Scottish Architecture News 2021: Buildings Scotland

This article highlights the transformation of a derelict 1930s farmer’s cottage in Perthshire, Scotland, into a contemporary four-bedroom family home named 'Black and Stone.' The London-based architecture studio Mallett spearheaded the renovation, focusing on preserving the original structure's heritage while integrating modern living standards and sustainable design principles. The project, situated in a region known as 'Big Tree Country' for its extensive woodlands, presented a unique challenge due to the cottage's abandoned and fragile state. Mallett's design director, Simon Dickson, expressed a strong desire to save as much of the existing ruined cottage as possible, recognizing its careful stone details and beautiful aspects. He noted that the original house was exceptionally well-designed for a farm cottage, and the goal was to respect its inherent beauty while adapting it for contemporary needs, including greater space and sustainable features. This approach was chosen despite the fact that a complete demolition and rebuild might have been considered a more straightforward option. To achieve this delicate balance between conservation and innovation, the architecture firm collaborated extensively with the client, who was a structural engineer, local authorities, and a team of skilled craftspeople. This collaborative effort was crucial in navigating the complexities of renovating a fragile historic building. The project prioritized the use of locally sourced materials and traditional building techniques, further rooting the new design in its Scottish environment. The design drew inspiration from Norwegian 'hytte' architecture, characterized by simple, traditional Nordic cabins. Mallett developed a modern interpretation of rural living by constructing a timber-framed structure within the existing stone shell of the cottage. This innovative method allowed for the preservation of the exterior while creating a robust and modern interior. One of the significant challenges involved maintaining the historical character of the site, particularly given the extensive changes required for internal walls, door and window openings, and roof connections. Dickson described this as a 'real challenge' that ultimately shaped the final building, underscoring the firm's commitment to the conservation aspect of the project. The exterior features a dark larch-wood façade, which provides a striking visual contrast to the original light stonework of the cottage. In the interior, great care was taken to reuse existing materials. Stones salvaged from the original structure were meticulously cleaned and sorted by hand to create an internal feature wall in the kitchen, blending the old with the new. The ground floor windows are strategically positioned within the original openings, slightly higher than usual, to frame the dramatic Scottish landscape like a 'massive picture frame.' This detail, particularly appreciated by Dickson, enhances the connection between the indoor spaces and the surrounding natural environment, especially as soft lights illuminate the stone from outside at dusk, bringing the old building to life. The interior aesthetic is defined by a textural palette of timber, stone, and white walls, complemented by black accents and micro-cement flooring. This combination creates a soothing and grounding atmosphere designed to feel spacious. The original three-room cottage was expanded into a generous four-bedroom house, a transformation that Dickson considers a success. He hopes that visitors will be struck by the sense of generosity and the blend of new and old elements, along with the stunning views, upon entering the home. #Architecture #ResidentialDesign #HistoricPreservation #SustainableDesign #ScottishArchitecture #CottageRenovation #MallettStudio #ModernCraftsmanship #RuralLiving

This article showcases an extraordinary Scottish home that exemplifies the preservation of historical architecture while integrating contemporary design. The project involved the transformation of a 300-year-old ruined farmhouse into a sleek, modern residence. The design approach, a collaboration between Nathanael Dorent, Lily Jencks Studio, and Nous Engineering, focuses on a unique three-layered building concept. The outermost layer consists of the stabilized and preserved ruins of the 18th-century farmhouse, maintaining its historical integrity. Within this ancient shell, a black rubber 'envelope' forms the second layer, echoing the original lines of the now-absent pitched roof. The innermost layer, referred to as the 'tube,' features organic-looking interior walls constructed from white polystyrene blocks. These curved, minimalist interiors provide a striking contrast with the rugged stone exterior and the matte black roof. A key design element is the deliberate integration of the original stone walls into the home's interior in certain areas. This feature serves to highlight the building's extensive history and create a dialogue between the old and the new. The interior design emphasizes simplicity and minimalism, utilizing white and pale wood tones to create a clean and contemporary aesthetic. Large window and door openings are strategically placed to offer expansive views stretching over 80 kilometers across two valleys. Beyond its unique aesthetic, the home is designed with practicality and sustainability in mind. It is solar-powered and heavily insulated to provide protection against the harsh Scottish winters. The inclusion of wood-burning stoves further enhances comfort and warmth during colder months. The combination of historical preservation, modern architectural intervention, and functional design results in a residence that is both visually compelling and highly livable, offering a blend of ancient charm and futuristic comfort. #ArchitecturalDesign #HistoricPreservation #ModernArchitecture #SustainableLiving #InteriorDesign #ScottishHomes #FarmhouseRenovation #ContemporaryDesign

The Larch Mill, designed by TAP Architects, is a new house situated in Aberdeenshire, Scotland, and incorporates the stone base of a former granite mill. The design of the house, clad in black Siberian larch, pays homage to the site's agricultural history. Initial plans by the owners to integrate the ruined mill directly into the house were revised due to flood risk, leading to the decision to build on a higher portion of the site. The architects responded to this challenge by utilizing the mill's existing stone walls as a raised plinth for the new construction. This approach positioned the old mill base as a natural extension of the site's topography, akin to a rock outcrop. The stone base now serves to house storage and a plant room, accessible via a separate entrance. An external staircase leads from the ground level to the main living areas on the upper floor, which are situated on a higher plateau. The house's layout is characterized by two parallel bays. One linear structure extends partially onto the solid ground of the plateau and partially cantilevers out from the granite walls of the original mill. The other wing is built entirely on new concrete foundations at the top of the slope. To accommodate construction atop the historic stone base, a lightweight frame of steel and timber was employed. The Larch Mill features floor-to-ceiling windows at both ends of the main living spaces, offering expansive views of the surrounding landscape. Internally, the design centers around two significant pieces of furniture: a ten-seat antique dining table, which defines the living, dining, and kitchen area, and a baby grand piano located in a dedicated music teaching space within the linear wing. Two bedrooms, one facing south and another north, are designed with east-facing windows to capture morning sunlight. The master bedroom also benefits from views to the west. A paved area encircles the entire upper level of the house, leading to a small terrace and garden on the north side. This patio is strategically sheltered from the wind by the convergence of the house's two wings. The interior aesthetic is minimalist, featuring simple white finishes and skylights that maximize natural light and maintain an open feel, drawing focus to the exterior scenery. The architectural style reflects the tradition of rural Scottish architecture, with other examples such as Mary Arnold-Forster's industrial-style metal-clad house on the Isle of Skye and Haysom Ward Millar Architects' barn-style cottage in the Scottish Highlands, which won the RIBA House of the Year award. #ScottishArchitecture #ResidentialDesign #AdaptiveReuse #LarchCladding #RuralHouses #HistoricPreservation #SustainableDesign #ModernArchitecture #AberdeenshireHomes

