House Gallery Boafo: Modern Rammed Earth in Ghana

Rammed earth construction, a technique with historical roots evident in structures like parts of the Great Wall of China, is experiencing a resurgence as a sustainable, economical, and environmentally friendly building method. This rudimentary system involves compressing layers of earth, typically 15 cm high, into wooden formwork using manual or pneumatic tools to achieve the required density, resulting in robust and durable structures. This ancient building method, which had been largely replaced by modern construction techniques, is now being reconsidered for its inherent benefits. Joelle Eyeson, an entrepreneur in Ghana, is a proponent of this method, believing it can address the housing deficit in her region. The process of rammed earth construction involves sourcing local soil, often a mix of sand, silt, clay, and gravel, which is then carefully mixed with a small amount of water and, occasionally, a stabilizer like cement or lime. The moist earth mixture is then placed into temporary formwork, which defines the shape and thickness of the wall. Each layer is meticulously compacted, traditionally by hand using a rammer, or more recently with pneumatic compactors, until it reaches a high density. This compaction process removes air pockets, increasing the material's strength and durability. The formwork is then removed, revealing the distinctive layered aesthetic of rammed earth walls. The natural colors and textures of the local soil become a prominent feature of the finished structure, creating a unique and earthy appearance. The inherent thermal mass of rammed earth provides excellent insulation properties, helping to regulate indoor temperatures naturally, which is particularly beneficial in diverse climates like Ghana's. This reduces the need for artificial heating or cooling, leading to lower energy consumption and operational costs for buildings. Beyond its environmental and economic advantages, rammed earth construction offers significant aesthetic appeal. The varied colors and strata created by the layering and compaction process give each wall a unique, organic beauty that reflects the local geology. This natural aesthetic integrates well with the surrounding landscape and can contribute to a sense of place and cultural identity. The material's breathability helps to create healthy indoor environments by regulating humidity and improving air quality. Furthermore, the simplicity of the technique means that, with proper training, it can be implemented using locally available resources and labor, fostering local economies and empowering communities to build their own homes. The long lifespan of rammed earth structures, coupled with their minimal maintenance requirements, further enhances their sustainability profile. The renewed interest in rammed earth in Ghana, championed by individuals like Joelle Eyeson, highlights a global trend towards rediscovering and innovating with traditional, eco-conscious building practices to address contemporary challenges such as affordable housing and environmental sustainability. #RammedEarth #SustainableConstruction #GhanaArchitecture #EarthenBuilding #HousingSolutions #EcoFriendlyMaterials #TraditionalTechniques #JoelleEyeson #MaterialInnovation

Interior architect Kunal Shah's Goa home is a 2,500 square-foot residence designed as an homage to nature and its reflection in art, incorporating a minimalist aesthetic through white washes, wood, and natural greenery. The home is structured across two levels, with a deliberate focus on controlling heat and maximizing natural light and air circulation. A double-height living room serves as a central feature, specifically engineered to allow hot air to rise and to facilitate a constant flow of air through openings on three sides, ensuring comfort without extensive air-conditioning. This design also provides expansive views, capturing both sunrise and sunset. The layout includes a library on the mezzanine level, strategically positioned to offer a spacious view of the double-height living room, maintaining a sense of openness. The dining room, originally a bedroom, is situated on the other side of the entrance foyer, connecting to a powder room and kitchen. The upper level houses the main bedroom and a terrace, while a guest bedroom is located on the ground floor. The house prominently integrates its natural surroundings; views of lush vegetation are framed by Burma teak windows. Shah carefully considered the light filtering through existing trees like jackfruit and mango, tailoring window sizes to optimize natural light without creating symmetry, but rather solving environmental challenges and enhancing the atmosphere. The material palette emphasizes natural elements, with flooring in grey kota and black kadappa stone, chosen for their aging properties and ability to absorb solar glare. Bathrooms are finished in white Indian marble. Shah advocates for natural materials due to their sustainability, aesthetic appeal, and graceful aging process, noting that they become smoother with use and maintain their integrity without chemical intervention. The interior decor and art collection introduce color into an otherwise muted palette, complemented by the rich tones of linseed-oil-finished Burma teak wood. This wood not only adds visual depth but also provides a tactile experience, with the grain and texture perceptible to touch and feel. The art and decor pieces are a diverse collection, reflecting Shah’s personal journey and tastes, rather than adhering to a strict design philosophy. He incorporates both street finds and items collected during travels, acknowledging that the curation is an eclectic mix of pieces acquired for their momentary significance. Many larger furniture items, such as beds, wardrobes, mirrors, and bookshelves, were custom-designed by Shah himself, aligning with a mid-century modernist aesthetic blended with colonial influences and Art Deco flourishes. Notable designer pieces are interspersed throughout, complementing his extensive art collection, which includes works by Zarina Hashmi and Jeram Patel, and sculptures by Laki Senanayake. The home is a testament to thoughtful design, where art, texture, and nature harmoniously converge to create a unique living experience in Goa. #GoaHome #InteriorDesign #ArchitecturalDesign #NaturalMaterials #ArtCollection #SustainableDesign #MidCenturyModern #GoaArchitecture #KunalShah

