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Villa 1
Villa 1
Ede, Netherlands
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Other Projects by Powerhouse Company
Villa 1
Ede, Netherlands
Firm
Type
STATUS
Built
YEAR
2007
SIZE
0 sqft - 1000 sqft
Villa 1 was the first commission for Powerhouse Company, two months after its founding in May 2005. The house comprises 480 m2 of which, in order to meet the local zoning regulations, half is pushed to the basement. Set in the woodlands of eastern Holland, the site offers beautiful views on the forest and has a great sun exposure of which the design takes full advantage. The characteristic Y shape of the floor plan is the result of the optimal configuration of the program on the ground floor towards the sun and the view over the woody terrain. A singular frame envelopes the house. On the South and East sides, two large covered decks create passive sun shading for the interior, while leaving the terrace in the sun.
The house has three wings: on the ground level one wing is for work, studying and music making (North exposure); one is for cooking and eating (East-South-West exposure); and one is for living and painting (South and North exposure). They come together in a central area that becomes the heart of the house. This space serves as entrance hall, dining room, bar and music-room. Each wing is spatially organized in a centrifugal manner. All mass is concentrated in a central core: a piece of furniture that contains all services and structural elements and that simultaneously creates different rooms within the entirely glazed space. These large pieces of furniture create a free flowing distribution of functions without closing off rooms. It is thus possible to enjoy a pleasant stroll longer than 150 m through a variety of rooms (spaces) immersed in the landscape.
The three furniture pieces on the ground floor are distinctively different in their design, materials, feel and smell. We used wood to the North, slate to the East and concrete to the South. In the North wing an American nut-wood furniture piece ‘swallows’ a staircase, cupboards, guest bed and a small bathroom. The curves of its outer shape create the entrance, a small and a large study and an acoustically sound piano-room. The kitchen is the second piece of furniture. It is entirely made of Norwegian slate and incorporates all kitchen appliances and storage, a toilet and a bar. It is as solid as a rock, yet gentle in its use. The third furniture piece consists of two concrete walls that incorporate a fire place, storage and video projector. This element opens up to create a patio bordered by a living room, garden room and atelier.
In the basement, the Y-shape creates a similar functional clarity: one wing is for the master bedroom, one for cars and one for storage and guest rooms. A patio provides light for the guest rooms, while the master bedroom overlooks a deepening of the garden. Counterbalancing the extreme openness and lightness of the vertical structure above ground , the basement level shelters the most intimate rooms of the house and takes on opposite spatial qualities, emphasized by the brutal and protective feeling of mass. The different areas are carved out in the mass, creating vaulted ceilings and thick walls that emphasize a sense of protection and shelter. Here, the scarcity of daylight is complemented by a richness in spatial effects. In the basement the heavy architecture retrieves the primordial qualities of Roman architecture.
As a result of its Y shape and the architectural dichotomy between the light-flooded upper level and the intimacy of the lower level, the villa provides a wide array of extreme spatial qualities, going from narrow, dark, vaulted corridors to wide-open, transparent garden rooms. The result is a landscape of different spatial perceptions that goes beyond the mere pragmatic diagram of functionality.
The house has three wings: on the ground level one wing is for work, studying and music making (North exposure); one is for cooking and eating (East-South-West exposure); and one is for living and painting (South and North exposure). They come together in a central area that becomes the heart of the house. This space serves as entrance hall, dining room, bar and music-room. Each wing is spatially organized in a centrifugal manner. All mass is concentrated in a central core: a piece of furniture that contains all services and structural elements and that simultaneously creates different rooms within the entirely glazed space. These large pieces of furniture create a free flowing distribution of functions without closing off rooms. It is thus possible to enjoy a pleasant stroll longer than 150 m through a variety of rooms (spaces) immersed in the landscape.
The three furniture pieces on the ground floor are distinctively different in their design, materials, feel and smell. We used wood to the North, slate to the East and concrete to the South. In the North wing an American nut-wood furniture piece ‘swallows’ a staircase, cupboards, guest bed and a small bathroom. The curves of its outer shape create the entrance, a small and a large study and an acoustically sound piano-room. The kitchen is the second piece of furniture. It is entirely made of Norwegian slate and incorporates all kitchen appliances and storage, a toilet and a bar. It is as solid as a rock, yet gentle in its use. The third furniture piece consists of two concrete walls that incorporate a fire place, storage and video projector. This element opens up to create a patio bordered by a living room, garden room and atelier.
In the basement, the Y-shape creates a similar functional clarity: one wing is for the master bedroom, one for cars and one for storage and guest rooms. A patio provides light for the guest rooms, while the master bedroom overlooks a deepening of the garden. Counterbalancing the extreme openness and lightness of the vertical structure above ground , the basement level shelters the most intimate rooms of the house and takes on opposite spatial qualities, emphasized by the brutal and protective feeling of mass. The different areas are carved out in the mass, creating vaulted ceilings and thick walls that emphasize a sense of protection and shelter. Here, the scarcity of daylight is complemented by a richness in spatial effects. In the basement the heavy architecture retrieves the primordial qualities of Roman architecture.
As a result of its Y shape and the architectural dichotomy between the light-flooded upper level and the intimacy of the lower level, the villa provides a wide array of extreme spatial qualities, going from narrow, dark, vaulted corridors to wide-open, transparent garden rooms. The result is a landscape of different spatial perceptions that goes beyond the mere pragmatic diagram of functionality.
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