“We spend 87% of our lives inside buildings,” Ilse states, “how they’re designed really affects how we feel and how we live.” This attention to wellness and wellbeing in design is exemplified in Studioilse’s project Ett Hem, a hotel in Stockholm, Sweden, that truly embodies the native meaning of its name, ‘a home’.Originally designed by architect Fredrik Dahlberg and built in 1910, this architectural gem from the Arts & Crafts era was once upon a time the residence of a government official and his wife who were avid art and design lovers. In reimagining the residence as a hotel, Studioilse worked with great sensitivity to preserve the personal quality of Ett Hem and embed it in the hotel. This meant going above and beyond simply designing a hotel with a homey aesthetic to continuing the story of the home that already existed. As such, Ett Hem’s design revolved not around how a hotel can be made to look and feel like a home, but rather around how people might be made to feel cared for and valued. “Hotels often offer a lot of services on the surface but the only actual interaction taking place is putting in an order and receiving it on your bill,” says Ilse, “We based the concept on the idea of warm and intelligent human contact throughout and designed into that. The kitchen is shared by guests and the chefs who use local produce and ingredients and are able to talk about that. We carefully selected sustainable brands and producers. We wanted to create a system where the money you spend goes back into good companies.” [gallery type="rectangular" size="medium" ids="98982,98980,98979,98977,98975"] Studioilse’s work is testament to the fact that wellness and wellbeing goes further than just an ideal tagged onto an end result. To design for wellbeing is to think in ecosystems – taking into consideration where things come from, who they sustain, where they go and how its crafted and how it can change the way we live. Watch the complete short film Wellness and Wellbeing presented by Ilse Crawford for VOLA below: https://player.vimeo.com/video/375356448?dnt=1 On design is a digital platform created by Vola to shine a spotlight on elegantly resolved architectural projects from across the globe and share the insightful and inspiring perspectives of pioneering industry professionals. Wellness and Wellbeing is On design's third film feature, so there's even more juice where this came from. For instance, a personal account of the intrinsic relationship between Danish culture and design from Jonas Bjerre-Poulsen, founding partner of Norm Architects. VOLA vola.com/on-design We think you might also like vaatsu shastra and design for wellbeingabc
The screens, which provide privacy and protection from the elements, were also conceived with a playful spirit. “We used the architecture in this case as a bit of fun to tie the building together,” adds David. “The rear screening element was used to blend the storeys together to appear as a double-storey residence when it really was addressing a 3-storey element (the courtyard/void/roof terrace). The cutout arch to the northeast corner just gives some play with light and breeze and some interest to a flat elevation.” From a planning perspective, the house provides “ground floor living”, a private parents’ retreat on the upper level, and city views. “The use of levels also meant with some excavation to the rear we could extend the main living area into the back yard disguising level changes with bench seating and landscaping to create a 200-metre-squared north-facing internal/external area with screening, voids and landscaping,” adds David. The palette is appropriately understated, referencing the vernacular Queenslander, yet in a contemporary context. “Given the main living spaces are quite long and open, an understated palette was implemented with subtle textures and undulating surfaces providing the impact without overpowering the space,” explains David. For example, the Paloma tile in the kitchen, provides interest and texture in an otherwise muted and edited interior. DAH Architecture daharchitecture.com.au Photography by Scott Burrows Dissection Information Provence French Oak floorboards by Queensland Timber Flooring Avante 20mm honed marble slabs from SNB stone Paloma kitchen tiles from National Tiles Evenex Desert Gum kitchen cabinetry from ETON Group Appliances by Designer Appliances We think you might also like Glamorgan House by DAHA abc
“The surrounding houses are built out to the front boundary so we decided on our property to incorporate some transparency in screening while speaking to the form of the surrounding buildings.”
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One such venue is Cornerstone Stores located between Currumbin and Tugun on the Gold Coast. Developed by a local family, Cornerstone Stores is a one-stop destination for the community and visitors with a curated mix of lifestyle-focused retailers, including a café, wine cellar and wellness boutique. Richards & Spence designed Cornerstone Stores with all boutiques facing a central courtyard, and dining and social spaces spilling out to a lawn with views to Currumbin Wildlife Sanctuary. “Dining and circulation are externalised beneath a deep awning, and the northern edge is ambiguous allowing the development to borrow from the neighbouring creek and nature reserve,” says Ingrid Richards, co-founder of Richards & Spence.
Designers are blurring the lines between interior and exterior space.