Amoako Boafo, a Ghanaian artist, has achieved significant recognition in the art world, transitioning from a rapid ascent in 2019 and 2020 to a sustained career. His work is currently featured in an internationally touring museum exhibition titled 'Soul of Black Folks' and he is represented by prominent galleries like Gagosian and Mariane Ibrahim. Boafo's latest exhibition, 'I Do Not Come to You by Chance,' opened in London, marking his inaugural show in the city. This exhibition not only unveils new paintings but also pays homage to Accra, Ghana, his hometown, and the artistic community instrumental in his success. The exhibition's title is inspired by Adaobi Tricia Nwaubani's novel of the same name. In this new body of work, Boafo delves into his family history, creative journey, and the supportive community around him. The show incorporates installation elements that integrate with the paintings, offering a more intimate look into Boafo's life and story than previous works. It celebrates his friends and fellow artists, including Aplerh-Doku Borlabi, Kwesi Botchway, Otis Kwame Kye Quaicoe, and Eric Adjei Tawiah, along with his personal history. Boafo is renowned for his art, which champions Black joy. His distinctive technique combines traditional finger painting with transfer methods and a portraiture style reminiscent of Schiele. He primarily focuses on portraits of individuals he knows or admires, depicting them with confidence, often smiling or in moments of leisure. These works convey a powerful sense of affirmation for his subjects and carry a discernible political message, operating on multiple interpretive levels. Despite his international career, including training at the Ghanatta College of Art and Design in Accra and the Academy of Fine Arts in Vienna, Boafo remains deeply committed to his hometown. He shares a studio with fellow artists and has expanded his contributions to Accra's art scene through dot.ateliers, a residency and exhibition space. This facility, designed by architect Glenn DeRoche of DeRoche Projects, provides crucial resources and space for local artists in a city with limited public art services. Boafo explains that literature has significantly influenced his work. While he often references novels in his paintings or draws inspiration from them, 'I Do Not Come to You by Chance' is his first exhibition to directly use a book title. He recounts that moving to Vienna prompted him to reflect on his Black identity in a new way, and books exploring the Black experience provided a vital connection. Reading, a luxury he couldn't afford in his youth, later helped him articulate his artistic vision. The novel 'I Do Not Come to You by Chance' resonates with Boafo because it portrays the sacrifices a young Nigerian man makes for his family, challenging conventional notions of good, bad, intelligence, and success. Boafo sees parallels between the book's themes and his own journey as a Ghanaian artist who achieved success to support his family, while also emphasizing the importance of self-care. His London exhibition showcases the evolution of his techniques, backgrounds, textures, and the use of wood grain, featuring some of his largest paintings to date. A central component of the exhibition is the recreation of the courtyard where Boafo first learned to paint. He sees London as an ideal setting to reinterpret this space on a grand scale, leveraging available resources and support to realize this ambitious installation. He views bringing this significant personal space into the gallery, now housing his paintings, as a profoundly special endeavor. When asked about the importance of depicting Black joy, Boafo challenges the pervasive narrative of Blackness being solely associated with pain and suffering. He asserts that his painting is fundamentally about documenting and celebrating Black identity. His primary motivation is to portray people he admires, who inspire him, and who create opportunities. He aims for his figures to exude strength, freedom, and unapologetic self-expression. The recreated courtyard, though not always easy, was rich with life, lessons, laughter, and conflict, where joy emerged through sharing, learning, and recognition. Boafo emphasizes that by showcasing Black joy, he intends to highlight that Black stories encompass intimacy, celebration, relaxation, and play, extending beyond narratives of pain or survival. His collaboration with Glenn DeRoche on dot.ateliers stemmed from a desire to give back to his inspiring community. Recognizing the burgeoning talent in Ghana and across Africa, Boafo sought to create opportunities for artists, hoping to mitigate the perceived necessity for them to seek success in Europe. His continued partnership with DeRoche for the London show felt natural, as DeRoche understands Boafo's vision for blending community with artistic practice and for pushing the boundaries of exhibiting art beyond traditional white-wall presentations. Bringing autobiographical elements, including references to his upbringing, friends, and collaborators in Accra, is a deeply personal yet necessary process for Boafo. It allows him to demonstrate his growth as an artist and individual, while also positioning his culture and history as integral to his journey. He views this sharing as a vulnerable yet strong act, committed to sharing his success and ensuring that those who inspire him are part of this ongoing endeavor. Boafo believes Accra's community-centric approach, where people share space and resources, offers valuable lessons for cities like London. The courtyard installation serves as a reminder for Ghanaians in London of the richness of their heritage and the resourcefulness born from communal living. #AmoakoBoafo #ArtExhibition #BlackJoy #GhanaianArt #LondonArtScene #ContemporaryArt #CulturalIdentity #GagosianGallery #AccraArt #AdaobiTriciaNwaubani

