road and fjord have been repaired and given a thin silicate render (in the original colours) which allows the texture of the concrete to show through.
The project was developed and built in phases and on a modest budget. The site team was made up of local builders and craftsmen including the neighbouring farmer – who happened to own a cement truck. A specialist local mason restored the fragile concrete walls, none of which were reinforced.
CHROFI
The Balmoral House is located within the lower north-shore suburb of Balmoral. The site presents many difficulties being wedged shaped, on the low side of the street, hemmed in by two substantial existing houses and with just half the land area of its neighbours. Where previously the site would have enjoyed the benefits of a sunny rear yard beyond the rear building alignment, this is no longer the case with the yard having been sold-off to the neighbours.
Our design process has been about finding amenity where on first appearance there appears to be little.
The design stems from the first key observation, that the view to Middle Harbour is better from the lower ground level due to the height of the canopy of a nearby angophora that impedes views from the first floor level. Placing the living areas on the lower ground level allowed us to exploit setback controls to build closer to the rear boundary where oblique views to the key local features of Balmoral Beach and Rocky Point Island are best.
This strategy also provided the opportunity to extend these spaces into gardens and terraces to the limits of the site, maximising the sense of space of the 'living domain'. Every part of the site is utilised to create an array of connected interior and exterior spaces
The planning then became about ordering these living volumes and garden spaces to maximise access to view and sunlight and to structure these to accommodate an array of social situations for our Client’s young family. At first floor level, the garage and bedrooms are composed in a linear block perpendicular to the street along the south-western to enable glimpses of district views from the street as a gesture to the public realm. Critical to the success of the house is the journey from the street down to the living areas and vice versa. A series of stairways break up the journey while the main glazed central stair is the centrepiece to the house as a light-filled piece of sculpture that hangs above a reflecting pond with pool beyond.
The architecture works as a series of stacked interconnected volumes that carefully manoeuvre down the site, wrapping around to establish a secluded light-filled courtyard and terrace area on the north-eastern side. The expression is 'minimalist modern' to avoid visually complicating an already dense set of circumstances. Warm natural materials including off-form concrete, neutral bricks and blackbutt timber imbue the house with a calm quality whilst floor to ceiling glazing and large pivot and stacking doors create light-filled interiors, bringing the garden inside.
In the end the design reverses the obvious strategy of an elevated living space with balcony facing the view. Rather, the outcome is a grounded compact family home sculpted around daylight, views to Balmoral and intertwined living and garden spaces that satisfy the social needs of a growing young family.
Photo Credit: Clinton Weaver
Studio Bua
The Guesthouse Nýp at Skarðsströnd is situated on a former sheep farm overlooking the Breiðafjörður Nature Reserve in western Iceland. Originally constructed as a farmhouse in 1936, the building was deserted in the 1970s, slowly falling into disrepair before the new owners eventually began rebuilding in 2001. Since 2006, it has come to be known as a cultural hub of sorts, playing host to various exhibitions, lectures, courses and workshops.
The brief was to conceive a design that would make better use of the existing facilities, allowing for more multifunctional spaces for various cultural activities. This not only involved renovating the main house, but also rebuilding and enlarging the adjoining sheep-shed. Nýp’s first guests arrived in 2013 and where accommodated in two of the four bedrooms in the remodelled farmhouse. The reimagined sheep shed added a further three ensuite guestrooms with a separate entrance. This offers the owners greater flexibility, with the possibility of hosting larger events in the main house without disturbing guests. The new entrance hall and connection to the farmhouse has been given generous dimensions allowing it to double as an exhibition space.
The main house is divided vertically in two volumes with the original living quarters to the south and a barn for hay storage to the North. Bua inserted an additional floor into the barn to create a raised event space with a series of new openings capturing views to the mountains and the fjord. Driftwood, salvaged from a neighbouring beach, has been used as columns to support the new floor. Steel handrails, timber doors and beams have been salvaged from building sites in Reykjavik old town.
The ruins of concrete foundations have been repurposed to form a structured kitchen garden. A steel and polycarbonate structure has been bolted to the top of one concrete bay to create a tall greenhouse, also used by the client as an extra sitting room in the warmer months.
Staying true to Nýp’s ethos of sustainability and slow tourism, Studio Bua took a vernacular approach with a form based on local turf homes and a gradual renovation that focused on restoring and reinterpreting historical features while making full use of local labour, techniques and materials such as stone-turf retaining walls and tiles handmade from local clay.
