forest Archives

Greek architecture offices K-Studio and Monogon have converted the abandoned Manna Sanatorium in Arcadia, southern Greece, into a luxury forest hotel.

Originally built in the 1920s to give tuberculosis patients access to the healing power of nature, the historic structure is now a five-star wellness retreat.

Manna offers 32 rooms fitted out with natural materials and neutral tones, plus gym and spa facilities and a restaurant focused on local produce.

The building sits within a fir forest on Mount Mainalo, the tallest peak in the mountainous region.

The design vision set out by Athens-based K-Studio was to amplify the sense of sanctuary offered by the remote location and enhance the feeling of connection to nature.

Manna owner Stratis Batayas, a Greek entrepreneur who had spent his childhood summers in the area, wanted to create a year-round destination that stayed true to the building’s history.

Manna hotel in Arcadia by K-Studio and Mongon — The building is set in a fir forest in Arcadia, a mountainous region of Greece

“The client’s ambition was to reinterpret the concept of a sanctuary in the mountains with contemporary terms,” reads K-Studio’s design statement.

“The hotel would have to be a place for isolation, as well as community-making and participation in the primary activities of everyday living.”

Lounge at Manna hotel — Design details include columns with curved corner reveals and ornate gridded ceilings

The renovation was overseen in collaboration with Athens-based Monogon and involved significant building work, including the reconstruction of a derelict rear wing and the installation of a new roof.

When the sanatorium closed – made obsolete following the introduction of penicillin in 1938 – the building had been emptied to prevent looting. Stone window sills were stripped out and relocated, while the original roof was removed and repurposed on a hospital in nearby Tripoli.

Concrete was used to replace the old sills, while the new timber roof was installed over rendered brickwork.

Bar at Manna hotel — The bar features neatly crafted joinery

A reconfigured layout provides a new entrance on the side of the building.

This leads through into a series of elegant reception and lounge spaces where details include columns with curved corner reveals, ornate gridded ceilings and a herringbone-patterned fireplace.

Manna’s bar can also be found here, featuring neatly crafted joinery. Elsewhere, the restaurant run by chef Athinagoras Kostakos has a more casual feel thanks to an open kitchen.

Art is present throughout, with works by Greek artist Nikos Kanoglou, painter Joanna Burtenshaw and ceramicist Diane Alexandre.

Attic bedroom at Manna — Attic bedrooms feature dormer balconies

Bedrooms are located on the upper floors of the main building, including a new attic level, and on all levels of the rebuilt northern wing.

Attic rooms offer the most modern feel, extending out to balconies set within large gable-ended dormers.

Bedroom furniture — Interiors feature natural materials and neutral tones

The materials palette combines brushed timber with earth-toned textiles. Standout features include the elaborate privacy screens that form a backdrop to the beds.

Terrazzo flooring is inlaid with marble to define different zones, matching the stone used for wash basins. Room numbers are carved into the floor surfaces in front of each room entrance.

“Local craftsmen were involved in all construction phases, as they bear the knowhow of stoneworks, joinery and even the characteristic engraved grouting of the exterior stonewalls,” said K-Studio.

Bath in bedroom at Manna — Terrazzo flooring is inlaid with marble to define zones

Manna opened its doors in the summer of 2023 and is represented by Design Hotels, a booking company that specialises in design-led retreats.

K-Studio co-founder Dimitris Karampataki presented the project at the 2023 edition of The Lobby, an annual hospitality conference in Copenhagen.

Manna restaurant — Manna’s restaurant features an open kitchen

He said the design for Manna “embraces the wear and tear, embraces the natural patina”.

“When we first arrived we saw something, which took about a century to make,” he said. “We didn’t want to clean it too much, to be selective of its heritage. It was more important for us to embrace the whole story.”

Balcony view — The design aims to reconnect people with nature

Other destination hotels to open recently include the Six Senses Rome, designed by Patricia Urquiola, and the Sanya Wellness Retreat in Hainan, China, designed by Neri&Hu.

The photography is by Ana Santl.