Parker House, a mid-century modern home nestled on nearly seven acres of forested land in Gahanna, offers a tranquil escape minutes from downtown Columbus. Originally built in 1972 by architect George Parker as his family residence, the property faced demolition before its current owners, Ted Lin and Min Yong, acquired it in 2022. They embarked on a restoration project, aiming to blend contemporary comforts with the home's original architectural charm. The property features natural elements like creeks and a swimming pond, creating a "Hocking Hills nature getaway" ambiance close to urban conveniences. The interior design reflects a careful curation of mid-century modern aesthetics. The Lins sourced vintage furniture and artwork from various antique stores and shows, including Grandview Mercantile, Eclectiques on High Street, Main Street Modern in Canton, and events in Cincinnati and Dayton. Notable decor elements include a sunken bathtub in the master bathroom, unique wallpaper, and a collection of antique travel posters displayed throughout the home. The preservation and display of George Parker's original architectural prints further honor the home's history and design legacy. The owners' vision for Parker House was to create a space that offers the serene atmosphere of a nature retreat without sacrificing accessibility to Columbus. This intentional blend of natural surroundings and thoughtfully restored mid-century modern design provides a distinctive experience for guests. The property is available for various occasions, including family reunions, gatherings with friends, or local staycations. For those interested in experiencing this unique blend of architectural history and natural beauty, booking information is available online, with a special discount offered to 614Now readers. #MidCenturyModern #GahannaOhio #ArchitecturalDesign #HomeRestoration #VintageDecor #ColumbusOhio #NatureEscape #InteriorDesign #UniqueHomes

Uvais Subu, an architect known for his Tropical Architecture Bureau in Calicut, Kerala, focuses on integrating built structures with their natural topography. His design philosophy is deeply rooted in the vernacular architecture of Kerala, a region rich in heritage with diverse landscapes including seaside, paddy fields, and hilly areas, each inspiring unique architectural forms. Subu's approach emphasizes finding beauty within the land itself. Influenced by Geoffrey Bawa, Subu gained experience in Sri Lanka with Philip Weeraratne Architects and later in Dhaka with Kashef Chowdhury at Urbana, both known for their tropical modernism. These experiences shaped his distinctive design language, characterized by the use of natural materials, an interplay of volumes, and a strong connection to the natural environment. A recent project, "Re-born Living," involved redesigning a ten-year-old family home in Perinthalmanna, Kerala, for a textile merchant. The goal was to create a residence that would remain relevant and beautiful for another 20 to 25 years. Subu's initial step involved understanding the family's lifestyle and their interactions within the home. He observed that despite being a small family, they were very close and enjoyed spending time outdoors frequently. The original architect's layout was described as a "cliche," featuring a central dining room flanked by other rooms, which could feel cramped during gatherings. Subu reimagined this space, creating a more interconnected floor plan. The dining room was reoriented to open directly onto a landscaped garden, providing an unexpected and tranquil view that makes the rest of the world seem distant. The old dining room was transformed into a family room, designed with a variety of seating options to accommodate different preferences. This space features textured fabrics, plush armchairs, a wooden platform by the window, and a comfortable rug, catering to diverse needs. On the ground floor, the master bedroom was expanded, and a larger bay window was incorporated, offering views of the landscaped garden. This design ensures that residents wake up to the sight of lush greenery. Additionally, two bedrooms on the first floor were merged to create a spacious bedroom for the client's son, complete with an attached lounge. The client's desire for a "Bali resort vibe" guided many of the design choices. A significant portion of the furniture, including a striking dining table crafted from a single slab of wood, was sourced from Indonesia. The interior design combines these rich wood textures with whitewashed cement finishes on the walls, while cane accents, such as on rugs and lampshades, add a touch of softness. Subu believes that these natural materials and timeless designs will age gracefully, becoming even more beautiful over time. #KeralaHomes #TropicalModernism #ContemporaryDesign #NaturalMaterials #GeoffreyBawa #HomeRedesign #ArchitecturalRenovation #InteriorDesign #LandscapeIntegration

Architect Kabir Nijjar, son of a retired Indian Navy Admiral, designed and built a home in Goa with a view of Velsao beach. The design emphasizes sustainable building practices, incorporating traditional methods and materials. Nijjar, who is deeply committed to sustainable living, regularly visits his construction sites on a bicycle and collaborates with master craftsmen and masons from Tamil Nadu. The house's construction relies heavily on lime mortar. The lime is sourced from Tamil Nadu and processed using a mechanical dosa batter grinder to create the mortar. This mixture, combined with jaggery, kadukkai seeds (haritaki in Hindi), and water, forms the bonding agent for the walls and roofs. The primary structural material consists of compressed laterite bricks, made from a mixture of laterite dust and cement, offering a cost-effective and durable alternative to concrete. These bricks have maintained their appearance despite exposure to Goa's challenging weather conditions. The second floor features arched roofs constructed from thinner bricks, utilizing a building technique inspired by the Nubians of Africa, which allows for perfect curves without the need for extensive shuttering. The interior design of the house features innovative spatial solutions. Each mid-landing of the staircase expands into a functional room, converting what are typically transitional areas into habitable spaces. In high-traffic zones like the area between the kitchen and dining space, durable Kota stone is used for flooring, while other rooms have hand-poured oxide floors. A brick jali, a perforated screen, separates the staircase from the living room, allowing natural light to filter through and promoting cross-ventilation. Nijjar’s father provided him with full creative autonomy over the design, with the sole request for the best possible view. This was achieved by positioning the master bedroom in the east, offering a panoramic outlook. The sloping terrain of the site necessitated a multi-level layout for the bedrooms. The master bathroom is designed with a central opening that maximizes natural light, a distinctive feature not commonly found in contemporary architecture. The living room, designed to be almost independent of the main structure, is highly ventilated and features a sloping roof, a characteristic element of Goan architectural style. Locally sourced timber has been used for the roofs, and skilled carpenters have ensured a high-quality finish. Nijjar's approach involves experimenting with various bricklaying patterns to achieve both structural integrity and aesthetic appeal, and he has integrated terracotta elements into the design. The resulting architecture blends practicality with unique styles, providing a refreshing alternative to typical urban residences in India. The house is noted for its ability to foster a sense of well-being and a strong connection to its location, qualities enhanced by the hospitality of Admiral Singh. This project aligns with the philosophies of other pioneering architects like Laurie Baker, Nari Gandhi, and Gerard da Cunha, establishing Nijjar as an emerging architect developing his own distinct design language. The collaborative effort between the architect, client, and builders is highlighted as a key factor in the project’s successful execution and high-quality craftsmanship. #Architecture #GoaHome #Bricklaying #SustainableBuilding #TraditionalMethods #LimeMortar #NubianTechniques #ArchitecturalDesign #IndianArchitecture