Since the end of the 19th century, the combination of timber frame and corrugated metal cladding has been widespread throughout Iceland, replacing the traditional turf house. The prevailing wind comes down the valley from the north and east, and so it was decided to overclad the rear of the building and the new extension in corrugated aluzinc - one of the few materials proven to withstand the extreme weather.
In the 1930's concrete was the wonder material, even used as window frames in the case of Nýp farmhouse! The aggregate for the house is rather course with pebbles sourced from the beach below, giving it a special character. Where possible the original concrete walls have been retained and exposed, both internally and externally. The 'front' facades towards the access road and fjord have been repaired and given a thin silicate render (in the original colours) which allows the texture of the concrete to show through.
The project was developed and built in phases and on a modest budget. The site team was made up of local builders and craftsmen including the neighbouring farmer – who happened to own a cement truck. A specialist local mason restored the fragile concrete walls, none of which were reinforced.
Studio Bua
The Guesthouse Nýp at Skarðsströnd is situated on a former sheep farm overlooking the Breiðafjörður Nature Reserve in western Iceland. Originally constructed as a farmhouse in 1936, the building was deserted in the 1970s, slowly falling into disrepair before the new owners eventually began rebuilding in 2001. Since 2006, it has come to be known as a cultural hub of sorts, playing host to various exhibitions, lectures, courses and workshops.
The brief was to conceive a design that would make better use of the existing facilities, allowing for more multifunctional spaces for various cultural activities. This not only involved renovating the main house, but also rebuilding and enlarging the adjoining sheep-shed. Nýp’s first guests arrived in 2013 and where accommodated in two of the four bedrooms in the remodelled farmhouse. The reimagined sheep shed added a further three ensuite guestrooms with a separate entrance. This offers the owners greater flexibility, with the possibility of hosting larger events in the main house without disturbing guests. The new entrance hall and connection to the farmhouse has been given generous dimensions allowing it to double as an exhibition space.
The main house is divided vertically in two volumes with the original living quarters to the south and a barn for hay storage to the North. Bua inserted an additional floor into the barn to create a raised event space with a series of new openings capturing views to the mountains and the fjord. Driftwood, salvaged from a neighbouring beach, has been used as columns to support the new floor. Steel handrails, timber doors and beams have been salvaged from building sites in Reykjavik old town.
The ruins of concrete foundations have been repurposed to form a structured kitchen garden. A steel and polycarbonate structure has been bolted to the top of one concrete bay to create a tall greenhouse, also used by the client as an extra sitting room in the warmer months.
Staying true to Nýp’s ethos of sustainability and slow tourism, Studio Bua took a vernacular approach with a form based on local turf homes and a gradual renovation that focused on restoring and reinterpreting historical features while making full use of local labour, techniques and materials such as stone-turf retaining walls and tiles handmade from local clay.
Since the end of the 19th century, the combination of timber frame and corrugated metal cladding has been widespread throughout Iceland, replacing the traditional turf house. The prevailing wind comes down the valley from the north and east, and so it was decided to overclad the rear of the building and the new extension in corrugated aluzinc - one of the few materials proven to withstand the extreme weather.
In the 1930's concrete was the wonder material, even used as window frames in the case of Nýp farmhouse! The aggregate for the house is rather course with pebbles sourced from the beach below, giving it a special character. Where possible the original concrete walls have been retained and exposed, both internally and externally. The 'front' facades towards the access road and fjord have been repaired and given a thin silicate render (in the original colours) which allows the texture of the concrete to show through.
The project was developed and built in phases and on a modest budget. The site team was made up of local builders and craftsmen including the neighbouring farmer – who happened to own a cement truck. A specialist local mason restored the fragile concrete walls, none of which were reinforced.
Studio Bua
The Guesthouse Nýp at Skarðsströnd is situated on a former sheep farm overlooking the Breiðafjörður Nature Reserve in western Iceland. Originally constructed as a farmhouse in 1936, the building was deserted in the 1970s, slowly falling into disrepair before the new owners eventually began rebuilding in 2001. Since 2006, it has come to be known as a cultural hub of sorts, playing host to various exhibitions, lectures, courses and workshops.
The brief was to conceive a design that would make better use of the existing facilities, allowing for more multifunctional spaces for various cultural activities. This not only involved renovating the main house, but also rebuilding and enlarging the adjoining sheep-shed. Nýp’s first guests arrived in 2013 and where accommodated in two of the four bedrooms in the remodelled farmhouse. The reimagined sheep shed added a further three ensuite guestrooms with a separate entrance. This offers the owners greater flexibility, with the possibility of hosting larger events in the main house without disturbing guests. The new entrance hall and connection to the farmhouse has been given generous dimensions allowing it to double as an exhibition space.