Project credits

Architectural concept: K-Studio
Technical design: Monogon, CS Architecture
On-site supervison: Monogon, K-Studio
FF&E: K-Studio, Monogon
Art curation: Joanna Burtenshaw
Branding design: MNP
Surveyor: Ioannis Charbilas
Structural engineer: Niki Psilla
Mechanical engineer: Gerasimos Vasilatos/Alexandra Zachopoulou & Partners
Lighting design: Eleftheria Deko and Associates Lighting Design
Sound consultant: Alpha Acoustiki
Kitchen consultant: Xenex
Landscape architects: H Pangalou & Associates
Main contractor: CT Construction

Reference

Architecture

OTHERWORLDS’ como agua resto-bar unfolds like a huge bird’s nest in the indian forest

By Zarkon Group,25/01/2024

como agua by otherworlds completes in North Goa, India

Step inside Como Agua, a new bar and restaurant on the Vagator cliff overlooking the sea in North Goa, India. Conceived by multidisciplinary practice OTHERWORLDS, the design combines sustainably sourced bamboo and a wild shrub, Lanternna Camara, a combination that playfully alludes to dining in an overgrown and enlarged weaver’s nest surrounded by lush tropical paradise. As an invasive species of plants widespread in the Western Ghats, the Lantenna Camara claims agriculture, forest growth, wildlife and tribal livelihood every year — yet, by repurposing it as a building material, ‘the project displays innovative building practices using biological materials while creating emphasis on lantenna removal, use and restoration,’ comments principal architect Arko Saha.

all images © Fabian Charuau, Studio Charuau

evoking the wild nest of weaverbirds

The design of Como Agua is heavily inspired by forms found in natural environments. ‘We were fascinated by the wild women nests of weaverbirds. The weavers are social birds, usually nesting and feeding in colonies. They collect all sorts of natural materials like twigs, fibres and leaves to weave a membrane that acts as their nest, usually hanging from the branch of a tree,’ notes the studio. Materials used for building nests include fine leaf fibers, grass, and twigs. Many species weave very fine nests using thin strands of leaf fiber, though some, like the buffalo-weavers, form massive untidy stick nests in their colonies, which may have spherical woven nests within. OTHERWORLDS, therefore, wanted to explore the experience of dining within and around a weaver’s nest. Like the weaver, the team also foraged into the forests of the Ghats to collect wild Lantenna and weave them to create spatial structures for the space.

Como Agua by OTHERWORLDS

The top deck of the Como Agua restaurant houses two nests where one can sit and dine while enjoying the extensive views of the beach and sea of North Goa. On the ground floor, an undulating lantenna membrane wraps the bar and pizza counters and houses a wooden bench in between, offering a cozy corner for dinner. The wire mesh lamps spread across the bar-resto to light up the tables are also inspired by hanging nests found in trees; these lamps hang at different heights, creating a whimsically warm atmosphere that mimicks the organic nature of their biological counterparts found in the forests.

the resto-bar sits on the Vagator cliff overlooking the sea in North Goa

building with bamboo and repurposed lantenna camara

Lantenna Camara has been listed as one of the ten worst invasive species in the world, invading over 40% of the Western Ghats, a total of 13 million hectares. Arriving in India as an ornamental plant in the early 1800s, predominantly by the British, Lantana has escaped from gardens and taken over entire ecosystems through its multiple hybrid varieties. In the 200 years of its arrival, the plant has evolved to now climb up the canopy as a woody vine, entangle other plants by forming a dense thicket, and spread on the forest floor as a scrambling shrub. Lantana is mainly dispersed by fruit-eating birds, monkeys, bears, and the like, but it also capable of growing from its root-stock, and nodes. This results in its widespread growth, ultimately affecting biodiversity, livelihoods, and human and animal health — from displacing native plants and reducing productivity in pasture through dense thickets formation to making it exceedingly difficult for tribal communities to access the forest for edible tubers and firewood collection.

an undulating lantenna membrane wraps the bar and pizza counters

These alarming issues and threats expose the imminent danger of Lantenna growth, highlighting its eradication and the urgency of exploring new methods of removal/restoration. For Como Agua, OTHERWORLDS has repurposed Lantenna from Western Ghats, bringing it on site to cut, trim, bend, and wrap around metal mesh structures to create a membrane used for railings, compound wall partitions, nest-like structures, facades, and canopies. Completing the design is bamboo, sourced jointly with Bangalore-based company Bamboopecker. Native to the region, Bamboo is extensively used for structure and facade treatment. Varying thicknesses and sizes are first treated with saltwater and then used in the space. OTHERWORLDS recycled local wood pieces to create custom patterns for the bar counter tops and facade. Even the outdoor built-in benches are made using reclaimed pieces of Matti wood. Indian Kota stone makes up the interior flooring, while larger Kota stone slabs of varying polished and colors (rough to smooth) are cut into thinner pieces and then laid on site to interlock with the outdoor wooden deck. Locally available Matti wood comprises the furniture and outdoor decking.

outdoor built-in benches are made using reclaimed pieces of Matti wood

Reference

Architecture

Studio Gang nestles Kresge College expansion in Pacific forest

By Zarkon Group,14/12/2023

Chicago architecture firm Studio Gang has expanded a California college through the addition of mass-timber structures that were informed by how fungi grow in the wild.

