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      Longhouse by Partners Hill spans 110 metres across Australian bushland

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      Architecture practice Partners Hill has designed this lengthy shed-style home in the Australian town of Daylesford, Victoria to incorporate living, cooking and agricultural facilities.Described by Partners Hill as “a study in inclusion”, Longhouse contains a farm, restaurant-cum-cookery school, guest rooms and living quarters for its owners, Ronnen Goren and Trace Streeter.
      The practice worked alongside Goren and Streeter over a period of 10 years to design the multifunctional property.

      “The Longhouse recalls a Palladian tradition of including living, working, storing, making in a single suite rather than referring to the Australian habit of casual dispersal,” said the practice’s founding partner, Timothy Hill.

      “It emphasises how much – or how little – you need for a few people to survive and thrive. A handful of animals, enough water and year-round crops.”

      Nestled amongst a 20-acre plot of land just outside the town of Daylesford, the 110-metre-long building overlooks rolling plains of bushland.
      Goren and Streeter were charmed by the site’s natural vistas but, after several visits, came to realise that the area was subject to extreme weather conditions including strong winds, erratic downpours of rain and snow during the colder months.
      A variety of animals such as kangaroos, wallabies and foxes could also be found roaming the site.

      This “beautiful but hostile” environment is what encouraged Partners Hill to design Longhouse as a huge shed-like structure which would be “big enough and protected enough for the landscape to flourish inside”.
      Translucent panels of glass-reinforced polyester wrap around the exterior of Longhouse, which is punctuated by a series of windows that offer views of the landscape.

      “Smart gel-coated cladding provides different levels of UV and infrared resistance,” explained the practice.
      “Panels with different finishes have also been deployed to optimise solar penetration and shading depending on the orientation of each facade and roof plane.”

      An algorithm was used to design the home’s 1,050-square-metre roof, which has been specifically sized to harvest an optimum amount of rainwater.
      Any water collected is stored in a series of tanks around the site – some of which are concealed by grassy banks – and can be used to service different rooms. It can also be used in the event of a bushfire.

      The main entrance to Longhouse is at the western end of the building, which plays host to a sizeable garage for storing farm machinery and an enclosure for the cows, pigs and fowl.
      A short walkway leads through to the kitchen where cookery workshops are held and meals are rustled up for guests dining at Longhouse. Designed to appear as a “surprisingly lush haven”, the space is bordered by leafy trees and plant beds overspilling with foliage.
      Vine plants also wind down from the ceiling.

      Australian cypress pine has been used to craft a majority of fixtures and furnishings, selected by the practice for its resistance to rot.
      The same timber has been combined with red bricks to form a couple of gabled structures that accommodate cosy eating areas.
      Some elements, like the kitchen hearth, are built from glazed clay tiles.

      Partners Hill hides Aesop pop-up among the undergrowth at Tasmanian music festival

      A set of stairs leads up to the guest rooms on the first floor, referred to as The Stableman’s Quarters. One of them features warm orange walls and is centred by an oversized daybed piled high with plump cushions.

      Goren and Streeter’s private living quarters, nicknamed The Lodge, are also located on Longhouse’s first floor. Surfaces throughout have been painted a pale shade of blue.
      “Even in the depths of cold, grey winters – there is an uplifting sense of blue skies and long sunsets every day,” added the practice.
      In a nod to the owners’ passion for 19th and 20th-century interiors, the practice has also included a handful of decor elements that “recall the manors of a bygone era” such as clawfoot bathtubs and ornate ceiling roses.

      Partners Hill is led by Timothy Hill, Simon Swain and Domenic Mesiti. Previous projects by the practice include a wooden pavilion for skincare brand Aesop – the structure was specially created for a Tasmanian music festival and was shrouded by shrubbery.
      Photography is by Rory Gardiner.
      Project credits:
      Architecture, interior design and landscaping: Partners HillCladding fabricator: Ampelite

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      Burnt-red tiles and hessian feature inside Dough Pizza restaurant in Perth

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      Interior design firm Ohlo Studio used materials that evoke the “rustic sophistication” of Italy to create the interiors of Dough Pizza restaurant in Perth.Dough Pizza takes over a unit of Westfield Whitford City shopping centre which lies just north of central Perth.