The main house is divided vertically in two volumes with the original living quarters to the south and a barn for hay storage to the North. Bua inserted an additional floor into the barn to create a raised event space with a series of new openings capturing views to the mountains and the fjord. Driftwood, salvaged from a neighbouring beach, has been used as columns to support the new floor. Steel handrails, timber doors and beams have been salvaged from building sites in Reykjavik old town.
The ruins of concrete foundations have been repurposed to form a structured kitchen garden. A steel and polycarbonate structure has been bolted to the top of one concrete bay to create a tall greenhouse, also used by the client as an extra sitting room in the warmer months.
Staying true to Nýp’s ethos of sustainability and slow tourism, Studio Bua took a vernacular approach with a form based on local turf homes and a gradual renovation that focused on restoring and reinterpreting historical features while making full use of local labour, techniques and materials such as stone-turf retaining walls and tiles handmade from local clay.
Since the end of the 19th century, the combination of timber frame and corrugated metal cladding has been widespread throughout Iceland, replacing the traditional turf house. The prevailing wind comes down the valley from the north and east, and so it was decided to overclad the rear of the building and the new extension in corrugated aluzinc - one of the few materials proven to withstand the extreme weather.
In the 1930's concrete was the wonder material, even used as window frames in the case of Nýp farmhouse! The aggregate for the house is rather course with pebbles sourced from the beach below, giving it a special character. Where possible the original concrete walls have been retained and exposed, both internally and externally. The 'front' facades towards the access road and fjord have been repaired and given a thin silicate render (in the original colours) which allows the texture of the concrete to show through.
The project was developed and built in phases and on a modest budget. The site team was made up of local builders and craftsmen including the neighbouring farmer – who happened to own a cement truck. A specialist local mason restored the fragile concrete walls, none of which were reinforced.
CHROFI
The built form is kept low to share views with the street.
The Balmoral House is located within the lower north-shore suburb of Balmoral. The site presents many difficulties being wedged shaped, on the low side of the street, hemmed in by two substantial existing houses and with just half the land area of its neighbours. Where previously the site would have enjoyed the benefits of a sunny rear yard beyond the rear building alignment, this is no longer the case with the yard having been sold-off to the neighbours.
Our design process has been about finding amenity where on first appearance there appears to be little.
The design stems from the first key observation, that the view to Middle Harbour is better from the lower ground level due to the height of the canopy of a nearby angophora that impedes views from the first floor level. Placing the living areas on the lower ground level allowed us to exploit setback controls to build closer to the rear boundary where oblique views to the key local features of Balmoral Beach and Rocky Point Island are best.
This strategy also provided the opportunity to extend these spaces into gardens and terraces to the limits of the site, maximising the sense of space of the 'living domain'. Every part of the site is utilised to create an array of connected interior and exterior spaces
The planning then became about ordering these living volumes and garden spaces to maximise access to view and sunlight and to structure these to accommodate an array of social situations for our Client’s young family. At first floor level, the garage and bedrooms are composed in a linear block perpendicular to the street along the south-western to enable glimpses of district views from the street as a gesture to the public realm. Critical to the success of the house is the journey from the street down to the living areas and vice versa. A series of stairways break up the journey while the main glazed central stair is the centrepiece to the house as a light-filled piece of sculpture that hangs above a reflecting pond with pool beyond.
The architecture works as a series of stacked interconnected volumes that carefully manoeuvre down the site, wrapping around to establish a secluded light-filled courtyard and terrace area on the north-eastern side. The expression is 'minimalist modern' to avoid visually complicating an already dense set of circumstances. Warm natural materials including off-form concrete, neutral bricks and blackbutt timber imbue the house with a calm quality whilst floor to ceiling glazing and large pivot and stacking doors create light-filled interiors, bringing the garden inside.
In the end the design reverses the obvious strategy of an elevated living space with balcony facing the view. Rather, the outcome is a grounded compact family home sculpted around daylight, views to Balmoral and intertwined living and garden spaces that satisfy the social needs of a growing young family.
Photo Credit: Katherine Lu
Studio Bua
The Guesthouse Nýp at Skarðsströnd is situated on a former sheep farm overlooking the Breiðafjörður Nature Reserve in western Iceland. Originally constructed as a farmhouse in 1936, the building was deserted in the 1970s, slowly falling into disrepair before the new owners eventually began rebuilding in 2001. Since 2006, it has come to be known as a cultural hub of sorts, playing host to various exhibitions, lectures, courses and workshops.