Kresge College is a part of the University of California, Santa Cruz. Most of its campus was originally designed by American architects Charles Moore and William Turnbull in the early 1970s.

Studio Gang was tasked with expanding the footprint of the project along the northwest extent of its property, nestled in a lush Pacific forest.

Four buildings were designed to complement the existing structures – California modern-style buildings with stucco walls and splashes of colour – and the woodland environment. All of the buildings feature concrete podiums, which support load-bearing timber walls.

Glass window back lit with trees in the forest — The expansion includes four structures with mass-timber elements

“Our goal was to add new qualities to the sense of place offered by Moore and Turnbull’s design, rather than to replicate the architecture,” said studio founding principal Jeanne Gang.

“We wanted our expansion to retain the qualities of surprise and free-spiritedness that have defined Kresge College, while at the same time opening it up to students of all abilities, the incredible natural ecology of its site, and the larger university community beyond.”

The expansion’s centrepiece is an academic centre with a series of protrusions that jut out asymmetrically from a core. Three simple, bow-shaped structures were placed to its southeast to house students.

Timber facing — The residential buildings were clad in timber

The Kresge College Academic Center sits on an uneven site next to a steep ravine. To navigate this site, the studio used methods it said were inspired by the growth patterns of polypore fungi, by simultaneously “stepping down the slope and flaring out”.

The centre’s flared form was clad in a metal curtain wall, rendered in a light colour to reflect the mid-century buildings, while the faces of each protrusion feature floor-to-ceiling glass trimmed with timber.

Wooden buildings among the trees — The residential buildings have a bow-form to preserve trees

At the centre is a large lecture hall, surrounded by a triple-space atrium with smooth concrete hallways and elevated walkways that connect to the four protruding spaces.

These hold classrooms and utilise the slope with three storeys that line up with the two-storey central structure.

The largest of these protrusions features a smaller lecture hall on the top level, with a roof that slopes up and out in a sizeable lip.

Three storey atrium — The academic centre has a three-storey atrium

The smaller residential buildings are all bow-shaped, a move the studio said was implemented to preserve as much of the redwood tree groves on the site as possible.

These buildings are five storeys tall and have a central core set back from the wood-clad exterior, with large window boxes on each end that create sheltered patios on the second storey.

The recesses between the window and the facade were painted bright yellow, which resonates with the colours used in the Moore and Turnbull designs.

Like the academic centre, these structures have concrete podiums with load-bearing timber walls. However, cross-laminated ceilings were included and in many places, these elements were left exposed.

The bottom floors of these residential structures were left open for social spaces and amenities, while the top floors hold habitations: about 100 students can live in each structure.

Mass timber student center — Mass-timber elements were left exposed

Studio Gang also made interventions in the landscape, restoring and expanding the paths already connecting the campus and a long pedestrian bridge that crosses the ravine next to the academic centre. It also added a square at the building’s primary entry.

Studio Gang has completed a number of high-profile projects this year, including museum expansions in Arkansas and New York City. Kresge College is part of the studio’s move towards using more mass timber, and it has been selected to complete a theatre using this material in the Hudson Valley.

The photography is by Jason O’Rear.

Project credits:

Design architect and architect of record: Studio Gang
Contractor: Swinterton
Expansion plan associate architect: TEF Design
Interior designer: Studio Gang
Structural engineer: Magnusson Klemencic Associates
Structural engineer: MME Civil + Structural Engineering
Landscape architect: Joni L Janecki and Associates Landscape Architects
Landscape architect: Office of Cheryl Barton
Civil engineer: Sherwood Design Engineers
MEPFP: Introba
Sustainability consultant: Atelier Ten
Lighting consultant: Horton Lees Brogden Lighting Design
Acoustic consultant: Salter
Envelope consultant: Simpson Gumpertz & Heger
Wayfinding and graphics: Cheng+Snyder
Code consultant: Holmes Fire
Quantity surveyor: Directional Logic
Accessibility consultant: Jensen Hughes
Elevator consultant: Elevator Consulting Associates
Technology consultant: TEECOM
Theater consultant (for Kresge College Academic Center): The Shalleck Collaborative
Food service consultant (for residential buildings): Ricca Design Studios

