SB House Pitsou Kedem Architects

SB House Pitsou Kedem Architects

HOUSES•TEL AVIV-YAFO, ISRAEL

Architects: Pitsou Kedem Architects, Pitsou Kedem Architects

Area : 511 m²

Year : 2014

Photographs :Amit Geron

Manufacturers :  Vitrocsa

Modernism's gospel and the principle-front front free of static load balancing, transparent or opaque, Spacey or detached film shows the long separation of external and internal were brought about by technological advancements made during the industrial revolution that permitted the use of iron and concrete as building blocks.

B.B. HOUSE Is it the building envelope architecture that acts as the generator, regulating the ideal balance between interior and exterior relations, climate, and privacy considerations, rising from the ground, enclosing the necessary spaces, and then falling back to it in the packaging as a test of gravity? It is transparent, thin, and still acts as a wrapper for the floor, and a rough, massive drifts and surrounds the entire House. The operation of the cement sheath surrounding the House creates an intriguing equilibrium between system open and close and fills the House with different types of intensity of light. These streams pouring concrete highlight his sensuality.

The construction of all concrete is cast as were disassembled and assembled again in the final casting phase as they put together a whole relationship cannot be balanced. A concrete way does not meet as a component along in construction-but supported and supports integration of steel beams and pillars to wooden boards used as a covering of floors and shutters in front of three material that constitute together the construction of all concrete.

The driveway that leads visitors in front of the house's sealed-off entrance is located at street level. When people are looking for a delicate equilibrium point between these two factors, different shell walls produce varied relationships between blocked and exposed. The facades can be interpreted as abstract paintings, with BLOBs and lines placed in an asymmetrical composition that creates a new order in fact. The house itself is consistent with 1950s modernism, which likewise organizes non-symmetrical minimalist but imbalanced compositions.

Standing up against the wall-sealed entrance sells architecture from Egypt's temples and fortress structures, palaces, churches, and more. Everyone aspired to change visitors' perceptions for a variety of reasons, and they all broadcast on option and disconnect, move and approach, foreign and domestic.

The initial living room is revealed toward the open garden, closed, open, and the entrance hall is the convergence of linked transactions the transactions in space himself and his passages from two sides of the Hall to the other spaces, like the movements themselves confined between two walls that produce an open glance toward the sky framed and thus emphasize the transition between interior and exterior. This transition increases with the session.

The living room and kitchen area are creating a number of public places, such as the kitchen, living room, living room, garden, and pool, as well as a sense of openness that is not diminishing during the experience. Natural wood panels covering the floor provide the impression that they have fallen from the molding-lined concrete roof after casting him nude.

While the master bedroom is on the upper level and is open all the way to the North at wood blinds vertical lender allow adjusting the light and exposure, the children's rooms are on the lower level and are lighted throughout by the sunken courtyard and watching the entrance. The General Prism is highlighted by the extension of brisolei shutters throughout the roof key. The resulting front describes how it works and folds the cover to make the concrete surrounding the residential spaces into stroctoralit-the complex using one element of the page in its own right, Interior and exterior, as abstract sculpture.

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