Patios House, designed by studio mk27, is a residential project located in Mangaratiba, Brazil, completed in 2020. The house spans an area of 600 square meters. The design concept emphasizes integration with the natural landscape, particularly from the perspective of the sea. The structure is characterized by a thin slab that subtly divides the green mountain from the sandy beach, making the house appear almost invisible and dissolved into its surroundings. This approach to design aims to minimize the visual impact of the building on the pristine coastal environment. The architectural team was led by Marcio Kogan and Samanta Cafardo, with interiors by Diana Radomysler and landscape design by Rodrigo Oliveira. The project involved various manufacturers and specialists, including Lightworks, Lumini, Marvelar, Pedras Bellas Artes, Plancus, Topseal, and Mado for materials and fixtures. Structural engineering was handled by Leão & Associados, MEP by DLameza Engenharia, air conditioning by Thermoplan, and automation by Gilberto Floriano. Lock Engenharia served as the construction company for the project. The house's exterior features a design that allows it to blend with its natural context, with an emphasis on a seamless transition between built and natural elements. The interior spaces are designed to connect with the outdoors, incorporating elements like gardens, patios, and large windows that frame views of the surrounding landscape. The use of materials and the overall spatial organization contribute to a living environment that is both luxurious and in harmony with nature. The project highlights a contemporary approach to residential architecture in a sensitive ecological setting. It demonstrates how a modern dwelling can be constructed to respect and complement its natural environment, offering privacy and a connection to nature while providing a high level of comfort and design quality. The choice of Mangaratiba, a location known for its lush mountains and beaches, further underscores the design's intent to create a serene retreat that is deeply rooted in its specific site. Patios House stands as an example of thoughtful architectural integration, where the building's form, materials, and internal organization are meticulously crafted to respond to its unique geographical and environmental conditions. The collaboration among various design and engineering disciplines was crucial in achieving the project's vision of an understated yet sophisticated residence that coexists with its vibrant natural surroundings. #ResidentialArchitecture #Houses #Mangaratiba #Brazil #StudioMK27 #MarcioKogan #LandscapeIntegration #CoastalArchitecture #ContemporaryDesign

The article delves into the intricate legacy of brutalist architecture across Africa, exploring its origins, diverse manifestations, and current state. The global surge of brutalism from the 1960s to the 1980s coincided with the independence movements of many African nations. This architectural style, characterized by bold experimentation, monumental scale, and the use of reinforced concrete, resonated with the optimism of state-building and the need for new infrastructure, including educational, financial, and healthcare facilities. It also provided spaces for celebrating local culture and history. Local architects, some educated abroad, and foreign practitioners commissioned by post-colonial governments contributed to a multifaceted brutalist landscape. The style adapted to local contexts through features like brise-soleils for shade, thoughtful building orientations, and semi-open structures designed for ventilation in tropical climates. Some designs incorporated forms and decorative elements inspired by cultural references. However, brutalism also presented contradictions. In apartheid South Africa, it was used as a tool of control, and in former Portuguese colonies, its legacy is intertwined with colonial rule. The rapid construction often led to colossal structures that were resource-intensive but sometimes failed in their intended functions. International architects frequently received commissions, while local African architects, many of whom shaped the unique characteristics of African brutalism, often remained unrecognized. Today, many of these brutalist buildings face neglect. Their high maintenance costs and the perceived lower cost of demolition over restoration pose a significant threat. Nevertheless, these structures serve as important markers of a historical period, warranting study and preservation. There is a growing interest in their critical re-evaluation, aiming to transform them into contemporary assets. Their potential for adaptive reuse and the lessons they offer in contextual design are highlighted as reasons for documentation and conservation. The article provides several examples of brutalist typologies across the continent. The West African Development Bank (BOAD) in Lomé, Togo, designed by DMT Architectes and Raphaël Ekué Hagbonon, exemplifies how local cultural references, like the Tatas Tamberma compounds, were integrated into modernist design. The BOAD building is noted for its commitment to preservation, with a dedicated conservation office and an architectural archive. Obafemi Awolowo University in Ife-Ife, Nigeria, designed by Arieh Sharon with Eldar Sharon and Augustine Akhuemokhan Egbor, showcases climate-responsive buildings. Established post-independence, these university campuses were vital for intellectual discourse and are now recognized as part of the Bauhaus international heritage, with ongoing conservation efforts. La Pyramide in Abidjan, Ivory Coast, an abandoned multi-use complex by Rinaldo Olivieri, stands as a symbol of unfulfilled ambitions. Its pyramid shape and concrete tower, while iconic, proved ill-suited for its function, leading to its current derelict state despite past renovation plans. The Hôtel du Lac in Tunis, Tunisia, by Raffaele Contigiani, is an inverted pyramid luxury hotel reflecting the era's optimism for tourism. Abandoned since 2000, it remains a recognized brutalist landmark. The Cinema Studio Namibe in Moçâmedes, Angola, by José Botelho Pereira, an unfinished concrete saucer, illustrates how political upheaval, specifically Angolan independence, interrupted architectural visions tied to colonial propaganda. The Place des Cinéastes (Filmmakers’ Square) in Ouagadougou, Burkina Faso, by Ali Fao and Ignace Sawadogo, is a distinctive monument celebrating pan-African filmmakers. The Kenyatta International Conference Centre (KICC) in Nairobi, Kenya, by Karl Henrik Nøstvik and David Mutiso, a cylindrical tower with a conical amphitheater, continues to be a central venue for political and cultural life, scheduled to host Africa’s first architectural biennale. Finally, the National Museum of Ethiopia in Addis Ababa, designed by Gashaw Beza Tesfamichel, showcases brutalist vocabulary softened by a vibrant mural, reflecting the nation's socialist orientation and political trajectory. #AfricanBrutalism #BrutalistArchitecture #PostColonialArchitecture #ArchitecturalPreservation #ModernistArchitecture #AfricanDesign #ArchitecturalHistory #CulturalHeritage