The brief was to conceive a design that would make better use of the existing facilities, allowing for more multifunctional spaces for various cultural activities. This not only involved renovating the main house, but also rebuilding and enlarging the adjoining sheep-shed. Nýp’s first guests arrived in 2013 and where accommodated in two of the four bedrooms in the remodelled farmhouse. The reimagined sheep shed added a further three ensuite guestrooms with a separate entrance. This offers the owners greater flexibility, with the possibility of hosting larger events in the main house without disturbing guests. The new entrance hall and connection to the farmhouse has been given generous dimensions allowing it to double as an exhibition space.
The main house is divided vertically in two volumes with the original living quarters to the south and a barn for hay storage to the North. Bua inserted an additional floor into the barn to create a raised event space with a series of new openings capturing views to the mountains and the fjord. Driftwood, salvaged from a neighbouring beach, has been used as columns to support the new floor. Steel handrails, timber doors and beams have been salvaged from building sites in Reykjavik old town.
The ruins of concrete foundations have been repurposed to form a structured kitchen garden. A steel and polycarbonate structure has been bolted to the top of one concrete bay to create a tall greenhouse, also used by the client as an extra sitting room in the warmer months.
Staying true to Nýp’s ethos of sustainability and slow tourism, Studio Bua took a vernacular approach with a form based on local turf homes and a gradual renovation that focused on restoring and reinterpreting historical features while making full use of local labour, techniques and materials such as stone-turf retaining walls and tiles handmade from local clay.
Since the end of the 19th century, the combination of timber frame and corrugated metal cladding has been widespread throughout Iceland, replacing the traditional turf house. The prevailing wind comes down the valley from the north and east, and so it was decided to overclad the rear of the building and the new extension in corrugated aluzinc - one of the few materials proven to withstand the extreme weather.
In the 1930's concrete was the wonder material, even used as window frames in the case of Nýp farmhouse! The aggregate for the house is rather course with pebbles sourced from the beach below, giving it a special character. Where possible the original concrete walls have been retained and exposed, both internally and externally. The 'front' facades towards the access road and fjord have been repaired and given a thin silicate render (in the original colours) which allows the texture of the concrete to show through.
The project was developed and built in phases and on a modest budget. The site team was made up of local builders and craftsmen including the neighbouring farmer – who happened to own a cement truck. A specialist local mason restored the fragile concrete walls, none of which were reinforced.
Studio Bua
The Guesthouse Nýp at Skarðsströnd is situated on a former sheep farm overlooking the Breiðafjörður Nature Reserve in western Iceland. Originally constructed as a farmhouse in 1936, the building was deserted in the 1970s, slowly falling into disrepair before the new owners eventually began rebuilding in 2001. Since 2006, it has come to be known as a cultural hub of sorts, playing host to various exhibitions, lectures, courses and workshops.
The brief was to conceive a design that would make better use of the existing facilities, allowing for more multifunctional spaces for various cultural activities. This not only involved renovating the main house, but also rebuilding and enlarging the adjoining sheep-shed. Nýp’s first guests arrived in 2013 and where accommodated in two of the four bedrooms in the remodelled farmhouse. The reimagined sheep shed added a further three ensuite guestrooms with a separate entrance. This offers the owners greater flexibility, with the possibility of hosting larger events in the main house without disturbing guests. The new entrance hall and connection to the farmhouse has been given generous dimensions allowing it to double as an exhibition space.
The main house is divided vertically in two volumes with the original living quarters to the south and a barn for hay storage to the North. Bua inserted an additional floor into the barn to create a raised event space with a series of new openings capturing views to the mountains and the fjord. Driftwood, salvaged from a neighbouring beach, has been used as columns to support the new floor. Steel handrails, timber doors and beams have been salvaged from building sites in Reykjavik old town.
The ruins of concrete foundations have been repurposed to form a structured kitchen garden. A steel and polycarbonate structure has been bolted to the top of one concrete bay to create a tall greenhouse, also used by the client as an extra sitting room in the warmer months.
Staying true to Nýp’s ethos of sustainability and slow tourism, Studio Bua took a vernacular approach with a form based on local turf homes and a gradual renovation that focused on restoring and reinterpreting historical features while making full use of local labour, techniques and materials such as stone-turf retaining walls and tiles handmade from local clay.
Since the end of the 19th century, the combination of timber frame and corrugated metal cladding has been widespread throughout Iceland, replacing the traditional turf house. The prevailing wind comes down the valley from the north and east, and so it was decided to overclad the rear of the building and the new extension in corrugated aluzinc - one of the few materials proven to withstand the extreme weather.