Reference

Sustainable News

Bark to beauty: forest byproducts for cosmetics, food, and chemicals

By Zarkon Group,18/11/2023

Spotted: One part of the UN FAO’s (Food and Agricultural Organization) forestry programme is the “conservation and sustainable use of forests to enhance forest-based livelihoods.” In this spirit, Finnish materials technology company Montinutra has created a chemical-free extraction process for valorising forestry waste.

Using Pressurised Hot Water Extraction (PHWE), the company transforms forest industry side streams into valuable new ingredients for the cosmetics, food and beverage, and chemical industries. Sawdust and bark are two of the most common waste products in the forestry, and with Montinutra’s inexpensive, efficient extraction process, businesses can turn a byproduct with little value into a new income stream.

The bioactive compounds that come from wood waste are highly valuable ingredients. When they are used in place of petrochemical-based materials, manufacturers reduce production emissions while improving the health of their products. In cosmetics, for instance, wood sugars provide emulsifying, SPF-boosting, and antioxidant qualities, and the ingredients can be used in industrial applications as binders, coatings, and fillers.

The extraction process works with many different types of feedstock, and the machinery and hardware are modular, transportable, and use closed-loop water circulation and energy recovery. That makes it easy for lumberyards and other forestry businesses to integrate a new system into existing infrastructure while improving the overall sustainability of their operations. The minimal amount of material left over after extraction can then be used for biofuel.

Montinutra’s pilot plant in Turku, Finland, proved the viability of the technology, and the company is now in the planning stages for its expansion to industrial-scale manufacturing capabilities by 2026. Following recent funding, the company hopes to quicken its international expansion and is also looking to soon rebrand as ‘Boreal Bioproducts’.

In Springwise’s database, other innovations centred on upcycling sawdust include using the material for 3D printing and building new beehives that help the insects survive winters.

Written By: Keely Khoury

Reference

Architecture

thinned trees from japanese forest compose barrel-shaped sauna with stepped ceiling

By Zarkon Group,22/08/2023

kairi eguchi studio’s private sauna fosters interplay of light

Based on the classic structure of a barrel sauna, Kairi Eguchi Studio’s YOKI SAUNA sits on the site of an abandoned elementary school in Hyogo, Japan, as a rejuvenating experience rooted in nature and local heritage. Its wooden form is shaped by thinning trees collected from the engulfing natural environment, and is marked by a long, slender window crowned by a stepped ceiling. This distinct feature welcomes an interplay of light and shade into the space, immersing visitors in an ethereal, tranquil ambiance.

all images courtesy of the author

a tranquil experience rooted in nature

Located in Aogaki, Tamba City, the facility fosters a symbiotic relationship with the surrounding environment, with the water used in the sauna’s baths being drawn from the headwaters of the Kakogawa River. Further, extending its scope of the project beyond architectural design, Osaka-based Kairi Eguchi Studio’s branding of YOKI SAUNA pays homage to the backdrop of the nearby mountains. The project is shaped from thinning trees felled in the mountains — an operation initiated by the facility’s management company Ki-ei Co. — which informs the sauna’s logo depicting four interconnected trees.

YOKI SAUNA sits on the site of an abandoned elementary school in Japan

a long, slender window crowned by a stepped ceiling punctuates the elevation

this distinct feature welcomes an interplay of light and shade into the space

thinning trees collected from the engulfing natural environment shape the sauna

a long and narrow window from the stepped ceiling allows morning light to enter

the water used in the sauna’s baths is drawn from the headwaters of the Kakogawa River nearby

diffused natural light enters the sauna from the stepped ceiling

sauna entrance

Kairi Eguchi Studio completes the architecture and brand identity of the sauna

four interconnected trees are symbolized in the logo

project info:

name: YOKI SAUNA
architecture: Kairi Eguchi Studio

location: Hyogo Prefecture, Japan

designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here.

edited by: ravail khan | designboom

Reference

these fire lookout lodging towers in idaho offer an elevated and immersive forest experience