      Locally based Ohlo Studio was tasked with designing the interiors and set out to create an aesthetic that, like the restaurant’s name, is “timeless and no-fuss”.

      The studio also wanted the space to texturally reflect Italy and the country’s “rustic sophistication”.
      “It needed to evoke a distinct atmosphere and personality reinforcing the cultural heritage behind the food,” explained the studio.

      On one side of the restaurant, burnt-red tiles have been used to line the lower half of the wall.
      Just in front lies a seating banquette upholstered in taupe-coloured fabric, accompanied by wooden tables and white wicker dining chairs. Slim disc-like pendant lights have been suspended from the ceiling directly overhead.
      The same red tiles clad the central bar counter. It’s surrounded by wooden fold-out high chairs, where customers can sit and eat within view of the open kitchen or grab a quick drink.

      A wall on the opposite side of the restaurant has been completely lined in hessian, which extends down to cover a chunky plinth that runs in front.
      The plinth serves as a base for a series of tobacco-hued cushioned seats that can be easily pushed together or apart to suit different-sized groups of diners.

      Homely decor elements such as ceramic vases, potted plants and tiny lamps have been dotted throughout to evoke the same feel as a “neighbourhood Italian espresso bar”.
      Large photographic prints that capture scenes from sun-drenched Italian beaches have also been mounted on the walls.

      Pink marble and patchy concrete emulate ancient Rome in Melbourne’s Pentolina pasta bar

      In a bid to contrast the commercial setting of the shopping centre, the studio has applied the same selection of warm materials used inside the restaurant to its exterior.
      “The tiled bar puncturing the facade also activates the boundary and creates a playful entry,” added the studio.

      Ohlo Studio was founded by interior architect Jen Lowe and is based in Perth’s South Fremantle suburb.
      The studio’s Dough Pizza project is one of several trendy Italian eateries across Australia. Others include Glorietta by Alexander & Co, which features wooden furnishings and a caged rattan ceiling.
      There’s also Pentolina by Biasol, which has worn concrete walls and pink-marble fixtures to emulate the materiality of Ancient Rome.

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      Two-storey bookshelf rises inside renovated Madrid house

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      Spanish architecture firm Zooco Estudio has covered the walls of this Madrid residence with bookshelves that span two levels.House 6 is a detached single-family home located in northern Madrid. Local studio Zooco Estudio overhauled the residence contrasting white interiors with pale wood cabinetry and herringbone patterned flooring.

      The centrepiece of the design is a white shelving unit that extends two floors and wraps around the walls of the house’s living room and dining area.

      On the lower level, the volume comprises dozens of rectangular cases for storing books, movies and electronics, including a mounted television. A series of narrow cubbies also occupy the space between a glass dining table and entryway creating storage for hanging apparel.

      “As a unifying element, a shelf rises colonising both living and lobby spaces,” the studio said. “This way we integrate aesthetic and functionality in one single element.”
      The shelves continue on the upper level with a rectangular volume along a hallway. Pendant light fixtures hang from the ceiling to illuminate the floor below.

      In the kitchen, pale oak fronts the cabinetry and details the base of a white kitchen island. White tiles form the splashback behind the sink and cover the rectangular range hood hanging above the island.

      Beta Ø Architects completes overhaul of X House in Madrid

      A spiral staircase with black metal steps is carved into the wall to create a sculptural focal point within the space.

      Upstairs the bedroom and bathrooms are concealed by a wall of slender wooden slats lacquered white. The narrow strips separate the master bedroom from the bathroom. A section of the millwork is intentionally left open to expose the shower.

      “A continuous view was required so you can see through the slats to the shower,” the studio added. “However, the private areas of the bathroom are completely hidden.”
      In the bathroom the studio has covered the walls and floors with white tiles and blue grouting. A geometric counter clad with blue tiles snakes across the ground and up the wall to form a storage closet in the space.

      Zooco Estudio is an architecture firm with offices in Madrid and Santander founded by Miguel Crespo Picot, Javier Guzmán Benito and Sixto Martín Martínez. The studio has also completed an art centre in Verín that comprises several granite buildings and a child play area built out of wood for a co-working office in Santa Monica, California.