In the 1930's concrete was the wonder material, even used as window frames in the case of Nýp farmhouse! The aggregate for the house is rather course with pebbles sourced from the beach below, giving it a special character. Where possible the original concrete walls have been retained and exposed, both internally and externally. The 'front' facades towards the access road and fjord have been repaired and given a thin silicate render (in the original colours) which allows the texture of the concrete to show through.
The project was developed and built in phases and on a modest budget. The site team was made up of local builders and craftsmen including the neighbouring farmer – who happened to own a cement truck. A specialist local mason restored the fragile concrete walls, none of which were reinforced.
CHROFI
Opening the kitchen up to the garden is a morning ritual.
The Balmoral House is located within the lower north-shore suburb of Balmoral. The site presents many difficulties being wedged shaped, on the low side of the street, hemmed in by two substantial existing houses and with just half the land area of its neighbours. Where previously the site would have enjoyed the benefits of a sunny rear yard beyond the rear building alignment, this is no longer the case with the yard having been sold-off to the neighbours.
Our design process has been about finding amenity where on first appearance there appears to be little.
The design stems from the first key observation, that the view to Middle Harbour is better from the lower ground level due to the height of the canopy of a nearby angophora that impedes views from the first floor level. Placing the living areas on the lower ground level allowed us to exploit setback controls to build closer to the rear boundary where oblique views to the key local features of Balmoral Beach and Rocky Point Island are best.
This strategy also provided the opportunity to extend these spaces into gardens and terraces to the limits of the site, maximising the sense of space of the 'living domain'. Every part of the site is utilised to create an array of connected interior and exterior spaces
The planning then became about ordering these living volumes and garden spaces to maximise access to view and sunlight and to structure these to accommodate an array of social situations for our Client’s young family. At first floor level, the garage and bedrooms are composed in a linear block perpendicular to the street along the south-western to enable glimpses of district views from the street as a gesture to the public realm. Critical to the success of the house is the journey from the street down to the living areas and vice versa. A series of stairways break up the journey while the main glazed central stair is the centrepiece to the house as a light-filled piece of sculpture that hangs above a reflecting pond with pool beyond.
The architecture works as a series of stacked interconnected volumes that carefully manoeuvre down the site, wrapping around to establish a secluded light-filled courtyard and terrace area on the north-eastern side. The expression is 'minimalist modern' to avoid visually complicating an already dense set of circumstances. Warm natural materials including off-form concrete, neutral bricks and blackbutt timber imbue the house with a calm quality whilst floor to ceiling glazing and large pivot and stacking doors create light-filled interiors, bringing the garden inside.
In the end the design reverses the obvious strategy of an elevated living space with balcony facing the view. Rather, the outcome is a grounded compact family home sculpted around daylight, views to Balmoral and intertwined living and garden spaces that satisfy the social needs of a growing young family.
Photo Credit: Katherine Lu
Studio Bua
The Guesthouse Nýp at Skarðsströnd is situated on a former sheep farm overlooking the Breiðafjörður Nature Reserve in western Iceland. Originally constructed as a farmhouse in 1936, the building was deserted in the 1970s, slowly falling into disrepair before the new owners eventually began rebuilding in 2001. Since 2006, it has come to be known as a cultural hub of sorts, playing host to various exhibitions, lectures, courses and workshops.
The brief was to conceive a design that would make better use of the existing facilities, allowing for more multifunctional spaces for various cultural activities. This not only involved renovating the main house, but also rebuilding and enlarging the adjoining sheep-shed. Nýp’s first guests arrived in 2013 and where accommodated in two of the four bedrooms in the remodelled farmhouse. The reimagined sheep shed added a further three ensuite guestrooms with a separate entrance. This offers the owners greater flexibility, with the possibility of hosting larger events in the main house without disturbing guests. The new entrance hall and connection to the farmhouse has been given generous dimensions allowing it to double as an exhibition space.
The main house is divided vertically in two volumes with the original living quarters to the south and a barn for hay storage to the North. Bua inserted an additional floor into the barn to create a raised event space with a series of new openings capturing views to the mountains and the fjord. Driftwood, salvaged from a neighbouring beach, has been used as columns to support the new floor. Steel handrails, timber doors and beams have been salvaged from building sites in Reykjavik old town.
The ruins of concrete foundations have been repurposed to form a structured kitchen garden. A steel and polycarbonate structure has been bolted to the top of one concrete bay to create a tall greenhouse, also used by the client as an extra sitting room in the warmer months.