Cornerstone Stores, Gold Coast, by Richards & Spence, photography by Andy MacphersonRed brick continues inside and outside; across walls, floors and arches. Ivy creeps up the walls, greenery trails down from the awning, and a large pandunus palm occupies a void as if the building is becoming enveloped by nature. This submersion in nature is likewise the case at Garden Hotpot Restaurant in Southwest China, where MUDA-Architects has designed a free-flowing structure that mimics the ecological conditions. Hidden in a eucalyptus forest ten kilometres from Chengdu, Garden Hotpot Restaurant’s organic shape mimics the lotus pond and evokes the steam and smoke from boiling hotpots. “We used only pillars and boards to hide the building in the woods. This lets the building gently integrate with the site and delineates the shape of the lake in a light and peaceful way,” says Lu Yun, founder of MUDA-Architects.
Garden Hotpot Restaurant, China, by MUDA-ArchitectsNo plants were removed from the site for construction and the thin steel columns supporting the roof blend with the tree trunks to disappear into nature. As mist from the pond permeates the space, it creates a romantic, faraway atmosphere. In Vietnam, Sahi W&D House is only four kilometres from the centre of Huě, but it too feels a world away with minimal walls and translucent materials dissolving the barriers between in- and outdoors. SILAA Architects designed Sahi W&D as a homestay to encourage engagement between people and their setting. The timber structure blocks views of the neighbours, focusing instead on the trees to feel part of the natural world rather than the suburban streetscape. “Guests have the experience of living in a garden atmosphere, while also having more enclosed, private spaces,” explains Nguyen Huu Son Duong of SILAA Architects.
As urban development puts the squeeze on outdoor green space, these new public environments seek to break down the barriers between interior and exterior.
Sahi W&D House, Vietnam, by SILAA ArchitectsSILAA reduced the timber structure to its essential framework and incorporated voids and terraces and used polycarbonate panels to blur the boundaries of the hut and garden. Light and colour filters through the opaque panels and communal spaces encourage interaction between people and connection with nature. Melbourne based design studio Biasol looked to the site’s landscape for the material palette of Bankvale Run bar at Marnong Estate, which sits on more than 100,000 acres north of Melbourne. While the terrace offers an open-air setting, the interior draws the outdoors in with earthy colours and natural textures inspired by the undulating farmland, vineyard and the Macedon Ranges in the distance. “The warmth and authenticity of the palette brings the beauty of nature into the space, complementing the views and unifying inside and out,” says Jean-Pierre Biasol, founder of Biasol.
Marnong Estate, regional Victoria, by Biasol. Photography by Sharyn CairnsTerrazzo floor tiles are speckled with warm orange, amber and olive-green; rendered walls have a textured surface; and timber ceilings radiate warmth. The banquettes and chairs are upholstered in rich brown and green leathers, and glass windows and panels ensure unobstructed views. As urban development puts the squeeze on outdoor green space and urban living sees us become more estranged from nature, these new public environments seek to break down the barriers between interior and exterior, satisfying our need for open air and nature in the modern built environment. We think you might also like these Five Australian Kitchen Designs That Connect To The Outdoorsabc
House in a Garden’s minimalist aesthetic provides the perfect milieu to showcase the clients’ extensive art collection.
A mezzanine library above the living room allows for visual connections between public and private zones.Strategic arrangement of windows and openings ensure House in a Garden abides by the climactic conditions of Mauritius. The large openings of the living area are glazed and flanked by narrow slit windows with fly mesh on the outside and operable timber louvers, allowing for cross-ventilation throughout the house. The expansive opening of the conservatory structure that frames the dining room has been fitted with doors of mild steel, custom-designed to withstand the summer cyclones. With summer winds typically coming from the north-eastern front, this fenestration arrangement means residents are able to bask in the natural breeze, without the worry of mosquitoes invading their space. In regards to materiality, House in a Garden’s minimalist aesthetic of concrete walls and ceiling, and floors of reclaimed teak provides the perfect milieu to showcase the clients’ extensive art collection. Likewise, reclaimed architectural elements such as the crimson spiral staircase that connects the children’s suite to the kitchen, the South Indian columns along the entrance forecourt, and the Rajasthani columns in the poolside verandah are elegantly integrated into the design. The culmination of Studio Lotus’ design for House in a Garden is one that champions a strong sense of connectivity. Be it in incorporating materials from the site’s previous structure; visually linking the site’s manicured lawns to the neighbouring wilderness; or blurring the boundaries between inside and out, this is a house designed to forge connections between its residents, their artistic pursuits, and the nature of their surrounds. Studio Lotus studiolotus.in Photography by Karl Ahnee We think you might also like Taipei House by Valerie Rostaingabc
Having purchased a vast, untarnished plot of land in Yilan – about an hour drive from Taipei – in 2016, André envisioned a brutalist structure of concrete and glass, protruding from the centre of fifteen-hectares of flat, lustrous rice field. To realise his vision, André enlisted the help of architecture practice Lee Design Studio. The result is a bold building of 370-square-metres with a modern, graphic silhouette of three concrete pillars varying in height connected by glazing and black steel cubes. A spectacular eight-metre tall glass walkway connects the two floors with a custom-made glass staircase. The kitchen, living room, dining room and Taiwanese tearoom are located on the ground floor, while the first-floor houses two bedrooms and a study room. The roof is exploited as a grand terrace with view to green fields and mountains. As one of the world’s best chefs, the kitchen occupies a central spot in André’s heart as well as in his home. The chef opted for a captivating kitchen in black steel from Vipp comprised of a series of tall and lower cabinets and a big island module used as workbench. André once saw this kitchen in a magazine and knew he wanted it for his next home.