      Other renovation projects in Madrid include a house with a permeable metal sculpture designed by Beta Ø Architects and an apartment by Lucas y Hernández Gil with sliding wall partitions.
      Photography is by Imagen Subliminal.
      Project credits:
      Project manager: Miguel Crespo Picot, Javier Guzmán Benito, Sixto Martín MartínezConstruction: Nimbo Proyectos S LLighting: Zooco EstudioFurniture design: Zooco Estudio

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      Black shutters and concrete wall conceal Te Pakeke retreat in New Zealand

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      This holiday home in New Zealand by Fearon Hay Architects hides from neighbouring properties while having uninterrupted views of the mountainous landscape.Te Pakeke house is situated north of the popular resort town Wanaka, surrounded by mountains and looking out across the waters of a vast lake.
      Its owners had tasked Fearon Hay Architects with creating a winter holiday retreat that had the feel of a secluded cabin.

      However, as the site was positioned on the corner of an arterial road, it meant the house would be visible to neighbouring properties and passersby.

      With this in mind, the practice worked to create a series of layers around Te Pakeke that can provide the owners with a sense of privacy.

      An L-shaped concrete wall wraps around the front of the house, obscuring it from view. It also offers protection from chilly prevailing winds.
      Beyond the wall is a gravelled courtyard where inhabitants can sit and relax throughout the day.

      A series of perforated black screens that are each edged with brass have then been made to wrap around the Te Pakeke’s facade.

      House in New Zealand sits on a concrete plinth surrounded by trees

      These can be pushed back concertina-style to open up the interiors to the surrounding landscape – when closed, they almost completely black-out the interior and give a shadowy look to living spaces.

      Inside, the house has been finished with moody concrete walls. Concrete has also been used for elements such as the breakfast island and countertops in the kitchen.
      Textural interest is added by a boxy mirrored volume that conceals laundry facilities. The practice specifically selected a reflective material so that this part of the home would appear to “dissolve” within the interior.

      In a nod to the materiality of traditional cabins, beams of timber have been used to line the house’s ceiling.
      Tree stump-like side tables also appear in the living room, which has a plump grey sofa and metal-frame armchair arranged around a wood burner.

      Fearon Hay Architects was founded in 1998 by Tim Hay and Jeff Fearon. The practice was exclusively based in Auckland, New Zealand until 2018 when they opened a studio in Los Angeles.
      Other residential projects that, like Te Pakeke, benefit from views of New Zealand’s impressive landscape include Kawakawa House by Herbst Architects, which perches on a concrete plinth overlooking a dense canopy of pōhutukawa trees, and Avalanche House by Intuitive Architects, which frames dramatic vistas of a mountain range.
      Photography is by Simon Wilson.

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    • 125 Shares139 Views

      Villa Cavrois serves as backdrop to Muller Van Severen exhibition

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      Belgian design duo Muller Van Severen is exhibiting a selection of their furnishings amongst the rooms of Villa Cavrois, a modernist 20th-century villa near Lille, France.The exhibition, called Design! Muller Van Severen at Villa Cavrois, will see Fien Muller and Hannes Van Severen present both new and old pieces from the oeuvre of their eponymous studio, which was founded in 2011.
      It comes as part of the year-long programme of events that Lille and the wider Lille Metropole area are hosting as the designated World Design Capital for 2020.

      Villa Cavrois is situated northeast of central Lille in the commune of Croix and was built between 1929 and 1932 by the French architect Robert Mallet-Stevens.

      The villa was originally designed as a family home for Paul Cavrois, a successful textile manufacturer, but during the second world war was occupied by German soldiers and turned into barracks.

      It was eventually abandoned and became subject to vandalisation, falling into such a severe state of neglect that it was threatened by demolition in the late 1980s.
      The French state ended up purchasing the villa in 2001 and carried out extensive renovation works to return the building to how it originally appeared in 1932. It then opened to the public in 2015.

      When it came to hosting their own exhibition at Villa Cavrois, Muller Van Severen wanted their furnishings to seamlessly fit in with the modernist grounds and interiors rather than appear as “strange entities”.
      “Time becomes irrelevant in this project,” the pair explained.
      “We want to create the poetic feeling that our objects could originate from the same time as the building. In the same way that the building itself feels very contemporary.”