The Pitcombe’s Old School House Renovation, a project by Bindloss Dawes, involves the transformation of a Grade-II listed property located in a picturesque Somerset valley, United Kingdom. The renovation focuses on blending the building's historical character with contemporary architectural elements. The project is a collaboration with Joa Studholme, a color curator for Farrow & Ball, and her husband, Andrew Studholme, reflecting Bindloss Dawes' expertise in rigorous detailing and material compositions that balance urban and rural aesthetics. Built in 2023, the renovated house has an area of 120 square meters. Key contributors to the project include Francesca Iovene for photography, Momentum for structural engineering, and Gregory Renovations for contracting. Manufacturers involved in the project include Andrew Cooke, English Woodland Timber, Farrow and Ball, and Oakwrights Joinery. The design team from Bindloss Dawes included George Dawes and Fawn Ma. The architectural approach highlights the preservation of the existing structure while introducing modern extensions. A notable feature of the renovation is the new timber extension, which complements the original building without overshadowing its historical significance. This extension is a testament to the architects' ability to integrate new design seamlessly into an older context, creating a harmonious living space that respects its heritage. The interior design, also managed by Bindloss Dawes, reflects a careful consideration of color and texture, influenced by Joa Studholme's expertise. The project aims to create a comfortable and functional home that meets the modern needs of its occupants while maintaining a strong connection to its past. The use of high-quality materials and craftsmanship is evident throughout the property, ensuring durability and aesthetic appeal. The project showcases a balance between old and new, demonstrating how historic buildings can be adapted for contemporary living through thoughtful renovation. The successful integration of the timber extension and the meticulous attention to detail in both the interior and exterior elements contribute to the overall success of the Pitcombe’s Old School House Renovation, positioning it as a significant example of architectural preservation and modern design. #ResidentialArchitecture #HouseRenovation #HistoricPreservation #ContemporaryDesign #TimberExtension #GradeIIListedBuilding #UnitedKingdomArchitecture #BindlossDawes

This article details the unique blend of Modernist architecture and historical context found at Leuchie Walled Garden, near North Berwick, the home of Sir Hew and Lady Dalrymple. Built in 1960, the house was designed by Sir James Dunbar-Nasmith and is one of several Mid-Century Modern homes integrated into the walled gardens of historic estates. These designs drew inspiration from vernacular sources, combining natural and manufactured materials in carefully crafted, unpretentious forms. The Dalrymple family's connection to North Berwick dates back to 1694 when Hew Dalrymple purchased land, later becoming a baronet and expanding his estate. Leuchie House, the Georgian predecessor to the modern home, was built between 1779 and 1785. By the 1920s, financial pressures led to the sale of much of the estate. In 1959, the 9th Baronet died, and his son, the 10th Sir Hew, commissioned Sir James Dunbar-Nasmith to design a new home within the 18th-century walled garden, as the main house was deemed impractical. The five-acre garden, divided by a longitudinal wall, offered a sheltered west-facing site for the new construction. The house was completed in 1960 and became the family's permanent residence in 1962. Sir James, then a rising star from Sir Robert Matthew’s office, considers Leuchie one of his most cherished commissions. The project's success was attributed to the clients' trust and minimal interference, who only requested a “really modern house” while intending to fill it with inherited traditional paintings and furniture. The design's key element was the integration with the existing garden wall, which was remodelled around 1809. The main garden range is enclosed by these old walls, with the east section featuring three openings, acting as a spine that divides the house's two distinct facades. Sir James opted for low-slung, horizontal boxes with sleek glass and white-rendered walls, contrasting with the weathered brickwork. The flat roof design was influenced by an existing flat-topped gable, concealing the gardener's cottage. The 18th-century gardener's cottage was converted into the kitchen/nursery wing, maintaining an understated entrance. The interior of Leuchie expertly balances old and new. Unlike many open-plan Modernist houses, Leuchie features conventionally designated rooms filled with traditional furnishings, reflecting the owners' lifestyle. However, a clerestorey above the main room walls creates a continuous ceiling plane, unifying the spaces. The drawing room, though not large, feels spacious due to the transparent garden front, which allows abundant light. Noteworthy details include a floating bookcase across the west window, cleverly concealing ventilation. An 'outdoor room' was created by setting back the front wall of the original dining room under the roof canopy. Recent alterations by Gray Macpherson Architects, in collaboration with the present owners, Sir Hew and Janey Dalrymple, include extending the dining room over part of the terrace to create a contemporary kitchen/living room. A new horizontal white box addition counterbalances the south range, which houses bedrooms, bathrooms, and storage. In 1964, a mezzanine extension was added to accommodate two more bedrooms, preserving a pedestrian route as a covered way. Sir James's appreciation for materials is evident in the use of spruce ceilings, plywood cupboards, and parquet flooring, adding warmth and texture. The hall panelling, with its distinctive double curvature, was inspired by Edinburgh’s Turnhouse Airport. Historically, Modernist houses often incorporated antiques, but Leuchie stands out for its bold integration of historic portraiture. With walls too short for framed paintings, the canvases were removed and built directly into the architecture, creating dramatic visual impacts. Robert Dalrymple, one of the sons, recounted his upbringing in this 'flat-roofed bungalow,' noting that while his parents embraced Modernism, their lifestyle and furnishings remained traditional. The house also featured a separate zone for children and a nanny, with the garden wall acting as a symbolic division between the adult and children's areas. Sculptor Isabel Reid's carved newel post in the remodelled cottage, now a dining room, subtly recalls these former days. After the parents' passing, the present owners, Sir Hew and Lady Janey Dalrymple, undertook a careful renovation, updating infrastructure, reconfiguring spaces, and skilfully using color to add variety, a Modernist principle absent in the original all-white scheme. Lady Dalrymple also redesigned much of the garden. The enduring success of Leuchie, with its comfortable blend of old and new, demonstrates the versatility and quality of this little-known example of Scottish Modernism, now made more widely accessible through its role as a stylish holiday let. #ModernistArchitecture #HistoricHomes #WalledGarden #MidCenturyModern #ArchitecturalRenovation #ScottishArchitecture #InteriorDesign #GardenDesign