André envisioned a brutalist structure of concrete and glass, protruding from the centre of fifteen-hectares of flat, lustrous rice field.
“I chose the Vipp kitchen because I do very heavy cooking,” he explains, noting an appreciation for the sturdiness of the stainless-steel work top. “My favourite detail of the kitchen is the gas stove design made with solid gas knobs. “My mother taught me how to cook and now it’s a family thing, a shared passion between my mother, myself and my wife. So, we spend many hours together in this kitchen,” adds André. Cult Design cultdesign.com.au Lee Design Studio leedesign.studio Vipp Kitchens are available exclusively in Australia through Cult Design We think you might also like Armadale House by Chris Connell Design abc
The chef opted for a captivating kitchen in black steel from Vipp.
Calé(e)Composed of an assembly of designs, the Calé(e) collection offers a range of geometric patterns, where a sense of imbalance gives way to simple, linear and sophisticated designs. The Calé(e) pendant lamps can be hung as a single canopy, arranged either rectangular or circular formations, with the rectangular arrangements being able to be custom-designed for any size to suit every environment. The Calé(e) floor lamp brings the same sense of geometric design and playfulness with balance to a handsome standing lamp. The offset cylinder at its base creates a sense of strength against the slim stand of the lamp.
Cercle et TraitAs light as it looks, the design of the Cercle & Trait light is surprisingly sturdy. Thanks to perfectly balanced separate pieces, the eye-catching light will remain in place as it shines, held together by one small wire.
ConstellationAsymmetric and appearing to be multiplying, Constellation offers an endless of arrangement and placing possibilities, auditing every space and style. Working as either a wall unit or a ceiling fixture, the individual lights can be positioned in any desired pattern, all working from one electrical outlet.
Signal“Bringing something ancient back to fashion”, this is what designer Pauline Deltour was thinking in designing the Signal suspension lights. Again, a playful sense of balance is alluded to here, resulting in an asymmetrical light source that can be suited to hang at any position.
SaturneFrom interplanetary inspiration to the home, the Saturne brings a vision of the cosmos wherever it is hung. Striking on its own or clustered together with multiple pendants, Saturne’s diffuse lighting shines out above and below the rotating brass ring that surrounds it.
StormA reinterpretation of stormy weather, Storm is a simple and elegant table lamp for contemporary aesthetics. The design of the lamp shows off delicate and refined design choices, exemplifying the elegance of French lighting design.
