Photography by Richard Chivers https://www.rchivers.co.uk/ Marshall House is an extension to a Grade II listed dwelling in the village of Twyford, near Winchester, Hampshire. The original house dates from the 17th Century, although it had been remodelled and extended during the late 18th Century. The clients contacted us to explore the potential to extend their home in order to suit their growing family and active lifestyle. Due to the constraints of living in a listed building, they were unsure as to what development possibilities were available. The brief was to replace an existing lean-to and 20th century conservatory with a new extension in a modern, contemporary approach. The design was developed in close consultation with the local authority as well as their historic environment department, in order to respect the existing property and work to achieve a positive planning outcome. Like many older buildings, the dwelling had been adjusted here and there, and updated at numerous points over time. The interior of the existing property has a charm and a character - in part down to the age of the property, various bits of work over time and the wear and tear of the collective history of its past occupants. These spaces are dark, dimly lit and cosy. They have low ceilings, small windows, little cubby holes and odd corners. Walls are not parallel or perpendicular, there are steps up and down and places where you must watch not to bang your head. The extension is accessed via a small link portion that provides a clear distinction between the old and new structures. The initial concept is centred on the idea of contrasts. The link aims to have the effect of walking through a portal into a seemingly different dwelling, that is modern, bright, light and airy with clean lines and white walls. However, complementary aspects are also incorporated, such as the strategic placement of windows and roof lights in order to cast light over walls and corners to create little nooks and private views. The overall form of the extension is informed by the awkward shape and uses of the site, resulting in the walls not being parallel in plan and splaying out at different irregular angles. Externally, timber larch cladding is used as the primary material. This is painted black with a heavy duty barn paint, that is both long lasting and cost effective. The black finish of the extension contrasts with the white painted brickwork at the rear and side of the original house. The external colour palette of both structures is in opposition to the reality of the interior spaces. Although timber cladding is a fairly standard, commonplace material, visual depth and distinction has been created through the articulation of the boards. The inclusion of timber fins changes the way shadows are cast across the external surface during the day. Whilst at night, these are illuminated by external lighting. A secondary entrance to the house is provided through a concealed door that is finished to match the profile of the cladding. This opens to a boot/utility room, from which a new shower room can be accessed, before proceeding to the new open plan living space and dining area.

The front facade and fence were heritage protected, so we painted them the best of the approved colours, and Kate Seddon was engaged to do the beautiful garden Photographer: Shannon McGrath

Porebski Architects, Beach House 2. A simple palette of materials and finishes, executed with finely detailed precision and requiring minimal maintenance, create the light sensibility of the structure. Operable layers of the facade generate the transparency of the house, where primary visual and physical connections are made to the surrounding natural site features. Sliding timber shutters and cavity sliding windows and doors allow spaces to open seamlessly, blurring the demarcation between inside and out. Photo: Conor Quinn

Andre Fotografi

Bosc d’en Pep Ferrer es el topónimo tradicional de una parcela de gran extensión ubicada junto a la playa de Migjorn, en la costa Sur de la isla de Formentera. En ella hay una lugar que desata el deseo de habitar una onírica panorámica donde el horizonte solo queda recortado por la bella silueta de la Torre des Pi des Català, erigida en 1763. El proyecto se gesta en la dualidad entre lo telúrico y lo tectónico. Lo pesado y lo ligero. Tierra y aire. Lo artesanal y lo tecnológico. Esfuerzo a compresión y resistencia a tracción. La roca, que aflora superficialmente en el lugar elegido, se ha esculpido como si de una escultura se tratase, ofreciendo un vacío que recuerda a las canteras de piedra de ‘marès’. Una espacio materializado con una sola piedra. Monolítico. Megalítico. Estereotómico. La intervención acoge una vivienda para una familia sensible con el medio ambiente, cuyo programa se reparte en tres módulos ligeros construidos en seco y el vacío generado por substracción de materia en la planta inferior. Esta disposición longitudinal da lugar a sucesiones de vacío-lleno, patios, pasarelas de conexión, visiones transversales y al descubrimiento por sorpresa de un espacio esculpido por el tiempo: una cueva natural en el patio de acceso principal, que durante las obras se integró al conjunto.La estructura es fácilmente inteligible y se manifiesta en tres estratos con niveles de precisión ascendentes: en la planta inferior se hace evidente la inexistencia de muros de contención añadidos al sustrato rocoso, así como la aparición una pequeña estructura de hormigón que regulariza el nivel superior de dicha planta y constituye la plataforma de apoyo de la planta baja. En la planta superior, como si de una maqueta a escala real se tratase, el montaje biapoyado de la estructura se hace evidente desde el interior, donde se ha dejado vista en la mayor parte de los casos, convergiendo en un solo elemento (paneles de madera contra-laminada) varias funciones: estructura, cerramiento y acabado. La nobleza de los materiales utilizados y de sus uniones ha estado presente en el proceso de proyecto y ejecución. Bajo criterios de bioconstrucción han primado los de origen natural y si era posible del propio lugar: roca esculpida, grava de machaqueo de la propia excavación, piedra caliza capri, madera de pino y de abeto, paneles de algodón reciclado, mármol blanco macael, pintura al silicato de alta permeabilidad, etc. Esto ha revertido en unos cerramientos higroscópicos y permeables al vapor del agua, que permiten un ambiente interior más agradable y sano, a la vez que necesita de menos aportes energéticos para un correcto funcionamiento. A nivel ambiental, la propuesta incorpora sistemas bioclimáticos pasivos de probada eficacia en este clima, así como la autosuficiencia de agua gracias a un aljibe de gran volumen que re-aprovecha el agua de lluvia.

Gabrielle Voinot

The two story house deliberately presents to the street looking like a single level house. The house is a sculptural play of solid and void with the horizontal concrete roof appearing to hover above the house. The house has been designed to maximize winter sun penetration while providing shade through summer with excellent cross ventilation providing cooling summer breezes through the house.

External view of the house having North West towards Mynydd Twr

Window Box Extension view from garden. Photography by Richard Chivers

Chris Snook

Floating boxes and oversailing roofs, the joy and freedom of cantilevered design, opens up, and shelters, creating the buffer between inside and outside.

Artistic render of our proposals to transform this bungalow through extension and deep retrofit

Preston Cottage was first visited by Calderpeel early in 2016, Harry Calder was asked by very good friends whether or not he believed Preston Cottage was a ‘good buy?’ his initial response was NO. The building being Grade II listed and a challenge for anyone over 5’7’’ ensured it’s restoration was going to be a headache. His friends’ passion for the house to become a home persuaded Harry to engage. Slowly but surely the design evolved. The original house was built in 1547 by the De Trafford family and was originally 3 cottages. The name ‘Preston Cottage’ is a reference to the fact that Brooke Lane was originally Preston Lane. During the cottage’s life, there was a period when the cottages were left to wrack and ruin in the 1960’s only to be restored in the early 70’s – prior to being a chosen building for a new planning status, namely listed! The priority from Calderpeel’s perspective was achieving a solution for ‘Preston Cottage’ to have a sustainable solution for its future, not restoration and conservation as a museum piece, but for Preston Cottage to become a modern desirable home – ensuring it’s longevity.

Her kan man se de fine detaljer i renoveringen. Træterrasse i IPE

The extension, finished in timber cladding to contrast against the red brick, leads out to the garden – ideal for entertaining.