Located on a tight, narrow strip of land in Cove, Scotland, this 2,690-square-foot residence was designed by Cameron Webster Architects to maximize living space while taking full advantage of its wild coastal setting. The primary goal was to create flexible and accessible accommodations for an owner nearing retirement age, which significantly influenced the design decisions. The architects embraced the site's constraints as a core design driver, resulting in a distinctive linear, single-story structure. The home features four bedrooms that face a garden, leading to an expansive, open-plan living area at the front. This living space is characterized by floor-to-ceiling glazing, offering uninterrupted views of the North Sea and the sky. A decking area extends from this living space, sheltered beneath a timber soffit, further blurring the lines between indoor and outdoor living. A notable architectural feature is that approximately half of the house rests on land, while the other half projects into the air, anchored securely to the rocks below by two V-shaped steel legs, creating the striking illusion of the residence hovering above the water. Sustainability was a key consideration, with a fabric-first approach employed in its construction. The external material palette was carefully selected for both its aesthetic appeal and its ability to withstand the harsh coastal environment. Kebony, a robust timber cladding known for its use in marine settings, was chosen for its durability and its ability to weather to a silvery finish, complementing the triple-glazed windows in the main living areas. The design also incorporates locally sourced, rough basalt/quartz stone cladding, which visually connects the home to the craggy rocks of the surrounding landscape. Internally, the design focuses on creating a welcoming and seamless flow. A generous linear roof light in the wide corridor provides ample natural light, guiding residents from the main entrance through the bedroom wing to the vibrant living area. Sapele, a sustainable hardwood, was used for interior ceiling finishes, imparting a nautical or maritime feel to the space. This material extends seamlessly to form the timber soffit over the exterior terraces, unifying the indoor and outdoor design elements. The overall execution reflects a thoughtful integration of architectural form, material selection, and site-specific considerations, delivering a contemporary and accessible home with dramatic waterfront views. #ScottishArchitecture #WaterfrontHome #RetirementHome #CoastalDesign #CameronWebsterArchitects #SustainableDesign #ModernArchitecture #KebonyCladding #OpenPlanLiving

The article details the remarkable restoration of Ballone Castle in Easter Ross by Lachie and Annie Stewart, an architect and textile designer, respectively. Purchased in 1990 as a roofless ruin inhabited by cows, the 16th-century tower house has been transformed into a modern home, encapsulating the couple's philosophy of craftsmanship and good design within an Arts-and-Crafts spirit. Ballone Castle, originally known as Tarbat Castle, was likely built by James Dunbar after 1555, succeeding the lands of Easter Tarbat. Its design shares similarities with Burgie Castle, built for James’s second cousin, suggesting a common architectural influence. The castle's strategic clifftop location, visible from the Moray coast, and its defensive features like shotholes and gun loops, underscore its role in asserting the Dunbars' status amidst violent clan feuds. Despite its defensive capabilities, the castle also incorporated decorative elements such as carved corbels and refined window mouldings, indicating a blend of utility and aesthetics. An inventory from 1601 reveals a richly furnished interior. Architecturally, Ballone adopted the standard 16th-century Z-plan, featuring a main range with diagonally opposite round and square towers. The square tower houses the principal entrance and a wheel stair leading to the first-floor hall, while slim corbelled stair turrets connect to upper floors. Below the hall are three tunnel-vaulted rooms, including the original kitchen. In the early 17th century, a new wing was added, providing extra accommodation above a vaulted brewhouse and bakehouse. This period also saw the castle pass into the possession of the Mackenzies, under Sir Roderick Mackenzie, who expanded his family's influence across Easter Ross. The castle was intermittently used by Mackenzie family members, including George, the 3rd Earl of Cromartie, in the 1720s. However, following the Jacobite rebellion and the forfeiture of estates, Ballone was relegated to farm use and abandoned by the late 18th century. When the Stewarts acquired it, approximately 80% of the walls remained, though significant portions, including the caphouse and first-floor vaults, had collapsed. The restoration process was extensive, requiring three years to secure planning consents, including de-scheduling and redesignation as a Category A Listed Building to qualify for grants. The Stewarts collaborated with mason Ian Telfer for five years, guided by late-19th-century photographs to rebuild the structure. Mr. Stewart, influenced by architect Oliver Hill's work and his own 'Arts-and-Crafts awakening,' opted for a simpler, pared-down interior, using materials like larch boards and scaffolding planks for a rustic yet refined aesthetic. He strategically incorporated sash windows for practical and visual enhancement. Key interior renovations include the reinstatement of the hall's fireplace, modeled after one at Burgie, and the use of ceiling timbers from Castle Leod. The kitchen, located in the round tower's private chamber, features modern amenities seamlessly integrated into the historic structure. In 2009, Mr. Stewart completed the rebuilding of the 17th-century wing, adding a new spiral stair and a lean-to veranda. This wing now includes a flat and a large summer living hall with a cruck-framed oak roof, drawing inspiration from Lutyens' designs. The new wing also features an opening to connect with the existing kitchen. At Ballone, the Stewarts' Arts-and-Crafts ideals extend beyond the architecture to the gardens, furnishings, and contents, creating a cohesive aesthetic. Most elements, from panelling and furniture to textiles and ceramics, are their own designs. The bold use of color, particularly Mrs. Stewart's colorist skills, plays a crucial role in defining the spaces. Outside, the courtyard features a lean-to with Caithness-stone roof slabs, and the barmkin wall has been rebuilt to shelter a garden inspired by Lorimer's designs. An older garden within a curved enclosure is planted with hedges based on local Pictish carving, and the kitchen garden on the raised beach utilizes reclaimed walled medieval fields. The project stands as a testament to the Stewarts' vision, transforming a derelict structure into a hospitable family home that embodies craftsmanship and integrates domestic and creative life. Their children continue the Arts-and-Crafts tradition, and Mr. Stewart's parents reside nearby in an ANTA-designed timber cottage, underscoring the enduring creative energy of the family and the revitalized Ballone Estate. #BalloneCastle #CastleRestoration #ScottishArchitecture #ArtsAndCraftsMovement #HistoricHomes #ArchitecturalDesign #InteriorDesign #HighlandScotland #HistoricalRenovation