This article details the comprehensive renovation of a Grade-II listed Georgian townhouse in Bath, transformed by homeowners Paul and Kate Austin. The property, initially purchased by Paul in 1989, was in a dilapidated state, described as a "real mess" with a soil pipe running through its center and an unsightly 1960s lean-to. Despite its condition, Paul immediately recognized its potential, and the sale was finalized within six weeks. The renovation project was extensive and challenging, especially given the property's location within a World Heritage Site, which necessitated consent for almost all modifications. Key initial steps included relocating the central soil pipe to the back of the house. In the early 1990s, Paul and Kate leveraged grants from Bath Council and the Bath Preservation Trust to replace the original Georgian sash windows and the fanlight above the front door, meticulously restoring these architectural elements. The unique white band framing the arched doorway, a characteristic found on specific Georgian streets in the UK, was also preserved. Inside, the renovation addressed significant structural and aesthetic issues. The entire ground floor was re-laid with cast-concrete tiles designed to mimic traditional flagstones, replacing the original smashed tiles. Every wall was stripped back to the bare stone and brick to install a proper damp-proof course, a crucial measure given Bath stone's tendency to retain moisture. The unappealing lean-to and outdoor toilet were demolished, and the garden underwent professional landscaping to enhance its appeal. The kitchen and dining areas were significantly reconfigured to create a more open and functional living space. A wall separating the kitchen and dining room was removed, and Kate installed a handmade kitchen from Plain English, painted in Little Greene's Lead. The kitchen features an array of collected items and small toys, grouped and re-arranged over time, reflecting Kate's passion for layering and collecting. Notably, the tiles around the Aga were designed by artist Lubna Chowdhary. During the kitchen rebuild, a hidden Georgian fireplace surround was uncovered behind 1970s cupboards, which now houses the Aga. An original Welsh dresser was also discovered and restored, adding to the room's character. In the dining room, the back wall was replaced with handmade French doors, maximizing natural light and creating a seamless connection to the garden. The dining area is furnished with a table sourced from a Norfolk farm sale and 1960s lamp shades from Two Columbia Road. Artistic elements include a contemporary resin painting from Edgar Modern art gallery and a mosaic handcrafted by Kate in the fireplace. An antique armchair, reupholstered in Romo's Odin Mercury design, and a 1940s sideboard inherited from Kate’s grandmother, further personalize the space. Despite the initial disrepair, many original period features, such as Georgian fireplaces, internal doors, and ceiling mouldings, remained intact. The sitting room ceiling, however, required repair after a flood. The living rooms showcase a blend of contemporary furniture and antiques, including fringe lamps and a corner cocktail cabinet from Kate's grandmother. Kate's eclectic taste is evident in her collections, which include dolls’ heads, stuffed animals, and motifs of numbers, letters, spots, and stars. The second living room features walls painted in Zoffany's Dusk, a Robert Rauschenberg print, a grey sofa from B&B Italia, and a vibrant print from Nelly Duff. Lighting by Artemide and a vintage Dansette record player complete the look. The bedrooms reflect a continued commitment to unique design and comfort. The master bedroom features contemporary artwork from the Edgar Modern Gallery, bedding from Zara Home and Anthropologie, and cushions from Heal's. The wallpaper, Salcey from Osborne & Little, contributes to a sophisticated ambiance. Daughter Zillah’s room exudes a playful "circus feel" with a yellow armchair from B&B Italia, a Feather & Black bed, Urban Outfitters bedding, and a pillowcase handmade by Kate’s grandmother. Curtains from Rossiters of Bath, a Fired Earth bedside lamp, and a custom-made wooden wall cabinet by Fiona Clark at Spacehub further enhance the room's vintage charm. Nina Campbell's Perroquet wallpaper and a cheerful Habitat rug add to the whimsical atmosphere. Kate Austin, a former visual artist, curated the interior design, infusing the home with her distinctive style. The townhouse serves as a "visual diary" of Paul and Kate's life, incorporating their travels, family heritage, modern art, and experimental use of color and form, all while respecting the historical elegance of the Georgian architecture. #GeorgianTownhouse #HomeRenovation #InteriorDesign #BathEngland #PeriodFeatures #EclecticStyle #KitchenDesign #VintageFurniture #ArtCollection

