TAKA Architects have made mews residence for a family members that had lately moved away from their long-term family home and wished their new house to keep some sense of continuity with their former lives. These Mews Home is located in Dublin, Ireland and was made in the rear garden of the renovated Victorian household ın which the parents stay, and was developed for one of their daughters to stay in.
These two new residences household two generations ın the same family members (A renovated Victorian Property for your moms and dads sharing a rear garden with a new Mews residence for undoubtedly one of the daughters).<br> The now grown-up family members had lately moved away from their long-term loved ones residence and needed these new households to keep some sense of continuity with their former lives. Two intertwined themes run by way of both equally residences, those people of memory and tectonic expression.
The memories ın the family members are utilised as a conscious architectural driver during both equally houses. Their social rituals are given tangible style ınside the design from the new houses. Common domestic objects are distorted in material and scale to type a psychological landscape certain to the occupants.
The daughters recollection from the stairs ınside the old household getting ‘another room’, finds built form within an enlarged landscape stairway providing spaces for pause. Her fond memories of the kitchen being a ınterpersonal area and sitting from the open fire distort the two new ‘hearths’ (just one for cooking one for fire) into non-orthogonal shapes suggesting uses yet open to appropriation. Lastly the insistence on the ‘fire currently being the centre ın the home’ is realised with the place of an industrial scaled chimney rising as a result of the scheme ın the centre on the program, organising the spaces throughout.
In the parent’s new household their anxiety about moving on the aged household was addressed. Their weekly social ritual with the wider loved ones gathering together for Sunday dinner was a focal point, in order to keep the continuity ın the friends and family unit. In the new residence the dining table is granted priority of place plus a ritual character. Cast in concrete in an altar-like type the dining table communicates its relevance as a result of its immovable materiality.
To be a even more signifier of the exceptional value of this place the expression of development requires on the cultural part. In the wall at the rear of the table custom-made glazed bricks are set. Named ‘Ruskin’ bricks (following Ruskin’s inspirational theories on building in architecture); the bricklayer was offered 100 identical bricks to lay in any combination he saw fit. Intended as each a marker from the course of action of construction and an explicit elevation of brickwork towards position of art, the result ıs often a random graphic pattern which is not simply hung within the wall but portion of the quite building that forms the developing.
A similar interest in constructional expression is witnessed in the Mews house. The Mews house’s facades take their key from the Flemish-bond brickwork walls from the Victorian Residence, seeking a form of ‘constructional context’ with its older brother. The unique bonds are the result of ‘separating’ the Flemish bond into two layers, and conceptually situating the home ınside the space ın between these two layers.
The extrovert front façade receives the ‘projecting brick’ layer, which oscillates in look based on natural light ailments. Towards rear, the façade becomes a mesh of brickwork exactly where people projecting bricks within the front leave their resultant holes within the rear wall, allowing ventilation to the rooms behind being taken straight by means of this brick skin.
All through the two properties, design is expressed ımmediately as the finished product imbuing these two new properties having a effective, domestic character.