The evolution of architectural and interior design philosophies for residential spaces demonstrates a significant shift from strict historical preservation to a more integrated approach that respects the past while embracing modern living requirements. Early movements like the heritage movement, championed by figures such as Sir John Betjeman and Gavin Stamp, instigated a radical change in how historic buildings were treated. This era saw passionate conservationists investing heavily in restoring historic houses to their original states, as exemplified by the work in Spitalfields where structures were meticulously restored and furnished to reflect their 18th-century inhabitants. However, contemporary restoration efforts have moved beyond mere historicism. The current trend is to create comfortable homes that, while sympathetic to their historical context, acknowledge the modernist ideal of a house as a 'machine for living in.' This involves a nuanced blending of styles, the incorporation of open-plan layouts, and the strategic use of modern materials such as steel and glass. These advancements facilitate improved natural light, enhanced thermal efficiency, and designs that cater to contemporary lifestyles, often with reduced domestic help requirements. This approach ensures that a house evolves with its occupants and reflects the era in which modifications are made, much like how Regency, Victorian, and Edwardian additions historically enhanced older properties. A growing number of British architects, interior designers, and builders are at the forefront of this movement. Their collective expertise, deep understanding of historic buildings, and commitment to sustainable practices are ushering in what is described as a 'golden age of restoration.' These professionals are adept at balancing the preservation of historical integrity with the integration of modern functionality. Their work includes using natural, breathable, and durable materials, alongside the installation of renewable energy technologies such as solar panels and biomass systems. This not only ensures the longevity and sustainability of the renovated properties but also addresses contemporary environmental concerns. The article highlights the importance of these innovative practitioners and their clients, whose dedication is crucial to the continued success and evolution of this thoughtful approach to home design and restoration. The philosophy extends to viewing the home not just as a static historical artifact but as a dynamic space that adapts to current needs while carrying forward its legacy. This contemporary perspective allows for a conversation between different eras, where each addition or renovation contributes to the building's ongoing story rather than freezing it in a single moment. The skilled professionals in this field are celebrated for their ability to navigate this complex interplay, creating residences that are both historically rich and perfectly suited for modern life. Their efforts underscore a critical understanding that true restoration involves intelligent adaptation, ensuring that homes remain relevant, comfortable, and sustainable for generations to come, moving beyond a purely academic exercise to a practical application of evolving design principles. #HomeRestoration #InteriorDesign #Architecture #HistoricBuildings #SustainableDesign #ModernLiving #BritishDesigners #CountryLife

The Orchard House is a private extension and renovation project located within the Wickham Conservation Area, completed in the summer of 2021 by AR Design Studio. The project involved replacing previous piecemeal developments to reorient the house towards its garden. This renovation is situated in Hampshire, United Kingdom, and covers an area of 320 square feet, completed in 2020. Martin Gardner provided the photography for the project. The architectural design was led by Andy Ramus, with Tom Ford serving as the architectural designer. Structural engineering services were provided by AWA. Dell Developments acted as the general contractor for the project. The materials used in the renovation include wood, glass, and brick, contributing to a modern aesthetic while respecting the conservation area's context. The design aimed to create a more integrated living space that capitalizes on the connection with the outdoor environment. The project falls under the categories of houses and renovation, highlighting the transformation of an existing structure into a more functional and aesthetically pleasing home. The reorientation of the house towards its garden suggests a focus on natural light, views, and an improved indoor-outdoor flow, common objectives in contemporary residential architecture and renovation projects. The use of specific manufacturers such as Russwood, Smart Systems, Vande Moortel, and Velfac indicates a selection of quality materials and systems for various components of the house, including windows, doors, and other structural or finishing elements. The context of the Wickham Conservation Area implies that the design adhered to specific guidelines and regulations to preserve the historical and architectural character of the locality. This often involves careful consideration of external materials, building massing, and how new additions integrate with the existing fabric and surrounding environment. The project's success in achieving its goals within such a sensitive area underscores the expertise of AR Design Studio in balancing modern design with historical preservation. Overall, The Orchard House represents a thoughtful renovation that revitalizes a residential property by improving its layout, enhancing its connection to the garden, and utilizing contemporary architectural solutions within a conservation-sensitive setting. The project showcases how modern extensions can breathe new life into older homes, creating functional and visually appealing spaces that meet the needs of contemporary living while respecting their historical and environmental context. #ResidentialArchitecture #HouseRenovation #ARDesignStudio #UnitedKingdom #Hampshire #ConservationArea #ModernDesign #BuildingMaterials

