BEDMAR AND SHI PDF
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Although this steel plate is relatively thick, at the exposed edge of the staircase, the plate is recessed back from the timber sni above and only a thin plane of the steel is bedmmar outward to further lighten the edge detail of the staircase. A light and breezy atmosphere is created on the roof terrace atop the guest suite onto which is erected a series of steel columns supporting tensile fabric that shades it from the sun.
This house, which is shu in the highly prestigious and beautifully landscaped region of Amrita Shergil in Delhi, India, was to present Ernesto Bedmar with one of his greatest challenges to date. The fire is represented by a small stone block on the ground that shoots up a flame into the air and the water is in a white basin.
This courtyard, Bedmar explains, carries a memory of cultural history of central social open spaces within traditional houses that were used for artistic performances. Further down the long corridor, a wall opens up to introduce the Living and Dining Rooms. Elegantly poised atop its granite pedestal, this beautifully crafted home in India is truly a temple for the body, as well as a captivating repository of stories. Two thick and roughly worked flanking walls of granite stones set in thick mortar beds embrace the front entrance of the house and its znd over-hanging timber trellised canopy.
With only slits of openings along the edges of the entrance space, the contrasting framed view into a sun basked rock garden at the end of the portal draws the visitor forward in a distinctly tropical experience of light.
Want to see more like this? Recalling somewhat the stone walled buildings in his sbi Argentina, Ernesto Bedmar is able with this project to redefine and modernize his tropical language and spatial organization while still echoing traditions of craft of the region. These walls, which are formed of huge slabs cut from giant pieces bemdar stone, are so well cut and the grain book-matched that the entire long stretches of wall appear to be formed out of a single piece of stone.
The materials used in the house are a mixture of rustic natural finishes such as the roughly worked rubble walls, naturally finished teak, roughly finished textured plaster walls, as well as highly polished modern materials like stainless steel and glass flooring on the bridges between spaces. Due to the dilapidated state of the original building which was on the site, its demolition was permitted. The openness of this space and physical separation between forms promotes the movement of light and air through the house which is, other than the view out of to the ocean at the back, mainly internally focused.
The new building was given the restrictions of a large 9 meter setback from Lodhi Road and a height control of no higher than the original house. Bedmar explains that the East and North directions are considered more favourable in terms of views and openings for the house according to Vastu, while the Bexmar is considered unfavourable due to the nad of the sun from that direction.
Many other Vastu principles dictated the locations of the specific rooms within the site such as the Pooja or prayer room in the Northeast corner, Dining in the West, Master Bedroom in the Southwest and courtyard in the East, among others.
Amrita Shergil Marg House 0. In a clever re-definition of a traditional tropical housing planning arrangement where the rooms are expressed as separate pavilions that sit in a larger garden, this house by Bedmar and Shi operates in a more dense urban situation. Adding to the free-standing nature of the walls in the Living and Dining Rooms is the visual disassociation of the concrete flat roof from the walls.
The separation of the finishes from each other allows the various materials to exist as independent entities, in a way, to breathe on their own.
This garden is dominated by a single Tulsi tree, which is considered to be an auspicious tree dedicated to the gods and creates an internal aura of reverence and tranquillity. The timber screens or jali timber panels were designed by Bedmar with the use of a traditional Indian pattern that had been reduced in its geometry, and then cut it into the wood of solid Burmese Teak doors.
bedmar + shi: cove way house
In a fascinating dialogue between an expression of carved out enclosure versus a light and airy openness in the house, the front entrance stone walls are tunneled with a long cavernous entrance that ramps up from the main road and envelopes the visitor into its dimly lit interiors.
This deck steps downward to the left into the swimming pool itself in the sh random type of stepping pattern as seen the first courtyard. The heavy stone walls grounding the bedmaar entrance of the ahd form a natural portal that allows Bedmar and Shi to recreate a sequence of circulation seen in some of their other projects whereby the house is revealed slowly and gradually to the visitor, with dramatic transitions of light and shadow, and enclosure and freedom.
The elongated pattern of the screen emphasizes the overall horizontality of the house but at the same time allows light and air through it. Bexmar and horizontally, the courtyard shj tied together by a grid of large timber members that double as display shelves and bring the eye up from the basement to the attic as well as visually knit the two side walls of the house together.
Engraved both into its spatial organization and into the details of the house, these are stories of traditions and beliefs, of customs and of the relationship of the body to nature.
Subscribe to Archello’s newsletter. The Master Bedroom is above the Living and Dining pavilion, making it the highest bedroom in the house. The shape of the site itself was favourable to the implementation of the principles of Vastu as it is a rectangle that is elongated in the East-West direction, with the main gate entering from the East.
The visitor then turns to enter an extruded, linear corridor which is used as an art space and is flanked to one side with a cosy family room with a full wall of bookshelf and to the other with an open courtyard in terracing and stepping slabs of stone.
bedmar + shi: cove way house
By continuing to shk our website, you consent to our use of cookies in accordance with our cookie policy. The guests that come to the house often enter the Pooja or prayer room first before visiting the main house. We use cookies on our website. The surrounding neighbourhood is full of greenery and is a highly conserved area of very horizontal houses, mostly single storey, that sit on elevated platforms and are topped with flat roofs. These flat roofs are still heavily used by the occupants as terraces because from this height they enjoy the desirable winter breezes.
The Amrita Shergil Marg house was therefore planned with the entrance and views to the North and East and a long service block placed along the Southern edge of the site. Within this courtyard are elements of fire and water. Underneath the skylight is a timber trellis. The delicateness of the glass connecting bridges between the various volumes of the house is echoed in the vertical connections between floors.
The linear grain of the travertine on two sides of the Pooja room creates directionality and focuses the worshipper through the crafted timber trellised pivot doors xnd directionally aligned statue of the Hindu deity Nandi in the courtyard beyond.
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