Architecture

‘moonpass lookouts’ in idaho offer an elevated forest experience

By Zarkon Group,13/06/2023

‘moonpass lookouts’ by airbnb superhost kristie wolfe

Kristie Wolfe is a renowned figure in the Airbnb community, celebrated for her skills in creating some of the world’s most unique and captivating properties. Over the past decade, she has established herself as an Airbnb superhost, garnering thousands of five-star reviews for her inventive accommodations. Wolfe’s portfolio includes off-grid hobbit holes, Hawaiian treehouses, and even potato-shaped abodes. The superhost has now turned her attention to ‘MoonPass Lookouts’. Nestled in the enchanting woodland of Wallace, Idaho, this project offers an unparalleled opportunity to connect with nature and history while embarking on a unique elevated lodging adventure.

all renderings © Karl Kevin Lacorte

five custom-built towers offering total immersion and privacy

Set on a sprawling 222,577 sqm property, Kristie Wolfe’s (see more here) latest work takes shape as five custom-built fire lookout towers, soaring 9 meters in the air, and a museum. Each tower has a smart glass roof for stargazing without light pollution and on warmer days, the glass can turn opaque and block out 99% of UVA rays. Complementing the glazed top are 360-degree windows offering uninterrupted views of the natural world without compromising guests’ privacy; Wolfe notes that all towers are effectively spaced apart for maximum solitude amid the woodland setting. As an added perk, guests can enjoy the forest sounds through a custom-built amplifier for greater immersion.

Lodging amenities include a fully-equipped kitchen, a wood-burning stove, a full-sized bed and bathroom, and a private sauna. Lastly, the towering hotel is pet-friendly, allowing visitors to bring their furry friends to their ‘MoonPass Lookouts’ adventures.

‘MoonPass Lookouts’ offers total privacy amid the forestscape

from hiking and fishing to historical tours

When it comes to adventures, the getaway offers a range of adrenaline-pumping and leisurely activities. These include hiking along the nearby Pulaski trail; traversing the renowned Hiawatha trail on two wheels; fishing at Placer Creek or the hotel’s onsite pond; taking scenic snowy rides on a Snowcat in winter; and finally, indulging in a historical experience by visiting the city of Wallace, Idaho. Speaking of history, the city holds significance as the starting point of the Great Fire of 1910, also known as the ‘Big Burn’, which remains one of the largest forest fires in U.S. history. As part of the ‘MoonPass Lookout’ property, guests will have the opportunity to explore The Fire Lookout Museum, which showcases the history and impact of this devastating event.

each structure is custom built

‘One of the notable figures from the Great Burn is Ed Pulaski, a hero who led his firefighting crew to safety in a mine shaft. You can embark on a beautiful 5-mile hike from our MoonPass property to visit this mine shaft, paying homage to Pulaski’s bravery and the event’s historical significance. Adding to the unique experience, our fire lookout towers stand as reminders of the past against this historical backdrop. Including the fire museum and rich historical context add an educational element to your unforgettable journey at ‘MoonPass Lookouts’. As you explore, you can learn about the past and appreciate the heroic efforts that shaped the region,’ writes Wolfe.

the getaway offers a range of nature-infused activities

book your stay at ‘moonpass lookouts’ via indiegogo

Currently, ‘MoonPass Lookouts’ is raising funds on its Indiegogo crowdfunding platform. Availability is limited, and priority to booking is based on access level and length of stay. By supporting the campaign early and opting for a more extended stay, visitors will be eligible for early access (once the campaign ends and the hotel stay reservation date portal is available). Reservations have no expiration date, so if you’re unsure of your dates right away, you can book your stay date in the future. To secure your position as a future guest at ‘MoonPass Lookouts’, support the Indiegogo campaign where you can learn more about booking and prices.

Reference

Tomoaki Uno Architects-designed workspace in Japan

Architecture

Wooden logs frame Forest Office in Japan by Tomoaki Uno Architects

By Zarkon Group,07/05/2023

Columns made from thick wooden logs fill this office in Nagoya City, Japan, created by local studio Tomoaki Uno Architects at the base of a former apartment block.

Named Forest Office, the small workspace was commissioned by a client who simply requested that “something interesting” be created within half of his office space.

It was Tomoaki Uno Architects‘ second commission by the client, with the first being a sky-lit dwelling nearby named Ogimachi House.

“There were no specific requirements for [the project],” studio founder Tomoaki Uno told Dezeen.