This article details the construction and design of an environmentally conscious rammed-earth home in northern Botswana, built by interior designer Darryl Freeman. Inspired by her work designing safari lodges, Freeman sought to experiment with natural building techniques to create a self-sufficient residence. The project, initiated in 2012, spans approximately three years and is situated on a piece of land on the Thamalakane River, chosen for its idyllic position and affordability. The home is a pavilion-style, one-bedroom structure made primarily of rammed earth, complemented by a plunge pool and a separate guest suite. Rammed earth was selected as the primary building material after considering other options like straw-bale, which was unsuitable due to termites and a lack of straw in the drought-prone area. Freeman collaborated with South African architect Paul Marais, who specialized in rammed-earth construction. The walls were formed using layers of sand, primarily red sand from Toteng for its pink hue, bound with lime. Wooden shutters, salvaged from a brother-in-law's building yard, were repurposed to create the molds for the walls and later used for the roof and sliding doors, emphasizing a zero-waste approach. A key design consideration was ventilation, crucial in the semi-arid climate where summer temperatures often exceed 40°C. The house incorporates a low window above a moat, which, with a small sprinkler, draws cool air into the interior. Warm air is expelled through a high window positioned along the top of the doors, facilitating natural airflow. The flooring throughout the home is a cement screed with white cement for a limewashed effect, while the ceiling in the living areas is also limewashed. The property operates entirely off-grid, featuring a grey water system for sewage that utilizes palm husks and earthworms. Twelve solar panels are installed: four for electricity and eight for powering a pump that supplies water from the river to the house. This setup eliminates utility bills, though challenges, such as reduced solar power during extended rainy periods, are noted. Before the main house was completed, Freeman resided in 'The Shack,' now a guest house, for 18 months, enduring primitive living conditions while managing the construction. The guest house also features an old mokoro (Botswanan rowing boat) repurposed as a planter, further illustrating the sustainable and resourceful nature of the project. The interior design reflects Freeman's personal history and travels, incorporating inherited furniture pieces and unique artifacts. A pink Chesterfield sofa from a friend in Durban, a custom-made dark-grey sofa, a floor lamp crafted by her uncle, a throw from a Mozambique market, and a floor cushion from a Marrakesh bazaar contribute to the home's distinctive character. Handmade cushions by textile designer Taryn Lamberti add personalized touches. The master bedroom includes a four-poster Weylandts bed, a chest of drawers from her mother, and a rug from her grandmother, alongside prints found in India. The overall aesthetic blends natural elements with curated decor, creating an enchanting and authentic living space that seamlessly integrates with its remote African environment. #EcoFriendlyHome #RammedEarthConstruction #BotswanaArchitecture #SustainableLiving #OffGridHouse #NaturalBuildingMaterials #InteriorDesign #AfricanHomestead

Giles Nartey, a British-Ghanian architect and designer, integrates his academic pursuits with his design practice, focusing on translating African rituals into contemporary design objects. His work, showcased as part of Wallpaper*'s Future Icons series, aims to celebrate Black identity and traditions, moving between art, film, and architecture. Nartey was born in South London but spent his early life in Accra, Ghana, where the informal architecture and everyday practices of places like Labadi profoundly influenced his design philosophy. He cites observations like handwashing rituals before meals and the use of the Asanka (a traditional grinding bowl) as continuous inspirations for his London-based practice. Nartey's academic background includes studies at Politecnico di Milano and the Bartlett School of Architecture. He currently lectures at University College London and co-runs a diploma unit at the Architectural Association. This combination of teaching, research, and practice allows him to push boundaries in his work, using academia as a testing ground for his design concepts. His doctoral research into African ontologies directly informs pieces like 'Interplay,' a communal bench first exhibited at POoR’s Powershift exhibition at the London Design Festival in 2023. 'Interplay' is a striking piece of furniture that rethinks seating as a shared surface, featuring engraved and overlapped narratives. It draws inspiration from traditional West African Senufo carved bed-benches, which are typically made from a single piece of timber. The bench also incorporates the Ghanaian game 'Oware,' encouraging performative interaction. Nartey explains that historically, African objects have often been miscategorized as inanimate artifacts, despite many being integral to spiritual or domestic rituals and practices, both in their creation and use. He believes his work helps correct this misperception by highlighting the embedded meaning and function within these objects. One of Nartey's significant career moments was exhibiting 'Interplay' at the Victoria and Albert Museum for the Friday Late: Radical Imaginaries. This was particularly meaningful for him as the V&A held personal significance, having been a place his mother took him and his sisters during their childhood. The exhibition allowed him to present a piece deeply connected to his heritage and shared family memories within a prestigious institution. Following 'Interplay,' Nartey created 'Serwaa,' a sleek six-legged aluminum stool. This piece is a contemporary interpretation of the West African Lobi chair, a sculptural object that resonates with spirituality in regions spanning present-day Burkina Faso, Cote D'Ivoire, and Ghana. Nartey's future endeavors include architectural interventions in Accra, where he plans to reimagine food kiosks, market spaces, and street-level produce selling methods. His overarching goal is to present African design not as a historical relic but as a dynamic, contemporary language deeply rooted in the practices that fostered its creation. By grounding his designs in traditional West African culture and utilizing academia as a foundation, Giles Nartey is contributing to a broader understanding and appreciation of African design within the global design canon. #GilesNartey #AfricanDesign #ContemporaryDesign #CulturalHeritage #DesignResearch #ArchitecturalInterventions #FutureIcons #GhanaianCulture #VictoriaAndAlbertMuseum