      One room in the villa that’s lined with green-grey tiles of veiny marble is dressed with Sofa Cavrois, a furnishing that Muller Van Severen has designed specifically for the exhibition.
      The sofa – which is the first the duo has ever designed – curves upwards at two points, merging the shape of a standard chair and a chaise longue. To emphasise its sculptural form, the sofa is upholstered in bright sea-green linen.

      Muller Van Severen constructs Alltubes furniture series from rows of aluminium pipes

      A couple of the Muller Van Severen’s glossy, enamel-topped Emaille tables are also dotted throughout the room.

      Another mint-coloured room with wooden parquet flooring is dressed with the Strangled Rack from the duo’s Future Primitives collection, which comprises two intersecting shelves.
      Muller Van Severen’s Duo seat and lamp, which both boast red tubular framework, is presented just in front of the room’s huge marble-lined fireplace.

      One large maroon-red room displays shiny silver pieces from Muller Van Severen’s recent Alltubes collection, which is crafted from welded rows of aluminium pipes.
      Smaller spaces such as the villa’s kitchen, which features checkerboard floors, is decorated with a couple of brightly-hued Chair 2 models.

      The gridded wire daybeds and rocking chairs that Muller Van Severen originally created for Solo House, an architect-designed holiday home in Spain, are dotted across Villa Cavrois’ yellow-brick terraces outdoors.
      Some of the duo’s smaller homeware accessories are also included in the exhibition – for example, one office-like room features their stainless-steel Bended Mirror #3.

      Design! Muller Van Severen at Villa Cavrois will be showing until 31 October 2020.
      Villa Cavrois isn’t the only building by Robert Mallet-Stevens to become a public attraction. Villa Noailles in the French commune of Hyeres, which Mallet-Stevens designed in 1923, is now an arts centre.
      June of 2019 saw designer and Dezeen Awards judge Pierre Yovanovitch overhaul Villa Noailles’ gift shop, brightening up surfaces by painting them salmon pink, cobalt blue and buttery yellow.
      Photography is courtesy of Fien Muller.

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      Aurora Arquitectos transforms ruined Lisbon building into fun family home

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      A fireman’s pole lets children slide down between floors in this house that Aurora Arquitectos has created in Lisbon, Portugal.The building that the house occupies is nestled along Bartolomeu Dias street, west of central Lisbon.

      Although the structure had fallen into a state of almost complete ruin, it was purchased by a couple who wanted to establish a home where they could live for the foreseeable future and raise their three young children.

      Aurora Arquitectos was tasked with carrying out the residential conversion.

      “This is an upstream project in a time when the city has been gradually emptied from its inhabitants under the pressure of tourism and real estate speculation,” said the practice.
      “This is a project of resistance since it grows from the desire of a family wanting to remain in its own neighbourhood.”

      The original building was two storeys and measured just 60 square metres.
      As Aurora Arquitectos had to reconstruct nearly the entire building, it decided to extend the structure to create three more storeys and an extra 169 square metres of space.
      The new portion of the building has been painted bright white.

      “The family lived for some years in the Netherlands in a typical townhouse, known as a typology that has a vertical distribution of the program, so we can also say that influenced the design process,” the practice explained to Dezeen.

      Aurora Arquitectos opens up 1970s apartment in Lisbon with angular skylights and folding walls

      Inside, the traditional arrangement of rooms has been reversed. The sleeping quarters are on the bottom two floors, while the communal living spaces have been spread across the upper three floors to benefit from views of the nearby Tejo river.

      This excludes the playroom that has been situated at the rear of the ground floor, complete with curving in-built shelves where the kids can display their toys.
      The room can be reached via a fireman’s pole that extends from the kid’s bedroom directly above.

      “The family has three children and they like to spend all their time together, so the option was to concentrate their sleeping area,” added practice.
      “But once they grow up and need separate bedrooms one can transform the playroom into a bedroom, and the pole area into a bathroom.”

      As the playroom faces onto a narrow lane often frequented by pedestrians, the rear elevation of the home has been fitted with oversized privacy shutters that can be slid across the windows.
      On the home’s front elevation, the practice has simply restored the existing patterned tiles and freshened up the “Lisbon-green” paint that features on the doors.

      Rooms across all levels of the home have timber flooring and white walls, cabinetry and light fixtures. Perforated white metal forms the treads of some of the staircases.
      A splash of colour is provided by a recessed window in the kitchen that the practice refers to as “the green eye” as it is lined with jade-coloured Verde Viana marble.