“As someone who usually works within functional constraints, this was an exciting opportunity for me,” he continued.

Drawing on the site’s natural surroundings and a nearby shrine, Tomoaki Uno Architects prioritised natural materials and rough finishes to create an atmospheric, multipurpose space.

Tree-trunk columns inside Forest Office in Japan — The workspace is filled with columns made from thick wooden logs

“I had long been inspired by the unique atmosphere I felt every time I walked along the approach to Ise Shrine,” said Uno.

“I knew that the irregular rows of large trees had a strong influence on this feeling. Therefore, I thought about using thick logs as a metaphor and seeing if I could recreate something similar,” he continued.

Interior of Forest Office by Tomoaki Uno Architects — A table is nestled at the centre

Inside, the concrete of the existing structure has been left exposed. It is teamed with a new floor and wall with a circular opening, both made of concrete with a rough aggregate.

Large wooden logs, stripped of their bark and spaced equally in a grid, are set into the concrete floor to create the feeling of being in a forest.

Due to their size, the trunks had to be brought into Forest Office horizontally, before being hoisted into position and cast into the concrete floor.

One of these trunks could not fit in the planned location, and all of them ended up being slightly tilted and displaced during construction, which Uno embraced as “serendipity”.

Japanese workspace filled with tree trunks — The columns are set into the rough concrete floor

“In a nutshell, this is a question of how to deal with nature,” said Uno. “Whether consciously or not, architects are constantly being questioned in every aspect of how they approach nature and their thoughts,” he continued.

“I explored unbuilt boundaries with this project, and I wanted to confirm that the presence of the spirit felt in nature is the origin of architecture.”

Concrete wall inside Forest Office by Tomoaki Uno Architects — A wall with a circular opening has been added

A kitchenette and bathroom occupy one corner of Forest Office, while a small table and chairs nestle between the large trunks at the centre.

Tomoaki Uno Architects was founded by Uno in Nagoya in 1990. Its previous projects include a concrete home with an Aztec-informed pyramid and a minimal concrete home illuminated by dramatic light wells, both of which are also located in Nagoya.

The photography is by Edmund Sumner.

Reference

airhouse's wooden home floats above a steep slope in the japanese forest

Architecture

wooden house in yagota by airhouse floats in the japanese forest

By Zarkon Group,09/04/2023

airhouse unveils hovering house in yagoto

In a hilly residential area in Nagoya City, Japan, Airhouse has nestled a small Aichi Prefecture, residence into a slope engulfed in greenery. The House in Yagoto perches above a steep incline, surrounded by a thick curtain of trees and a forest to its northern edge. Resolving this challenging typology while minimizing cost and impact to the environment, the architects’ design solution conceives a construction foundation of only four steel columns, reducing the building’s ground contact area with a cantilevering reinforced concrete floor atop which a dark cedar-clad home appears to delicately float.

all images by Toshiyuki Yano

a serene mountain villa emerges in the japanese forest

The cantilevered floor serves as the foundation for the House in Yagoto which emerges as a seemingly hovering volume emerging above the landscape and steep slope. Its dark form sits in stark contrast to its context as its outer walls clad in cedar create the appearance of a serene mountain villa. With minimal impact on the natural surroundings, the team at Airhouse was able to economically construct the structure without cutting a confined, flat base in the ground and large retaining walls. ‘As a result, by thinking about the foundation of the building, we were able to build a house economically even on a sloping land, and we believe that we were able to create a rich living environment that floats in the forest,’ notes the Japanese architecture office.

Stepping inside the home, residents are greeted with a serene living experience immersed in nature. Airhouse has devised an airy interior completed with natural materials and open spaces that engages in continual dialogue with its natural context. From the cedar exterior to the carefully calculated height of the platform and structure and large opening in the direction of the forest, the concept seeks to weave views of the outdoors inside for an uplifting getaway.

Airhouse’s House in Yagoto emerges from a hillside in Japan

the home perches atop a reinforced concrete platform

the cedar-clad exterior creates the appearance of a serene mountain villa

a lofty, airy interior with industrial and natural finishes

large windows bring views of the adjacent forest inside

Reference

Architecture

Earthscape Studio adds sweeping vaulted farmhouse to Kerala forest

By Zarkon Group,04/04/2023

Locally produced bricks and recycled materials feature in this vaulted residence in Kerala, India, named The Wendy House.