Staying true to Nýp’s ethos of sustainability and slow tourism, Studio Bua took a vernacular approach with a form based on local turf homes and a gradual renovation that focused on restoring and reinterpreting historical features while making full use of local labour, techniques and materials such as stone-turf retaining walls and tiles handmade from local clay.
Since the end of the 19th century, the combination of timber frame and corrugated metal cladding has been widespread throughout Iceland, replacing the traditional turf house. The prevailing wind comes down the valley from the north and east, and so it was decided to overclad the rear of the building and the new extension in corrugated aluzinc - one of the few materials proven to withstand the extreme weather.
In the 1930's concrete was the wonder material, even used as window frames in the case of Nýp farmhouse! The aggregate for the house is rather course with pebbles sourced from the beach below, giving it a special character. Where possible the original concrete walls have been retained and exposed, both internally and externally. The 'front' facades towards the access road and fjord have been repaired and given a thin silicate render (in the original colours) which allows the texture of the concrete to show through.
The project was developed and built in phases and on a modest budget. The site team was made up of local builders and craftsmen including the neighbouring farmer – who happened to own a cement truck. A specialist local mason restored the fragile concrete walls, none of which were reinforced.
CHROFI
The Balmoral House is located within the lower north-shore suburb of Balmoral. The site presents many difficulties being wedged shaped, on the low side of the street, hemmed in by two substantial existing houses and with just half the land area of its neighbours. Where previously the site would have enjoyed the benefits of a sunny rear yard beyond the rear building alignment, this is no longer the case with the yard having been sold-off to the neighbours.
Our design process has been about finding amenity where on first appearance there appears to be little.
The design stems from the first key observation, that the view to Middle Harbour is better from the lower ground level due to the height of the canopy of a nearby angophora that impedes views from the first floor level. Placing the living areas on the lower ground level allowed us to exploit setback controls to build closer to the rear boundary where oblique views to the key local features of Balmoral Beach and Rocky Point Island are best.
This strategy also provided the opportunity to extend these spaces into gardens and terraces to the limits of the site, maximising the sense of space of the 'living domain'. Every part of the site is utilised to create an array of connected interior and exterior spaces
The planning then became about ordering these living volumes and garden spaces to maximise access to view and sunlight and to structure these to accommodate an array of social situations for our Client’s young family. At first floor level, the garage and bedrooms are composed in a linear block perpendicular to the street along the south-western to enable glimpses of district views from the street as a gesture to the public realm. Critical to the success of the house is the journey from the street down to the living areas and vice versa. A series of stairways break up the journey while the main glazed central stair is the centrepiece to the house as a light-filled piece of sculpture that hangs above a reflecting pond with pool beyond.
The architecture works as a series of stacked interconnected volumes that carefully manoeuvre down the site, wrapping around to establish a secluded light-filled courtyard and terrace area on the north-eastern side. The expression is 'minimalist modern' to avoid visually complicating an already dense set of circumstances. Warm natural materials including off-form concrete, neutral bricks and blackbutt timber imbue the house with a calm quality whilst floor to ceiling glazing and large pivot and stacking doors create light-filled interiors, bringing the garden inside.
In the end the design reverses the obvious strategy of an elevated living space with balcony facing the view. Rather, the outcome is a grounded compact family home sculpted around daylight, views to Balmoral and intertwined living and garden spaces that satisfy the social needs of a growing young family.
Photo Credit: Katherine Lu
CHROFI
The Balmoral House is located within the lower north-shore suburb of Balmoral. The site presents many difficulties being wedged shaped, on the low side of the street, hemmed in by two substantial existing houses and with just half the land area of its neighbours. Where previously the site would have enjoyed the benefits of a sunny rear yard beyond the rear building alignment, this is no longer the case with the yard having been sold-off to the neighbours.
Our design process has been about finding amenity where on first appearance there appears to be little.
The design stems from the first key observation, that the view to Middle Harbour is better from the lower ground level due to the height of the canopy of a nearby angophora that impedes views from the first floor level. Placing the living areas on the lower ground level allowed us to exploit setback controls to build closer to the rear boundary where oblique views to the key local features of Balmoral Beach and Rocky Point Island are best.