The Smith House, designed by MacKay-Lyons Sweetapple Architects, is a distinctive vacation home for art collectors located within the experimental architectural village of Shobac on Nova Scotia's south coast. The project is an extension of architect Brian MacKay-Lyons's decades-long endeavor to restore and develop an 80-acre abandoned fishing village into an agricultural and architectural testing ground. The clients, drawn to MacKay-Lyons Sweetapple's previous work, envisioned the Smith House as an artistic endeavor, leading to a design that respects the dramatic coastal landscape and local vernacular. The home is conceptualized as three distinct Cor-Ten steel-clad pavilions: a day pavilion, a night pavilion, and a shed. This tripartite division creates varied spatial experiences and material palettes. The initial design discussions, held in an open-air 'sky room' within a historic ruin, established the concept of the site as an 'acropolis' or a stone plinth, emphasizing elevation and connection to the rugged terrain. Material selection was crucial, incorporating local granite, requested by the client, and Cor-Ten steel, inspired by existing structures on the property. The day pavilion, designed for social gatherings and living spaces, features extensive glazing to maximize views of the Atlantic Ocean, with a deliberate design choice to exclude the sky from the primary view, focusing solely on the ocean horizon. This pavilion includes a hidden wine cellar and an impressive 16-foot fireplace crafted from local granite, featuring a five-ton live-edge mantle stone that visually anchors the structure and provides privacy from a neighboring house. The interior of the day pavilion boasts polished concrete floors and a white ash plywood ceiling, creating a refined yet robust aesthetic. In contrast, the night pavilion, housing the bedrooms, is conceived as a stone 'cave' with granite walls and a sunken, white ash 'vessel' for the sleeping areas, designed to evoke a sense of refuge and intimacy. The shed, a rustic space with exposed timber framing, serves as a retreat for the clients' children, demonstrating the architects' commitment to creating diverse sensory experiences through material contrast. The Cor-Ten steel roof unifies all three pavilions. The arrangement of the pavilions is offset to form courtyards that create microclimates, mirroring traditional local building placements. The architectural forms incorporate 'bites' or voids, which define the spaces as much as the built structures. The design encourages interaction with the outdoors, requiring a short walk between the day and night pavilions, past an infinity hot tub. The architectural approach integrates the 'super local' with the 'super universal,' drawing inspiration from both Nova Scotian vernacular architecture and international modernists like Glenn Murcutt and Mies van der Rohe. The project reflects MacKay-Lyons's deep understanding of the environment and climate, resulting in a home that not only provides spectacular views but also engages with its unique context through thoughtful material choices and spatial organization. The architect, who can see the house from his own home, continues to learn from and appreciate its presence in the landscape. #CorTenSteel #ArchitecturalDesign #CoastalArchitecture #NovaScotia #MacKayLyonsSweetappleArchitects #VacationHome #ArtCollectors #SustainableDesign #ModernArchitecture

Liddicoat & Goldhill, a London-based architectural firm, designed the Tailored House, a brick and concrete townhouse located in Kensington. The house was built on a site damaged by bombing during the Second World War, completing an existing terrace of Victorian townhouses. The project faced numerous design challenges and restrictions, including a tight budget, the risk of flooding, party wall negotiations, an irregularly shaped plot, and the crucial need to preserve the rights to light for adjacent properties. These constraints significantly shaped the final design of the dwelling. The Tailored House integrates seamlessly with its Victorian neighbors, maintaining the building line, while also incorporating contemporary elements. A key feature of the design is a fully glazed rear section, which plays a pivotal role in allowing ample daylight to penetrate both the new house and the adjacent properties. This innovative glazing solution is paired with a steeply angled roof, specifically designed to maximize natural light access for the homes behind the new structure. The rear section is also strategically cranked outwards, a response to the irregular shape of the plot, ensuring optimal space utilization. The building's exterior features a blend of traditional and modern materials. The street-facing elevation echoes the style of the adjoining terrace through its layered arrangement. Pale brick, chosen for its historical connection to London's brick construction, is used prominently. Contemporary details such as smooth concrete surfaces define the entrance bay and first-floor windows, with the same material extending to window reveals and an angular relief pattern on a cornice, adding modern touches to the facade. The rear elevation, characterized by a sheer brickwork wall, transitions into a screen of metal fins. These fins cleverly conceal glazing, providing both privacy and filtered light to the occupants and their neighbors. Internally, the design emphasizes continuity and natural light. Bronze-framed windows are set into the angled upper part of the end elevation, while glazed doors from the living room open onto a small courtyard. This courtyard incorporates a glass floor, allowing light to filter down to the kitchen and dining area located on the level below. A skylight in the steeply sloped roof illuminates a stairwell situated along the party wall. Additional glazed roof panels further enhance natural light, reaching a small bathroom at the front of the house and a staircase descending to the basement. Material continuity is maintained inside the house with brick walls, mirroring the exterior. These textured surfaces are complemented by wooden flooring and joinery featuring a strong grain, which introduces warmth to the light-filled spaces. The name "The Tailored House" reflects the complexity and bespoke nature of the design, which, despite its intricate fabrication, presents a recognizable, elegant, and simple overall appearance. However, upon closer inspection, the individuality and material richness of the house become apparent, akin to a finely tailored suit. Liddicoat & Goldhill, based in Dalston, east London, have a portfolio that includes other notable projects such as an oak-screened staircase extension to a south London home and a garden cabin with an angular roof. #LondonArchitecture #TownhouseDesign #BrickConstruction #ContemporaryArchitecture #GlazedFacades #ResidentialDesign #UrbanHousing #Kensington #ArchitecturalInnovation