Designed by Bangalore practice Earthscape Studio, the home is located within eight acres of dense forest and was designed to stand among the trees without disrupting the existing nature.

“Our main aim was to not harm nature by cutting down the trees and other existing natural features on the site,” lead architect Petchimuthu Kennedy told Dezeen.

“When we visited the site, there were lots of trees such as mango, coconut, nutmeg, and teak. Since we didn’t want to disturb them, we made a grid on site and determined the shape of the house according to the placement of existing trees.”

Photo of The Wendy House — It was constructed using recycled materials

Aiming to draw from the surrounding nature, Earthscape Studio used locally sourced materials throughout the building, including recycled rods, broken tiles and earth from the site.

The studio also used traditional sithu kal bricks – small bricks constructed of three layers – sourced from within 50 kilometres of the site and joined by local workers to create the building’s vaulted form.

“The bricks that we used are small sithu kal bricks, which were previously used along the south side of Tamil Nadu for the famous technique called Madras terrace roof,” said Kennedy, referring to an Indian roofing system that involves creating a series of sloping roofs to encourage rainwater drainage.

“Nowadays, the technique is no longer used and the community members who produce these bricks have become unemployed,” he continued. “We wanted to bring them back by engaging the local community with work.”

The Wendy House is split across two separate vaulted volumes each comprising three layers of bricks along with a fourth recycled waterproofing layer made from broken tiles from factories.

“We wanted no steel or concrete to be on our building structure and we don’t want to cut down any trees,” said Kennedy. “This timbrel vault technique is a catenary-based vault that requires no steel or concrete.”

“The catenary form is self-stabilising since the forces of the vault are transferred directly to the footing.”

Interior photo of The Wendy House — There is a courtyard at the centre

The vaulted forms were topped with a sweeping roof made from locally sourced, recycled mudga tiles.

Inside, the home has an open plan with a bedroom, bathroom and storage space in one wing, along with a living room, dining space, and pantry in the other.

Photo of the interior of the home — The home has an open-plan design

A courtyard with a small pond in its centre runs between the two blocks, punctuated on either end by curved rammed earth walls.

Framed with recycled rods, glass walls on the inner facing walls of the vaulted buildings offer views from the interior into the central courtyard.

Photo of a living space — It has built-in furniture

The recycled rods were also used alongside waste wood to create the frames for built-in furniture, including a bed, sofa, and kitchen counter.

Other Indian homes recently featured on Dezeen include a cylindrical house designed to collect rainwater and a home with large terraces sheltered by a jagged metal canopy.

The photography is by Syam Sreesylam.

Reference

Architecture

How Ice Cubes by Zone of Utopia + Mathieu Forest Architecte is Changing the Skyline of Northern China

By Zarkon Group,26/03/2023

Ice cubes – The question we were asked was that of the spirit of a place. The client imagined a flat building, we proposed a tower: to conquer the sky, mark the territory and put the whole commercial district in tension with the future ski slope on the other side. In this commercial environment, our cultural center says “I am here!“. You can see it everywhere, day and night. The city is conceived from landmarks and vanishing points.

Architizer chatted with Mathieu Forest, Founder of Mathieu Forest Architecte, and Qiang Zou, Design Principal at Zone of Utopia, to learn more about this project.

Architizer: What inspired the initial concept for your design?

We are starting from a virgin site with only fields and sky as the landscape. We wanted a building that captures the “thickness of the air”, the only tangible context, which by its material and its form is anchored in the sky: the gray and misty skies, the sunbeams which pierce it, the snowy skies, the steely blue skies so characteristic of northern China, the skies overwhelming with light in summer, the golden evening horizons, the bluish mornings… our building continually changes its appearance with the rhythm of the seasons, the variations of the climate and hours, and like a mirror reveals the beauty of a changing sky and landscape. Its facades are a gigantic glass printed fresco according to a unique design, without any repetition. It is also an echo of the representations of landscapes in Chinese painting, whose mystery arises from the immensity and detail.

This project won in the 10th Annual A+Awards! What do you believe are the standout components that made your project win?

It is a poetic architecture, for which the technique, as advanced as it is, is at the service of emotion. We think that we must refuse generic, cloned, sanitized, standardized architectures, such as the current world produces too much. We must rediscover the sense of geography and context and never forget that the only goal to be achieved is that of the pleasure of living. As urban art, architecture must address everyone. We are looking for several degrees of mystery: we can see in this architecture the evocation of a mass of ice floating on a lake or that of a lantern and marvel at it, but going deeper, there is a more impressionist vision of capturing the effects of light, with a certain form of abstraction and constant renewal.