This strategy also provided the opportunity to extend these spaces into gardens and terraces to the limits of the site, maximising the sense of space of the 'living domain'. Every part of the site is utilised to create an array of connected interior and exterior spaces
The planning then became about ordering these living volumes and garden spaces to maximise access to view and sunlight and to structure these to accommodate an array of social situations for our Client’s young family. At first floor level, the garage and bedrooms are composed in a linear block perpendicular to the street along the south-western to enable glimpses of district views from the street as a gesture to the public realm. Critical to the success of the house is the journey from the street down to the living areas and vice versa. A series of stairways break up the journey while the main glazed central stair is the centrepiece to the house as a light-filled piece of sculpture that hangs above a reflecting pond with pool beyond.
The architecture works as a series of stacked interconnected volumes that carefully manoeuvre down the site, wrapping around to establish a secluded light-filled courtyard and terrace area on the north-eastern side. The expression is 'minimalist modern' to avoid visually complicating an already dense set of circumstances. Warm natural materials including off-form concrete, neutral bricks and blackbutt timber imbue the house with a calm quality whilst floor to ceiling glazing and large pivot and stacking doors create light-filled interiors, bringing the garden inside.
In the end the design reverses the obvious strategy of an elevated living space with balcony facing the view. Rather, the outcome is a grounded compact family home sculpted around daylight, views to Balmoral and intertwined living and garden spaces that satisfy the social needs of a growing young family.
Photo Credit: Katherine Lu
Showing Results for "Neighboring Western"
CHROFI
The living spaces open completely to the garden spaces, blurring the lines between indoor and outdoor.
The Balmoral House is located within the lower north-shore suburb of Balmoral. The site presents many difficulties being wedged shaped, on the low side of the street, hemmed in by two substantial existing houses and with just half the land area of its neighbours. Where previously the site would have enjoyed the benefits of a sunny rear yard beyond the rear building alignment, this is no longer the case with the yard having been sold-off to the neighbours.
Our design process has been about finding amenity where on first appearance there appears to be little.
The design stems from the first key observation, that the view to Middle Harbour is better from the lower ground level due to the height of the canopy of a nearby angophora that impedes views from the first floor level. Placing the living areas on the lower ground level allowed us to exploit setback controls to build closer to the rear boundary where oblique views to the key local features of Balmoral Beach and Rocky Point Island are best.
This strategy also provided the opportunity to extend these spaces into gardens and terraces to the limits of the site, maximising the sense of space of the 'living domain'. Every part of the site is utilised to create an array of connected interior and exterior spaces
The planning then became about ordering these living volumes and garden spaces to maximise access to view and sunlight and to structure these to accommodate an array of social situations for our Client’s young family. At first floor level, the garage and bedrooms are composed in a linear block perpendicular to the street along the south-western to enable glimpses of district views from the street as a gesture to the public realm. Critical to the success of the house is the journey from the street down to the living areas and vice versa. A series of stairways break up the journey while the main glazed central stair is the centrepiece to the house as a light-filled piece of sculpture that hangs above a reflecting pond with pool beyond.
The architecture works as a series of stacked interconnected volumes that carefully manoeuvre down the site, wrapping around to establish a secluded light-filled courtyard and terrace area on the north-eastern side. The expression is 'minimalist modern' to avoid visually complicating an already dense set of circumstances. Warm natural materials including off-form concrete, neutral bricks and blackbutt timber imbue the house with a calm quality whilst floor to ceiling glazing and large pivot and stacking doors create light-filled interiors, bringing the garden inside.
In the end the design reverses the obvious strategy of an elevated living space with balcony facing the view. Rather, the outcome is a grounded compact family home sculpted around daylight, views to Balmoral and intertwined living and garden spaces that satisfy the social needs of a growing young family.
Photo Credit: Katherine Lu
Studio Bua
The Guesthouse Nýp at Skarðsströnd is situated on a former sheep farm overlooking the Breiðafjörður Nature Reserve in western Iceland. Originally constructed as a farmhouse in 1936, the building was deserted in the 1970s, slowly falling into disrepair before the new owners eventually began rebuilding in 2001. Since 2006, it has come to be known as a cultural hub of sorts, playing host to various exhibitions, lectures, courses and workshops.
The brief was to conceive a design that would make better use of the existing facilities, allowing for more multifunctional spaces for various cultural activities. This not only involved renovating the main house, but also rebuilding and enlarging the adjoining sheep-shed. Nýp’s first guests arrived in 2013 and where accommodated in two of the four bedrooms in the remodelled farmhouse. The reimagined sheep shed added a further three ensuite guestrooms with a separate entrance. This offers the owners greater flexibility, with the possibility of hosting larger events in the main house without disturbing guests. The new entrance hall and connection to the farmhouse has been given generous dimensions allowing it to double as an exhibition space.