Architects' Alley in Kirkwood, a neighborhood of distinction recognized by the Kirkwood Landmarks Commission, is known for its homes designed to integrate seamlessly with the natural landscape. This area, particularly the winding stretch of West Adams Avenue in Sugar Creek Valley, features houses often obscured by trees during summer, becoming visible only in winter. These residences are largely Midcentury Modern and were often designed by the architects who resided in them, illustrating a deliberate connection between architecture and nature. A prime example is the home of Randy and Joy Miltenberger, a 1958 Midcentury Modern house situated on nearly 3 acres of woodland. Believed to have been designed by local architect John L. Haff, the Miltenbergers purchased the property 25 years ago as its third owners. Initially, the house retained its original 1950s aesthetic, which Randy Miltenberger, a principal at Miltenberger Architects, envisioned transforming while preserving its core principles. The couple embarked on a significant renovation, beginning with a nearly seamless addition in 1996. This renovation aimed to reconfigure the interior space, emphasizing the integration of indoor and outdoor environments. Floor-to-ceiling windows were installed across the back and sides of the house, effectively blurring the boundaries between the living spaces and the surrounding natural scenery. A new entrance was created, leading to a distinct foyer that opens into a small study. This study overlooks a covered, tree-filled atrium on the lower level, enhancing the connection to nature. The study's design includes shelves displaying Randy's collection of beer steins, artifacts, and books, while two classic leather Wassily chairs from Knoll are strategically placed to offer views of the trees outside, allowing residents to observe the changing seasons. The original traditional staircase was replaced with a green-painted spiral staircase, designed to be less obtrusive and to highlight the outdoor views. The choice of green for the staircase was intentional, making it blend with the exterior landscape rather than dominate the interior. The Miltenbergers carefully matched new materials, such as slate floors and post-and-beam ceilings, to the existing ones, ensuring a cohesive design that made the additions appear original to the house. A notable original feature is a large light fixture with three opaque glass teardrops, visible from the road, which they updated with remote-controlled color-changing bulbs for seasonal displays. In 2000, the kitchen underwent a major remodel, expanding its size and opening it up to more natural light. Randy designed the kitchen's layout, collaborating with Ken Henry of Alspaugh Kitchen & Bath for custom wood cabinetry. Henry also created a black granite backsplash in the shape of a mountain, which, along with matching countertops, reflects the outdoor trees and a patio water feature. A large granite-topped island provides additional workspace and seating. Subsequent updates in 2010 involved relocating the pantry and refrigerator and removing the wall between the kitchen and dining room. A cozy corner sitting area was also added, offering views of the patio and a relaxing space to enjoy morning coffee while listening to the waterfall. The final stage of the kitchen remodel in 2015 involved removing more upper cabinets and part of a wall to further open the space to the living room, increasing light flow. In 2016, a wall behind a built-in wood sideboard in the dining room was removed to create a skylit, plant-filled atrium adjacent to the expanded garage. The Miltenbergers, art enthusiasts, incorporated works by Brother Mel Meyer, including a commissioned metal dining room table base, as well as blown-glass pieces by Sam Stang and paintings by Javier López Barbosa. An oversized abstract painting by Mary Sprague complements the natural views in the living room, where white walls serve as a neutral backdrop for changing artwork. The master suite, including a bedroom, office, walk-in closet, and a white marble bathroom with a Jacuzzi tub, overlooks the woods, offering a sense of seclusion and connection to nature. The entire home evokes the feeling of a glass-enclosed tree house, providing a serene retreat just a short distance from civilization. #ArchitectsAlley #MidcenturyModern #KirkwoodHomes #ArchitecturalDesign #HomeRenovation #IndoorOutdoorLiving #CustomCabinetry #ArtCollection #SustainableDesign #LandscapeIntegration

This article explores upcoming trends and ideas for home design and construction in 2026, emphasizing the role of durable and aesthetically pleasing materials. It highlights brick as a foundational element, renowned for its longevity and ability to withstand the test of time, and encourages builders and homeowners to consider brick for its unmatched durability. The discussion extends to various material options, including premium steel siding from MAC Metal Architectural, which offers a selection of rich colors and intriguing profiles suitable for both residential and commercial projects. Examples of MAC Metal Architectural cladding products are provided, such as Ash Grey, Black Walnut, Cedar, Cork, Smoked Birch, Teak, Torrefied, and White Oak, each designed to enhance a building's aesthetic. Beyond cladding, the article delves into different types of brick, showcasing Acme Brick's diverse collections. It presents several brick options, including Rustic White (Modular, Velour finish), Craftsman Painter (Queen, Heritage finish), Coventry Cottage (King, Heritage finish), Vetropieno Blu, Amaretto (Modular, Velour finish), Browns Ferry (Queen, Heritage finish), Saltgrass (King, Heritage finish), Silver Ridge (King, Heritage finish), Quorum (Modular, Heritage finish), and Academy (Modular, Heritage finish). These varieties cater to a range of design preferences, from classic to contemporary. The article also touches upon the importance of stone collections for adding timeless elegance to spaces, featuring natural tones and distinctive textures. Stonebrook products like Anthracite (Marble), Bay Ridge (Sandstone), Canyon Ridge (Sandstone), Cavern (Limestone), Crimson (Sandstone), Fawn (Limestone), Galena (Sandstone), Galena Bay (Sandstone), Grand Canyon (Sandstone), and Khaki (Limestone) are presented as options to bring character and sophistication to projects. In addition to product showcases, the article discusses the significance of architectural design, urging readers to dream big and execute bold designs using brick. It mentions Acme Brick Company's support for architecture through national awards and university outreach programs, and its focus on publicizing innovative work by architect customers through case studies. A key aspect highlighted is the fire resistance of bricks, with a video explaining why firefighters choose brick for safety and durability, particularly in high-risk areas. The article encourages engagement through a newsletter and various social media platforms, providing resources such as project inspiration galleries, architectural services, continuing education, and technical documents to assist in informed decision-making for building projects. #HomeDesignTrends #ArchitecturalMaterials #BrickConstruction #CladdingOptions #StoneCollections #FireResistance #BuildingInnovation #SustainableDesign #InteriorDesignIdeas

