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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 new building was given the restrictions of a large 9 meter setback from Lodhi Road and a height control of no higher than the original house.
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.
The extra height not only emphasizes the space as significant, but it also creates the hierarchy of the sleeping spaces above. 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. Want to see more like this? The guests that come to the house often enter the Pooja or prayer room first before visiting the main house.
Two thick and roughly worked flanking walls of granite stones set in thick mortar beds embrace the front entrance of the house and its large over-hanging timber trellised canopy.
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.
These walls never meet each other so that the space is never geometrically static.
Cemagi House | Bedmar and Shi | Archello
Natural Italian travertine freestanding walls enclose the entire property and courtyards. In a clever re-definition of a traditional tropical housing planning arrangement where the rooms are expressed as separate pavilions that sit in a larger garden, this house by Bedmar and Shi operates in a bfdmar dense urban situation.
With only slits of openings bemar the edges of the entrance space, the contrasting framed view into a sun basked rock garden at the end of the portal draws the visitor forward in a distinctly tropical experience of light. 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.
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 ebdmar craft of the region.
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. 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 up onto the roof of the guest wing and Pooja room to a small informal roof terrace.
With a simple and poetic clarity, these stories and are all told through the modern architectural interpretation of sensitive designers at Bedmar and Shi.
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. 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.
The Master Bedroom is above the Living and Dining pavilion, making it the highest bedroom in the house.
Cove Way House
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.
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Another social custom that Bedmar and Shi drew into the planning of the house was the social lineage of the house itself. The intention of the sni 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.
These flat roofs are still heavily used by the occupants as terraces because from this bddmar they enjoy the desirable winter breezes.
Amrita Shergil Marg House | Bedmar and Shi | Archello
Toward the back of the Living room, a larger void opens up to a wide courtyard space that connects up from basement level to the attic and spans between the two stone walls at the sides of the house. 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 staircase is constructed of a lightweight folding metal plate structure that is connected to the adjacent wall only at the landing and is otherwise separated from the wall with a narrow gap. The slab of the Living Room floor is pulled away from the bedmae of the garden room, creating a gap or void into the lower level.
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 shape of the site itself was favourable to the implementation of the principles of Vastu as it is a rectangle that is elongated in the East-West direction, with the main gate entering from the East.
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 znd.
Want to see more like this? These walls, which are formed of huge slabs cut from giant pieces of stone, are so well cut and the grain book-matched that the entire long stretches of wall appear to be formed out of a single piece of stone.
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.
The surrounding neighbourhood is full of greenery and is a highly conserved area of very horizontal houses, mostly single storey, that sit on elevated platforms and are topped with flat roofs. 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 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 white basin. 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. 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 screen is detailed as a series of thin travertine horizontal strips with recessed stone supports at intervals. Bedmar designed the glass box Living Room to feel like an independent floating volume within a larger timber trellised garden room. Subscribe to Archello’s newsletter. The solid, carved out nature of the stepping platforms is somewhat reminiscent of the stone steps in Indian temples and can be seen in several other social spaces around the house.
This detail raises the Living and Dining Rooms up higher than all the other rooms.