Parys Huis, designed by Nadine Engelbrecht Architect, is a residential project in Parys, South Africa, completed in 2024. The house is characterized by its balanced approach to simplicity, climate response, and integration of personal meaning, distinguishing it within a restrictive estate. With an area of 380 square meters, the design emphasizes calm detailing and a strong connection to its occupants and the surrounding environment. The architectural firm, Nadine Engelbrecht Architect, led the project, with interior design handled by Miru Living. J.C. Swanepoel Project Management and Projects oversaw the general construction, while Impact Engineers provided structural engineering and consulting services. The project incorporates materials from manufacturers like Hansgrohe and Isoboard, indicating a focus on quality and specific aesthetic choices. The project details reveal a comprehensive approach to residential architecture, encompassing both functional and aesthetic considerations. The use of concrete and wood is prevalent, contributing to the house's overall material palette. Photography by Marsel Roothman captures the essence of the design, showcasing its exterior and interior spaces, including elements like concrete, glass, wooden beams, and various rooms such as the dining room, kitchen, bedroom, and bathroom. Several images highlight the house's architectural features, including different views of the exterior, interior details with concrete and glass, and specific areas like the dining room with its wood table and chairs. The inclusion of floor plans, roof plans, sections, elevations, and a locality plan provides a detailed understanding of the house's layout and contextual integration. These drawings illustrate the spatial organization and the relationship of the building to its site. The design successfully navigates the constraints of its location, achieving a harmonious balance between the practical requirements of a home and its broader environmental and emotional contexts. The quiet resolution of Parys Huis underscores a thoughtful design process that considers both the physical and experiential aspects of dwelling. The project serves as an example of residential architecture that prioritizes contextual sensitivity and a personalized living experience. #ResidentialArchitecture #Houses #SouthAfrica #NadineEngelbrechtArchitect #ContemporaryDesign #ClimateResponsiveDesign #ConcreteConstruction #WoodInteriors

Swastik Bhavan, the ancestral home of Jay Mehta in Porbandar, Gujarat, stands as a remarkable example of Art Deco architecture from the 1920s. Built by his grandfather, Nanji Kalidas Mehta, the industrialist and philanthropist, the house reflects both his personal journey and the architectural trends of its time. Nanji Kalidas Mehta, who left Porbandar for East Africa at a young age in 1900, returned as a successful businessman and commissioned the construction of Swastik Bhavan, which was completed in 1936. The residence was designed by the royal architect Purushottam Mistry, a choice that underscored the home's significance and Nanjibhai’s standing within the community. The name "Swastik Bhavan" itself is a tribute to Nanjibhai's faith and his adherence to the Arya Samaj reform movement, which emphasizes traditional Indian values and beliefs. The house was built along Uganda Road, a main thoroughfare featuring palatial mansions of individuals who had prospered in East Africa, highlighting a shared history among the city's successful residents. The architectural design of Swastik Bhavan is a fusion of Art Deco principles with adaptive features suitable for the local climate and a large family. It is a double-storeyed structure constructed with limestone from the nearby Adityana quarry. The interiors boast Italian marble floors, Japanese tiles, and frosted Art Deco glass chandeliers from Europe, alongside furniture sourced from Africa, showcasing a global influence in its design and materials. A distinctive feature is the roughly triangular courtyard at its heart, which, though unusual in an Indian context, served as a space for family rituals and children's play. The layout of the home is characterized by a central cupola-topped octagonal curving tower, which houses a stairwell and acts as the main welcoming feature, radiating into V-shaped buildings. This octagonal design extends to a lower informal waiting room at the entrance, leading into a formal spacious sitting room. The home was designed to accommodate extensive family gatherings, featuring six large bedroom suites, each comprising reception chambers, sleeping rooms, and worship spaces, as well as ample storage. Nanjibhai and his wife occupied the largest suites on the ground floor, while the upper floor was designated for their children and their families. Throughout the house, deliberate architectural choices ensure comfort and ventilation. Wide verandas, double-ventilation features, and double-pane windows were incorporated to channel sea breezes and modulate indoor temperatures. The wide corridors, adorned with Minton tiles, provide shade and ventilation to the large interior rooms, offering respite from the harsh sun and monsoon rains. The interior aesthetics include pastel pink, green, and yellow lozenge patterns on terrazzo floors, contrasting with terracotta jali railings and a sweeping staircase with dark-colored wood risers and a flower motif. Swastik Bhavan has been a hub for notable guests, including the maharaja and maharani of Porbandar, former Indian prime ministers like Indira Gandhi and Morarji Desai, and even Prime Minister Narendra Modi. Kamal Mehta, Nanjibhai’s granddaughter, recalls that Field Marshal Sam Manekshaw and many other eminent personalities, including writers, thought leaders, and poets, have been welcomed guests. The house continues to serve as a gathering place for the extended Mehta family, with its airy bedrooms still utilized during family reunions. The dining room, with its marble cabochon flooring and yellow Porbandar stone accents, connects to a spacious kitchen known for preserving century-old recipes. The art collected by Nanjibhai and his wife during their travels to Japan adorns the walls, adding to the home's rich historical and cultural tapestry. Nearly a century after its construction, Swastik Bhavan remains a cherished repository of memories and a living testament to Nanjibhai’s vision and values, embodying a unique blend of tradition, modernity, and global influences in its Art Deco design. #ArtDecoArchitecture #AncestralHome #IndianHeritage #GujaratDesign #HistoricalHomes #FamilyLegacy #ArchitecturalDesign #Porbandar