What was the greatest design challenge you faced during the project, and how did you navigate it?

The greatest challenge was the realization of the facade supposed to evoke a form of immateriality. Many prototypes had to be made to properly adjust the quality and color of the glass, the density and the color of the printed patterns. It was also necessary to work closely with the engineers to design the most absent structures possible. The nicest compliment we often get is that people think when they see the photos that they are perspectives when the building is well constructed!

How did the context of your project — environmental, social or cultural — influence your design?

We started from an almost virgin site, the most difficult situation for a contextual architect. There was only a master plan and a bird’s eye view of a future residential area organized along the lake, headed by a tourist area and shops and, as a highlight, a future artificial ski slope to attract future residents and tourists. This district of 10,000 housing units will accommodate approximately 30,000 inhabitants and will be part of the future new town of Pinyuan which will accommodate a total of 500,000 inhabitants.

We took advantage of the incredible dynamism of Chinese industry: in the glass sector in particular. Large samples manufactured in record time allowed us to develop the exact colors and ink densities desired, with exceptional thermal performance.

What drove the selection of materials used in the project?

It is a steel and glass building. Steel is adapted to an architecture of lightness and audacity, but also to allow prefabrication and great speed of implementation. We used glass for its advantages while avoiding its disadvantages, taking into account the continental climate, with cold and dry winters and hot and rainy summers. We have designed a waterproof double skin with controlled ventilation: in winter, the double skin is closed and the greenhouse effect makes it possible to avoid almost any heating. In summer, the air cooled by evaporation at the water surface is collected and circulates in the double skin to evacuate heat accumulations and cool the thermal facade and therefore reduce air conditioning needs.

What is your favorite detail in the project and why?

We want the structure to disappear so that only the effects remain. The details of the suspended facade were the most sensitive to develop, in the common parts as much as for the details of angles, overhangs and transition between volumes. We worked with our facade engineer on minimalist principles. Each glass of the double skin is only held by 4 pieces of steel of a few centimeters and a simple bead of transparent silicone ensures the seal.

How important was sustainability as a design criteria as you worked on this project?

This question is of course a major one at the present time. This is why we have designed a double-skin façade which considerably reduces energy requirements. In winter, there is no need to heat the building. Dynamic thermal studies have shown that our design saves 50% energy compared to a traditional double-glazed facade. After a few years, the investment in the double glass skin is fully compensated and after 50 years, the gain is considerable.

In what ways did you collaborate with others, and were there any team members or skills that were essential in bringing this Award winning project to life?

We collaborated very efficiently, mainly through video conferences. The engineers for the structure and the facade were particularly called upon to be able to build the project and in general, all the actors worked very intensely with the will to be able to achieve this result.

Were any parts of the project dramatically altered from conception to construction, and if so, why?

Surprisingly, nothing has changed. The process was very fast and the building constructed is very faithful to the sketch.

How have your clients responded to the finished project?

The client is extremely satisfied with the project and its numerous publications. More generally, all the feedback tells us that the building is very well received by visitors and users.

What key lesson did you learn in the process of conceiving the project?

Having to go fast does not prevent designing with complexity and accuracy.

How do you believe this project represents you or your firm as a whole?

It is a contextual project, even if the urban context was almost non-existent. It exactly answers a question asked by a program and a site. In this, it represents our architectural philosophy well.

How has being the recipient of an A+Award evoked positive responses from others?

It is a great honor for us to receive such a distinction. Especially because we are a young architecture firm and that encourages us enormously to continue our work. This also contributes to our positive image for clients and our partners. It is very important for us.

How do you imagine this project influencing your work in the future?

We believe that projects always ask new questions for new answers. Each project teaches us, of course, but we will never do the same thing twice.

Is there anything else important you’d like to share about this project?

The project was designed and carried out during the COVID, in a very short time. There were 20 months between sketch and delivery. Challenge increased by the pandemic which banned travel and stopped the construction site for 4 months. We had to invent, like others, new methods. We worked and checked the site from photos and videos. We had daily video meetings. Paradoxically, the COVID has reinforced the good coordination between all.

For more on Ice cubes, please visit the in-depth project page on Architizer.

Ice cubes Gallery

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