Gort Scott, a Hackney-based studio, has completed a house on the Isle of Man, UK, featuring rugged grey walls constructed from locally quarried stone. The two-storey building is situated within the grounds of a larger country estate and is designed to accommodate two separate apartments: a guesthouse on the upper floor and an au pair's residence on the ground floor. The roof, covered in grey slate, pitches upwards, forming an asymmetric gable at one end of the structure, which architect Jay Gort notes contributes to its striking silhouette against the landscape. This design allows the building to rise prominently from the site's high point, establishing a visual relationship with other notable features on the horizon. The architectural approach prioritizes a harmonious integration with the surrounding environment and the existing estate. The upper-floor guesthouse is accessed via a concrete staircase and balcony that extends over a stone wall, connecting it to the main house. This design choice anticipates that guests will spend most of their time at the primary residence. Consequently, the garden and driveway are designated exclusively for the ground-floor apartment, ensuring privacy for its residents. The staircase, featuring stainless steel balustrades, serves as the sole entry point to the upper level. Gort Scott specifically opted for regional materials and traditional construction methods, aligning with the expertise of local contractors. The external walls are built with a blockwork cavity and an outer face of 250-millimeter-thick Castle Town Stone, sourced from Pooil Vaaish quarry, located only a few miles from the site. This choice of material and technique reflects a commitment to local resources and craftsmanship. The dark, rough texture of the stonework is deliberately contrasted with crisp, pre-cast concrete window and door surrounds, which highlight the careful composition of openings on all sides of the building. Inside, both apartments feature a simple, open-plan layout, comprising living and kitchen areas that lead to two double bedrooms and a bathroom. The upper guest apartment's entrance opens directly into the kitchen, which flows into a double-height living and dining space. This area benefits from natural light provided by a skylight and a large floor-to-ceiling window that offers access to a steel balcony facing the sea. The ground-floor au pair apartment's entrance leads into its living and kitchen area, providing views of neighboring fields, the estate grounds, and the sea. Glass entrance doors open onto a patio, which is sheltered by the balcony of the upper apartment. The building's form is composed of three main parts: the central body of the house, a table-like terrace at the front, and an external stair at the rear. The terrace and stair are constructed from slender, exposed in-situ concrete with stainless steel balustrades, designed to appear as large, functional outdoor elements. These structural components are integrated into the external wall, with concrete supports flush against the stonework, creating a visual effect of concrete 'veins' within the stone walls. This detail is consistently applied, including to the wind post in the accompanying garage building. The tone and finish of the in-situ concrete were chosen to complement the pre-cast window surrounds, ensuring a cohesive aesthetic. #ArchitecturalDesign #ResidentialArchitecture #IsleOfMan #StoneConstruction #LocalMaterials #SustainableDesign #ModernLiving #GortScott #EstateDevelopment

Architect Grant Straghan of DEDRAFT designed a 12,000-square-foot, five-bedroom house in rural Oxfordshire, England, for a family seeking to transition from city life after living abroad. The expansive property required a significant architectural element to anchor its immense volume and integrate with the dramatic landscape of rolling hills. The house's design features three splayed wings radiating from a large entrance atrium, a layout that necessitated a strong sculptural feature to match its scale and the surrounding undulating terrain. Straghan, collaborating with interior designer Katie Grove, conceived a sinuous, sunlit staircase that functions as both a focal point and a unifying element for the separate wings. The staircase was developed through a comprehensive design process involving sketches, 3D explorations, material sampling, and floor-by-floor virtual reality modeling. This monumental structure was prefabricated off-site in sections and craned into position. It extends from the basement to the third level, where an oculus allows natural light to flood the stairwell, illuminating the European oak treads, a solid microcement railing, and an outer curved wall. This wall is finished with clay plaster embedded with gold flakes, which shimmer as light enters from above, adding a dynamic visual effect. For the convenience and safety of elderly grandparents visiting the home, Straghan incorporated a curved electroplated brass rail for the stairs connecting the ground floor to the basement. A distinctive detail is the final step on the basement level, crafted from a single block of blue-green Amazonite, which introduces a unique splash of color and texture. The article details the complex construction process of the staircase. This involved prefabricating the structure in two pieces and craning them into place. Steel posts were used to form the structural frame for the solid microcement railing, and strips of flexible MDF were horizontally fixed to create the curve of the railing. Flexible plasterboard was then applied over the substrate and sanded to ensure a smooth, continuously curved surface, minimizing any irregularities. A cloud survey of the clad staircase was performed to prepare for the CNC (Computer Numerical Control) machining of the tulipwood profiled handrail. The CNC-milled handrail was then installed on-site in small sections, no more than 500 millimeters in length, to achieve a seamless, continuous sweep. To manage material expansion and prevent cracking, curved plaster beads were fitted alongside the handrail, maintaining a three-millimeter gap between the plaster and the handrail. Templates were created for each tread to preform the oak winders, ensuring a consistent three-millimeter shadow gap at both the inner and outer perimeters where they meet the railing. The architect meticulously mapped views from the staircase to strategically inform its curvature. Advanced 3D models were employed to assess the structural implications of cantilevering an exceptionally heavy staircase with an off-center load path and to determine optimal landing locations that offer compelling views of other levels. Straghan describes the staircase as a smooth, organic form that gently separates from the robust walls that enclose it. Despite its grandeur, the staircase possesses a subtle presence. As one ascends, the landings branch off to access each wing and level, with deep soffits enhancing depth, shadow, and light when the sun is at its zenith. The interplay of form and lighting is designed to fulfill all necessary functions and aesthetic requirements, making the staircase a functional art piece that harmonizes with its expansive surroundings. #ArchitecturalDesign #ResidentialArchitecture #CustomHome #StaircaseDesign #LuxuryHomes #Oxfordshire #InteriorDesign #ModernArchitecture #ConstructionTechniques