      On the fifth floor is an outdoor terrace inset in the house’s pitched roof.
      The terrace is backed by a glass wall that looks down to the home’s living room on the fourth floor. Here there is a large window seat where the inhabitants can sit and relax with a book.

      Aurora Arquitectos was established in 2010 by Sofia Couto and Sérgio Antunes.
      The practice has completed a number of other projects around the Portuguese city of Lisbon – others include a brightly-hued hostel that occupies an old family home, and a renovated 1970s apartment that features angular skylights and folding walls.
      Photography is by Do Mal O Menos.
      Project credits:
      Architecture: Aurora ArquitectosArchitecture team: Sérgio Antunes, Sofia Reis Couto, Carolina Rocha, Bruno Pereira, Tânia Sousa, Rui Baltazar, Dora JerbicBuilding supervision: GesconsultEngineering: Zilva, Global, LDAConstruction: Mestre Avelino

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      Forte Forte fashion boutique in Madrid is filled with shapely details

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      A pale geometric relief wall offsets brass and green-marble decor details in this Madrid boutique designed by creative duo Giada Forte and Robert Vattilana.Madrid’s Forte Forte store occupies a corner plot in Salamanca – a glamorous district of the city known for its boulevards lined with luxury fashion boutiques and upscale restaurants.

      It was designed by the brand’s co-founder, Giada Forte and her partner, art director Robert Vattilana.

      The pair devised opulent interiors for Forte Forte’s London, Milan, Tokyo and Paris stores, but wanted the new Madrid branch to have a more restrained aesthetic that still offered moments of “poetry and feminine delicacy”.

      “[The store] is charged with a sensual energy polarized on the offset of masculine and feminine, curves and angles, geometry and sentiment,” Forte and Vattilana explained.
      “There’s a recognizable grammar of surfaces, treatments, colors uniting the different spaces that’s born from our creative dialogue, but the narration takes on a different metric and tone.”

      An off-white relief wall that features a haphazard array of raised geometric shapes runs down one side of Forte Forte’s ground level.
      A structural column in the store has been given a similarly geometric form. It extends up through a circular opening in the ceiling that has been backlit to look as if natural light is beaming through from the outdoors.

      At the centre of the store is a low-lying semicircular bench perched on a mottled pink rug. The flooring that runs underneath has been inlaid with mismatch cuts of grooved and plain stone, as well as tiny triangles made from emerald-green Iranian marble.
      The same veiny marble has been used to make the store’s door handle and its rounded service counter.
      Directly above the counter, thin brass stems have been loosely arranged in a grid-like formation to form a hanging sculpture. It supports a handful of warped glass orbs.

      Heavy gold velvet curtains help screen-off the cylindrical changing booth that dominates the rear corner of the store.
      Brass doors punctuated by small portholes can be pulled back to grant access to the inside of the booth, where teal-blue carpet has been fitted to match the blue underside of the curtains.

      Fashion sits alongside found objects at the Forte Forte boutique in Milan

      Garments are hung from spindly brass rails, while accessories and lifestyle items are presented on a set of brass shelves held up by a pole that’s been made to resemble an oversized bolt.

      A curving blush-pink staircase leads up to the store’s second floor. Forte and Vattilana have used the expansive landing that sits between the staircase’s two flights of steps as an additional display area.
      It’s dressed with a huge leafy plant, another brass clothes rail and an organically-shaped mirror.

      Forte Forte opened its first brick-and-mortar store in 2018 – until then, the brand’s clothing could exclusively be purchased online.
      The inaugural store in Milan has been decorated with a curious array of found objects including a nude sketch, a lump of coral and a bust of the goddess Venus that came from an old French foundry.

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      Moody interiors of Le Pristine restaurant by Space Copenhagen take cues from the Old Masters

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      Danish design studio Space Copenhagen has used subdued shades of green and grey to deck out the dining room of Le Pristine restaurant in Antwerp, Belgium. Le Pristine, which is headed up by three-Michelin-star chef Sergio Herman, occupies a 1960s modernist building. Years of unfinished renovation works meant that the building’s interior had several patchy
      The post Moody interiors of Le Pristine restaurant by Space Copenhagen take cues from the Old Masters appeared first on Dezeen. More