BEDMAR AND SHI PDF
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This deck steps downward to the left into the swimming pool itself in the same random sji of stepping pattern as seen the first courtyard. 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 ahi the house.
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.
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 delicateness of the glass connecting bridges between the various volumes of the house is echoed in the vertical connections between floors. Just as the spaces within the house are separated from each other with gaps and voids, the junctions between the various materials used in the house are most often divided by grooves, gaps, intermediate layers and recessed channels.
The extra height not only emphasizes the space as significant, but it also creates the hierarchy of the sleeping spaces above. This courtyard, Bedmar explains, carries a memory of cultural history of central social open qnd within traditional houses that were used for artistic performances. Due to the dilapidated state of the original building which was on the site, its demolition was permitted. Further down the long corridor, a wall opens up to introduce the Living and Dining Rooms.
The gradual and random stepping of the terrace from the pool to the deck level and then up to the roof, makes the deck feel like it is a continuous carved out surface that undulates below and above the building. With only slits of openings along the edges of the entrance space, the contrasting framed view into a sun basked rock garden vedmar the end of the portal draws the visitor forward in a distinctly tropical experience of light.
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 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.
Bedjar 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.
Bedmar and Shi | Archello
The separation of the finishes from each other allows the various materials to exist as independent entities, in a way, to breathe on their own. 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. This garden is dominated by a single Tulsi tree, which is considered to be an auspicious tree dedicated to the gods and creates an internal aura of reverence and tranquillity.
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 more dense urban situation. The slab of the Living Room floor is pulled away from the floor of the garden room, creating a gap or void into the lower level.
The guests that come to the house often enter the Pooja or prayer room first before visiting the main house. With a simple and poetic clarity, these stories and are all told through the modern architectural interpretation of sensitive designers at Bedmar and Shi. These walls never meet each other so that the space is never geometrically static. 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.
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 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.
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.
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.
Amrita Shergil Marg House 0.
These flat roofs are still heavily used by the occupants as terraces because from this height they enjoy the desirable winter breezes. Ajd to see more like this? 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.
Within bedmwr courtyard are elements of fire and water.
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 stone.
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. Here, horizontal concrete beams are exposed below the ceiling slab bevmar the spaces between the beams above the walls are left as high level windows.
This detail raises the Living and Dining Rooms up higher than all the other rooms.
This courtyard is also traversed only by the delicate glass bridges at each level. Cove Way House 0. 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. 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 of 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.
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 + shi: cove way house
Want to see more like this? Perhaps here, Bedmar is most influenced by the Barcelona Pavilion sih Mies Van de Rohe whereby the walls act as free standing objects that cut the continuous volume of the rooms into interconnected spaces.
The screen is detailed as a series of thin travertine horizontal strips with recessed stone supports at intervals. The visitor crosses over this void on light glass-floored bridges that accentuate the separation between the two structures.
Cove Way House | Bedmar and Shi | Archello
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 bedmarr from the wall with a narrow gap. 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.