TétraSuited to be hung on its own or as part of an arrangement, the triangular Tétra light can help shape the space of the wall it is placed on. A simple object that can be multiplied endlessly, the triangular design of Tétra allows for endless, geometric configurations and patterns within a space. All these and more are available to Australian design lover thanks to Misura. Misura misura.com.auabc
Its new owners Adam (the builder) and Alicia Pierson commissioned Ben Mitchell-Anyon of Patchwork Architecture to develop a fresh scheme. “This was never going to be a conventional hillside house,” says Ben. “It would burn too much budget on excavation and waterproofing – money better spent on the house itself. "We also had a busy road to deal with, so we lifted the house high above the traffic for privacy and to capture killer views of the harbour and surrounding suburbs.” This meant breaking the height-to-boundary controls by up to four metres on the road and public reserve boundary. However, the council wisely approved the scheme so this innovative design would create something unique from a seemingly uninhabitable site. Ben has designed a 10x10 House – exactly 100 square metres – set three storeys above the site entry. Simple geometry has allowed him to rationalise the site and create a highly efficient plan. “The brief was for a three-bedroom family home,” he says. “They had no preconceptions about the design and gave us full creative freedom. Having worked with Adam on several houses now, our starting point was the level of detail and perfectionism we’ve seen in his work. A simple square offered an incredibly crisp form – not only relating to Adam’s building interests but also leaving us more budget to apply to the detailing and materials.” 10x10 House is supported by a concrete block core – enclosing a small office, laundry, entry and stairwell – and ten steel poles. The main floor cantilevers past these foundations to not only present a dramatic composition to the road, but also pitch the house out toward the view. Reminiscent of the L.A. Case Study Houses of last century, the industrial panelised materials and minimal form challenges the stereotype of a home. From the outside, the structure is purposely devoid of recognisable house signs – no eaves, no pitched roof, no window reveals, no shutters, no traditional porch. Enigmatic and as un-house-like as you can get, it could be mistaken for a watchtower or small commercial building. Silver anodised cladding, flashings, joinery, downpipes and gutters – even a full metal underside – create a singular form broken only by vertical panel joints. “I love it when you get a strange site and it produces an unusual outcome. You wouldn’t look at the site and think a perfect square would be the logical response,” says Ben. “The clients were willing to take a risk with the sketch design and they trusted us to design them a great house. We knew Adam could build it, so we weren’t afraid to try unusual details. He knows what he likes, but also trusts us to do our thing and gave us input for how he wanted to put it together.”
The structure is purposely devoid of recognisable house signs – no eaves, no pitched roof, no window reveals.
To explore the 10x10 House, you climb seven and a half metres up two sets of external concrete stairs to arrive at the entry deck protected below the house proper. A glass door leads into a timber-lined lobby and stairwell, where the warmth of the interior is immediately revealed by the oiled Tasmanian blackwood. Winding up another level, you arrive in a small lobby leading onto the main living space. Timber is used throughout the main floor, with a solid oak floor perfectly mirrored in a solid oak ceiling. This luxury is continued in two walls of blackwood cabinetry – the one-wall kitchen and living room unit. Dark grey matt ceramic tiles complete the dark palette. From this warm containment are two areas of floor-to-ceiling glass revealing an outside deck and a long view of Evans Bay from the corner window. “The main living room is strangely peaceful despite the traffic and wind,” says Ben. “Quiet and warm; it’s the elevation above everyone else that gives that privacy. It is a house to sit and watch a storm.” Bedrooms are distributed on the other three corners of the square with two bathrooms set back-to-back on the hillside. While it’s essentially a single-storey house, the architects have created useful outdoor spaces at three levels – below, centrally and overhead. The entry deck to 10x10 House provides a covered outdoor area and adjacent garden made private by new planting and with external access up to the main deck above. At the very top, a flat roof forms an open deck with a quirky ‘bus stop’ in the centre. Referencing the arterial road below, it provides a protected room from Wellington’s fierce winds – and fixed furniture that won’t blow away. Access is via a freestanding concrete stair – the fourth flight of stairs! – and across a bright yellow steel gangway. “These spaces above and below make it very dynamic,” says Ben. “They provide views around the building, up and down – indoor–outdoor rooms that are inexpensive to create and add a lot of interest. The roof deck is a fairly unusual feature in a city known for its wind. But on a good day, there is no better place to be with its panoramic views of the harbour and city.” This young and emerging design practice run by Ben and business partner Sally Ogle – colleagues from architecture school – is gaining a reputation for striking and innovative buildings. A small and adventurous practice challenging the status quo to find high-quality living solutions. Patchwork Architecture patchworkarchitecture.co.nz Photography by Simon Wilson Dissection Information Fiberglass clad white-coated steel for ‘Bus Stop’ Garapa hardwood decking European Oak from VidaSpace for floor and ceiling Tasmanian Blackwood wall paneling and joinery Wall and floor tiles from Winckelmans In-situ concrete stairs Adelaide barstools, Amsterdam sofa, Veneto chair, Elba outdoor lounge chair, all from BoConcept Custom-made dining table/island by Dazam Wood Design Arnold Circus stools by Martino Gamper from Everyday Needs Moth Lighting throughout Pyroclassic Mini fireplace on recycled marble hearth Tapware from Methven
It’s the elevation above everyone else that gives that privacy.
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"It is a house to sit and watch a storm.”