The main house is divided vertically in two volumes with the original living quarters to the south and a barn for hay storage to the North. Bua inserted an additional floor into the barn to create a raised event space with a series of new openings capturing views to the mountains and the fjord. Driftwood, salvaged from a neighbouring beach, has been used as columns to support the new floor. Steel handrails, timber doors and beams have been salvaged from building sites in Reykjavik old town.
The ruins of concrete foundations have been repurposed to form a structured kitchen garden. A steel and polycarbonate structure has been bolted to the top of one concrete bay to create a tall greenhouse, also used by the client as an extra sitting room in the warmer months.
Staying true to Nýp’s ethos of sustainability and slow tourism, Studio Bua took a vernacular approach with a form based on local turf homes and a gradual renovation that focused on restoring and reinterpreting historical features while making full use of local labour, techniques and materials such as stone-turf retaining walls and tiles handmade from local clay.
Since the end of the 19th century, the combination of timber frame and corrugated metal cladding has been widespread throughout Iceland, replacing the traditional turf house. The prevailing wind comes down the valley from the north and east, and so it was decided to overclad the rear of the building and the new extension in corrugated aluzinc - one of the few materials proven to withstand the extreme weather.
In the 1930's concrete was the wonder material, even used as window frames in the case of Nýp farmhouse! The aggregate for the house is rather course with pebbles sourced from the beach below, giving it a special character. Where possible the original concrete walls have been retained and exposed, both internally and externally. The 'front' facades towards the access road and fjord have been repaired and given a thin silicate render (in the original colours) which allows the texture of the concrete to show through.
The project was developed and built in phases and on a modest budget. The site team was made up of local builders and craftsmen including the neighbouring farmer – who happened to own a cement truck. A specialist local mason restored the fragile concrete walls, none of which were reinforced.
Studio Bua
The Guesthouse Nýp at Skarðsströnd is situated on a former sheep farm overlooking the Breiðafjörður Nature Reserve in western Iceland. Originally constructed as a farmhouse in 1936, the building was deserted in the 1970s, slowly falling into disrepair before the new owners eventually began rebuilding in 2001. Since 2006, it has come to be known as a cultural hub of sorts, playing host to various exhibitions, lectures, courses and workshops.
The brief was to conceive a design that would make better use of the existing facilities, allowing for more multifunctional spaces for various cultural activities. This not only involved renovating the main house, but also rebuilding and enlarging the adjoining sheep-shed. Nýp’s first guests arrived in 2013 and where accommodated in two of the four bedrooms in the remodelled farmhouse. The reimagined sheep shed added a further three ensuite guestrooms with a separate entrance. This offers the owners greater flexibility, with the possibility of hosting larger events in the main house without disturbing guests. The new entrance hall and connection to the farmhouse has been given generous dimensions allowing it to double as an exhibition space.
The main house is divided vertically in two volumes with the original living quarters to the south and a barn for hay storage to the North. Bua inserted an additional floor into the barn to create a raised event space with a series of new openings capturing views to the mountains and the fjord. Driftwood, salvaged from a neighbouring beach, has been used as columns to support the new floor. Steel handrails, timber doors and beams have been salvaged from building sites in Reykjavik old town.
The ruins of concrete foundations have been repurposed to form a structured kitchen garden. A steel and polycarbonate structure has been bolted to the top of one concrete bay to create a tall greenhouse, also used by the client as an extra sitting room in the warmer months.
Staying true to Nýp’s ethos of sustainability and slow tourism, Studio Bua took a vernacular approach with a form based on local turf homes and a gradual renovation that focused on restoring and reinterpreting historical features while making full use of local labour, techniques and materials such as stone-turf retaining walls and tiles handmade from local clay.
Since the end of the 19th century, the combination of timber frame and corrugated metal cladding has been widespread throughout Iceland, replacing the traditional turf house. The prevailing wind comes down the valley from the north and east, and so it was decided to overclad the rear of the building and the new extension in corrugated aluzinc - one of the few materials proven to withstand the extreme weather.
In the 1930's concrete was the wonder material, even used as window frames in the case of Nýp farmhouse! The aggregate for the house is rather course with pebbles sourced from the beach below, giving it a special character. Where possible the original concrete walls have been retained and exposed, both internally and externally. The 'front' facades towards the access road and fjord have been repaired and given a thin silicate render (in the original colours) which allows the texture of the concrete to show through.
The project was developed and built in phases and on a modest budget. The site team was made up of local builders and craftsmen including the neighbouring farmer – who happened to own a cement truck. A specialist local mason restored the fragile concrete walls, none of which were reinforced.
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