Claude Megson Counter Constructions.
Book authored by Giles Reid. Photography by Jackie Meiring. On sale from 01.11.16
To pre-order, please mail firstname.lastname@example.org
Website coming: www.counterconstructions.com
House Extension , Kew. Planning Permission Approved July.
TUNGENES MARITIME MUSEUM
The house sits on a wooded site, sloping down to a small stream. The clients are a couple, one of whom works from home. They have a young child. The entrance is at the top level, where bedrooms are also located. From the landing, a double height space opens up with diagonal views to the stream. One descends a cantilevered staircase alongside a stone wall, down to the main living area. A snug is created under the main volume, with a fireplace which helps ground the light structure on the site.
The house sits in a suburban context on a gently sloping corner site. The building is pulled to this corner so as to build right up to the plot perimeter. This move creates space for an inner private courtyard. The building is reduced in apparent size by being divided between the house proper and a smaller garage structure with small study space over.
Materials to the street are deliberately urban, formed of sheet metal in a brick bond pattern. Materials to the courtyard by contrast are more tactile, - timber cladding, bespoke joinery and more extensive glazing. The roof is formed by a simple hip, cut through however at slight oblique angle, creating a house-shaped profile in the courtyard.
ZAGREB ALUARTS FORUM
A private house for a client near Glenorchy in the South Island of New Zealand.
The design creates a shared landscape with the existing Monument to the 1916 Rising. The building's east face is aligned with the Monument, forming a generous piazza in front. An avenue of trees is introduced to frame the Monument and soften its landscape.
The new chapel aims to become gentle public building with a simple unifying form and materials, animated inside by light through a frosted façade. Facing west, it presents a classical and calm elevation on approach. Funeral cars drive up to a parking area in front. The cortège then walks parallel to the Monument approach, towards the chapel entrance. The entrance takes the form of a portico, where people can congregate.
The bulk of the building is buried below the ground, creating a meadow or ground plane which is owned by the public, free to use this space at any time. A lattice made of metal sails floats over this ground, providing dappled shade in summer and acting as a sieve for the snow in winter.
The vertical form of the Pines is echoed in the form of the building. The façades are formed by alternating solids and voids which will appear differently in the changing sunlight of Auckland. Each apartment has a perimeter balcony, and a glazed face screened by slender aluminium powder coated vertical louvres. Chrome columns thread the main floors of the building together but are terminated at the top of the sixth floor.
The ground floor and upper levels are formed by glazing set back from the perimeter of the building. On the ground floor, this serves to invite visitors into the commercial space, while on the top floor, shading on the slim profiled aluminium glass, and the absence of structural columns, serve to make the slender roof appear to float above. Light is induced into the building from every elevation, while the internal core is lit from above by a light well which streams down into the lobby space at ground level.