The Constantia estate in Cape Town, South Africa, has undergone a significant architectural transformation over nearly two decades, culminating in the recent completion of The Pavilion House by Malan Vorster Architecture Interior Design. This evolution began with the restoration of the original house, followed by the addition of notable structures like the 'Tree House' and a modern gym pavilion. The latest phase involved acquiring an adjacent land parcel, allowing for further expansion and the creation of the Pavilion House. Designed with a total area of 365 square meters and completed in 2024, The Pavilion House integrates with its natural surroundings, emphasizing a connection between the built environment and the landscape. Key contributors to the project include Pieter Malan and Jan-Heyn Vorster as lead architects, with photography by A Lookbook Studio production, featuring Elsa Young. The technical team included Christopher Taylor and Tiana Rall, while Watson Pellacini handled landscape architecture. Structural engineering was provided by DesignTech, quantity surveying by HBQS, and mechanical engineering by Jo Lubbe & Associates. The project reflects a holistic design approach, considering the historical development of the estate and its future potential. The architectural firm, Malan Vorster Architecture Interior Design, is noted for its expertise in integrating contemporary design within sensitive natural contexts. The design narrative of the Constantia estate highlights a continuous process of enhancing and adapting structures to complement the picturesque environment, suggesting a focus on sustainable and contextually appropriate architectural solutions. This article provides an overview of the Pavilion House project, detailing its context within the broader Constantia estate development. It outlines the timeline of the estate's architectural growth, from initial restoration to the latest additions. The project's specifications, including its size, completion year, and the professionals involved, are presented. The description emphasizes the harmonious relationship between the structure and its natural setting, underscoring the design philosophy of Malan Vorster Architecture Interior Design. #ResidentialArchitecture #HouseDesign #MalanVorster #CapeTownArchitecture #SouthAfrica #InteriorDesign #LandscapeArchitecture #ContemporaryArchitecture

The ‘Belaku’ residence in JP Nagar, Bangalore, designed by Rajesh Shivaram of Techno Architecture, embodies a modern yet nature-centric approach to living. Inspired by the Japanese concept of Wabi-Sabi, which appreciates beauty in natural imperfections, the home serves as an urban sanctuary. The design integrates sustainable practices, reflecting Shivaram's commitment to creating a lasting and environmentally conscious built environment. The exterior features a brick wall framework, complemented by an interior material palette of neutral tones, including white plaster, cement finishes, walnut floors, and wood cladding, with veneers added to enhance warmth. Despite a limited footprint of 2,400 square feet, the design strategically incorporates extensive greenery across multiple internal and external levels, responding to the tropical climate and Bangalore's pleasant weather. A central water body on the lower level, reminiscent of traditional South Indian courtyards, acts as a transitional space and a focal point, providing easy access to all areas. This indoor oasis is abundantly adorned with plants, extending the tropical theme throughout the home. The entrance features a double-height area, welcoming visitors with lush greenery and a walkway constructed from corten steel and wood cladding, which adds a warm contrast to the surroundings. A spiral staircase at the main entrance offers convenient access to various parts of the house. The living room, characterized by its airiness and abundant natural light from an eastern balcony, maintains privacy with IPE wood slits while ensuring visual harmony with the rest of the space. The kitchen and dining areas are integrated into a single, cohesive space, designed in accordance with Vastu principles and situated in the north-western part of the house. The proximity to the central water body creates an illusion of extended space, complete with an indoor garden. The modular kitchen, featuring a cooking island, uses warm tones. The central island seamlessly extends into a wooden dining table, fostering a communal environment for family meals. This integrated dining area further opens to a rear courtyard and a bar counter, making it ideal for entertaining guests. Minimalism defines the master bedroom, an elegant space finished with white pigment plaster and vitrified cement tiles. Wood on the ceiling breaks the monochromatic scheme, and the selective placement of furniture pieces enhances the room's tranquil atmosphere. The overall design emphasizes a connection to nature, functional open spaces, and a calm, uncluttered aesthetic, providing a serene escape within the urban landscape of Bangalore. #BangaloreHome #WabiSabiDesign #TechnoArchitecture #TropicalArchitecture #SustainableDesign #InteriorDesign #UrbanSanctuary #GreenLiving #ModernHome