This article details the design philosophy and execution for a 1937 English Tudor-style house in Indian Hill, originally a hunting lodge. The design, spearheaded by Douglas Greiwe of Greiwe Interiors, focused on blending art and antiques with the home’s rustic, old-country elegance, while accommodating its exceptionally large interior spaces. The objective was to create a formal yet relaxed atmosphere that honored the house's original era. Key architectural figures include John Henry Deekin (original architect in 1937) and Daniel Brooks (responsible for an 1982 expansion), with Jeff Bossman serving as the landscape architect. The project addressed the challenge of large interior spaces by carving out distinct areas, such as a dedicated dining space. The design incorporated a collection of vintage and antique pieces sourced globally, reflecting the homeowner's travels and experiences. Examples include an early 18th-century hand-carved buffet from southern France and a multi-colored tribal door from Istanbul, repurposed as a coffee table. Greiwe emphasizes the importance of patience in traditional design, encouraging clients to take their time in acquiring pieces that resonate with personal meaning. He also advocates for an eclectic approach, suggesting designers and homeowners "be unpredictable" and not "afraid to be eclectic," selecting items that develop a rich patina over time and are chosen with sensitivity to design, scale, and proportion, rather than rushing to complete a room. Unique features of the house contribute to its character, including unexpected steps, alcoves, and passageways, as well as a catwalk overlooking the great room. The great room itself, along with a sitting room and a living/family room, provides ample space for socializing. A hand-carved fireplace mantel and a wet bar with English hand-carved panels and a polished granite top further enhance the interior's traditional charm. An interesting addition by a former owner is an observatory, accessible via a hidden staircase behind an intricately carved walnut door, leading to a high-powered telescope. This feature highlights the home's history of unique modifications and its ability to inspire curiosity. The exterior of the seven-acre estate is designed for both exercise and relaxation, featuring a swimming pool with striped chaises and a whirlpool. Blue and gray slate surrounds, walkways, and patios define various outdoor seating and lounging areas. Lush greenery offers privacy, while colorful flower beds and bronze figurative sculptures by Glenna Goodacre add beauty and a playful element to the landscape. The overall design successfully marries the historical integrity of the hunting lodge with contemporary comforts and personal touches, creating a home that is both grand and intimate. #HomeDesign #EnglishTudor #HuntingLodge #InteriorDesign #Antiques #EclecticStyle #ArchitecturalRenovation #LandscapeArchitecture #TraditionalDesign

The March 28 public hearings of the Southampton Village Board of Historic Preservation and Architectural Review (ARB) covered several applications for construction and alterations both within and outside historic districts. The meeting, attended by all ARB members and consultants, addressed proposals ranging from retaining wall reinforcements to full house demolitions and new constructions. Within the historic district, one notable application involved Vincent Camuto's property at 16 Gin Ln, the historic Wooldon Manor, seeking to repair and reinforce an existing brick retaining wall. The proposed design included a new concrete, red stucco-clad wall in front of the existing one, with added landscaping. This application was ultimately adjourned at the applicant's request. Another application from Dennis and Brenda Coppin at 190 First Neck Ln involved demolishing an existing structure to build a new 672-square-foot pool house. This project was deemed not visible from any public right of way and not a historic structure, leading to an adjournment for a written decision. Marianne Lafiteau's application at 240 Hill St for a 575-square-foot one-story addition was also adjourned at the applicant's request. David Cole's proposal for 260 Hill St involved demolishing existing structures to build a 3,957-square-foot two-story house and a 453-square-foot accessory structure. The historical consultant, Zach Studenroth, raised concerns about the scale and length of the proposed house on a narrow lot, suggesting it would negatively impact neighbors. Despite some board members viewing the slate grey trim as a way to mute the house's appearance, a neighbor's letter detailing concerns about proximity, length, multiple structures, and a proposed basketball court led to the application's adjournment for further neighbor review. Driveway gate applications for Tournesol IV LLC at 101 Great Plains Rd and Peter Marino at 60 Ox Pasture Rd were both adjourned for written decisions. A contentious application came from the Edward Mele Trust for 90 Wyandanch Ln, proposing to demolish a historic stables building converted into a residence. This structure, part of the 'Robbins Farm' compound built between 1902 and 1916, was argued to be a prime example of adaptive reuse. Despite the historical consultant's approval for demolition due to supposed compromised integrity, the presenter argued against this, citing the successful adaptive reuse of similar structures elsewhere. The ARB remained unconvinced, adjourning it for a written decision, noting a past demolition on the property and an owner's strategy to clear the lot for a new scheme. Saunders Southampton Realty at 14 Main St sought exterior alterations, facing only minor issues from the board before adjournment. Cillian O’Bradaigh at 75 South Main Street applied for a 1,551-square-foot two-story addition, a covered rear terrace, barn relocation, and a paint color change. While new owners aimed for a lighter color scheme and additions that appeared original, the board requested a more decorative chimney, a sample paint mock-up, and disliked a long south side projection, leading to adjournment. Westlawn LLC's application for 107 Great Plains Rd, involving 7,021-square-foot additions to the main house and cottage, and driveway gates, was presented by Ferguson & Shamamian, an architectural firm. This historic home, 'Littlecote,' designed by F. Burrall Hoffman Jr., was to be lifted for a new foundation, and a rear wing replaced. The architects' detailed presentation was praised, and the application was adjourned for an official report from Studenroth. Joshua Harris's driveway gates at 140 Gin Ln were adjourned for a written decision. Outside the historic district, Marc Rowan's driveway gates at 322 Meadow Ln were approved. Nicholas Judson's application at 187 Breese Ln to demolish an existing house and build a new 4,050-square-foot two-story house with a 520-square-foot detached garage faced numerous objections regarding trim, window types, incorrect drawings, a rear balcony, and overall lack of style, leading to adjournment. Frances Genovese at 209 Bishops Ln received approval for a 250-square-foot addition to replace and enlarge a kitchen wing. Stuart Lieblein's proposal for 59 Meetinghouse Ln to build a 2,196-square-foot two-story house on a vacant lot, designed in a contemporary barn-like aesthetic within a historic context, was approved with the removal of quirky barn doors. Tracey Dedrick's plan for 94 Bishops Ln to demolish an existing house and build a 3,479-square-foot two-story house was approved, despite concerns about its traditional design clashing with the existing contemporary houses in the cul-de-sac. Lillybelle LLC at 414 Great Plains Rd received approval for an 85-square-foot dormer and driveway gates on a non-historic property. Stitch, relocating to 22 Nugent St, received approval for exterior alterations to combine two storefronts, add new signage and awnings, and a paired front door. The meeting concluded with a significant discussion regarding historic district expansions. An updated village survey identified that twice the current number of structures should be included within existing historic districts. The ARB plans to discuss this with village trustees on April 26 at 5 p.m., indicating a potential increase in the scope of historic preservation efforts in Southampton Village. #ArchitecturalReviewBoard #SouthamptonVillage #HistoricPreservation #HomeRenovation #Demolition #ConstructionProjects #AdaptiveReuse #CommunityDevelopment #ArchitecturalDesign