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This deck steps downward to the left into the swimming pool itself in the same random type of stepping pattern as seen the first courtyard. A secondary layer of folding teak treads and risers is si over the steel plate. Another social custom that Bedmar and Shi drew into the planning of the house was the social lineage of the house itself.

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In front of the Living Room is a large open sui with a swimming pool and deck beyond. 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.

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 hsi of the rooms into interconnected spaces. This courtyard is also traversed only by the delicate glass bridges at each level. 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 separated from the wall with a narrow gap.

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.

We use cookies on our website. Elegantly poised atop its granite pedestal, this beautifully crafted anv in India is truly a temple for the body, as well as a captivating repository of stories. 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 Master Bedroom is above the Living and Dining pavilion, making it the highest bedroom in the house.

Cemagi House

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. 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 bedmra sun.

From the expansiveness of the entrance courtyard, the space compresses to a smaller entrance lobby in which the visitor is focussed on a quiet, more reflective garden. With only slits of openings along the edges of the entrance space, the contrasting framed view into a sun basked rock garden at the end of the portal draws the visitor forward in a distinctly tropical experience of light.


The roof of this double volume room is also made of teak strips with a glass sheet above them besmar make the space feel as airy and light as possible.

Underneath the skylight is a timber trellis.

The elongated pattern of the screen emphasizes the overall horizontality of the house bedamr at the same time allows light and air through it. The materials used in the house are bedmad 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.

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. Due to the dilapidated state of the original building which was on the site, its demolition was permitted. 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.

Bedmar and Shi | Archello

Although this steel plate is relatively thick, at the exposed edge of the staircase, the plate is recessed back from the timber layer above and only a thin plane of the steel is projected outward to further lighten the edge detail of the staircase.

Within this courtyard are elements of fire and water. There are many areas positioned throughout the house that cater to various sizes and types of social gathering. Subscribe to Archello’s newsletter. With a seemingly casual transition between layers of local flora and natural materials, the front lawn of this understated house at 16 Cove Way on Sentosa Island in Singapore gently lures its visitors into its welcoming atmosphere and a slower paced island lifestyle.

With a simple and poetic clarity, these stories and are all told through the modern architectural interpretation of sensitive designers at Bedmar and Shi. 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. 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 of 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. Subscribe to Archello’s newsletter. These flat roofs are still heavily used by the occupants as terraces because from this height they enjoy the desirable winter breezes. 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 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 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.


The guests that come to the house often enter the Pooja or prayer room first before visiting the main house. Engraved both into its spatial organization and into the details of the house, these are stories of traditions and beliefs, of customs and of the relationship of the body to nature.

Here, horizontal concrete beams are exposed below the ceiling slab and the spaces between the beams above the walls are left as high level windows. The delicateness of the glass connecting bridges between the various volumes of the house is echoed in the vertical connections between floors.

The circulation is planned in such a way that the spaces are slowly unfolded to the visitor in an experiential and spatial journey throughout the house.

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

Amrita Shergil Marg House

Amrita Shergil Marg House 0. 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 bednar and above the building.

Natural Italian travertine freestanding walls enclose the entire property and courtyards. The openness of this space and physical separation between forms promotes the movement of light and air through the house which is, other than the view out of to the ocean at the back, mainly internally focused. 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.

Many other Vastu principles dictated the locations of the specific rooms within the site such as the Pooja or prayer room in the Northeast corner, Dining in the West, Master Bedroom in the Southwest and courtyard in the East, among others.

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 bfdmar of the ocean and canals at the backs of the properties.

Vertically and horizontally, the courtyard is tied together by anc 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.

Bedmar designed the glass box Living Room to feel like an independent floating volume within a larger timber trellised garden room. The screen is detailed as a series of thin travertine horizontal strips with recessed stone supports at intervals.