BEDMAR AND SHI PDF

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This courtyard, Bedmar explains, carries a memory of cultural history of central social open spaces within aand houses that were used for artistic performances. The screen is detailed as a series of thin travertine horizontal strips with recessed stone supports at intervals. By continuing to browse our website, you consent to our use of cookies in accordance with our cookie policy. In a clever re-definition of a traditional tropical housing bedma arrangement where the rooms are expressed as separate pavilions that sit in a larger garden, this house by Bedmar and Shi operates in a more dense urban situation.

Within this courtyard are elements of fire and water.

Recalling somewhat the stone walled buildings in his native Argentina, Ernesto Bedmar is able with this project to redefine and modernize his tropical language and spatial organization while still echoing traditions of craft of the region.

Bedmar explains that the East and North directions are considered more favourable in terms of views and openings for the house according to Vastu, while the South is considered unfavourable due to the intensity of the sun from that direction.

This detail raises the Living and Dining Rooms up higher than all the other rooms.

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The guests that come to the house often enter the Pooja or prayer room first before visiting the main house. The courtyard in front of the Pooja room is the first of many entertainment spaces and is here often used to receive guests during a celebration. The 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.

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This house, which is located in the highly prestigious and beautifully landscaped region of Amrita Shergil in Delhi, India, was to present Ernesto Bedmar with one of his greatest challenges to date.

The visitor crosses over this void on light glass-floored bridges that accentuate the separation between the two structures. 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.

Cove Way House

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. A secondary layer of folding teak treads and risers is sandwiched over the steel plate.

Elegantly poised atop its granite pedestal, this beautifully crafted home in India is truly a temple for the body, as well as a captivating repository of stories. 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 intention of the planning 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. 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.

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Want to see more like this? Adding to the free-standing an of bwdmar walls in the Living and Dining Rooms is the visual disassociation of the concrete flat roof from the walls. We use cookies on our website. Perhaps here, Bedmar is most influenced by the Barcelona Pavilion of Mies Van de Rohe whereby the walls act as free standing objects that cut the continuous volume of the rooms into interconnected spaces. 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.

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In making the front of the house heavier in language than the back, the designers have also taken advantage of the intrinsic planning reversal in all bedar the plots of land on the Island, where the front street entrances to the sites oppose the magnificent view of the ocean and canals at the backs of the properties.

In this house, the Pooja room is a magical space located in bexmar Northeast corner, just off the vehicular entrance area. In a more formal manner, this rooftop environment is echoed at a larger scale by a similar roof terrace above the Living and Dining Rooms that can accommodate larger gatherings.

The solid, carved out nad 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 courtyard is also traversed only by the delicate glass bridges at each level. The separation of the finishes from each other allows the various materials to exist as independent entities, in a way, to sih on their own.

A light and breezy atmosphere is created on the roof terrace atop the guest suite onto which is erected a series of steel columns supporting tensile fabric that shades it from the sun. The 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.

This deck steps downward to the dhi into the swimming pool itself in the same random type of stepping pattern as seen the first courtyard. Dhi to the dilapidated state of the original building which was on the site, its demolition was permitted.