Sebastian Paszek and Christina Bull

Shortlisted for the prestigious ​Stephen Lawrence National Architecture Award​, and winning a RIBA South East Regional Award​ (2015), the kinetic Ancient Party Barn is a playful re-working of historic agricultural buildings for residential use. Our clients, a fashion designer and a digital designer, are avid collectors of reclaimed architectural artefacts. Together with the existing fabric of the barn, their discoveries formed the material palette. The result – part curation, part restoration – is a unique interpretation of the 18th Century threshing barn. The design (2,295 sqft) subverts the familiar barn-conversion type, creating hermetic, introspective spaces set in open countryside. A series of industrial mechanisms fold and rotate the facades to allow for broad views of the landscape. When they are closed, they afford cosy protection and security. These high-tech, kinetic moments occur without harming the fabric and character of the existing, handmade timber structure. Liddicoat & Goldhill’s conservation specialism, combined with strong relationships with expert craftspeople and engineers lets the clients’ contemporary vision co-exist with the humble, historic barn architecture. A steel and timber mezzanine inside the main space creates an open-plan, master bedroom and bathroom above, and a cosy living area below. The mezzanine is supported by a tapering brick chimney inspired by traditional Kentish brick ovens; a cor-ten helical staircase cantilevers from the chimney. The kitchen is a free-standing composition of furniture at the opposite end of the barn space, combining new and reclaimed furniture with custom-made steel gantries. These ledges and ladders contain storage shelves and hanging space, and create a route up through the barn timbers to a floating ‘crows nest’ sleeping platform in the roof. Within the low-rise buildings reaching south from the main barn, a series of new ragstone interior walls, like the cattle stalls they replaced, delineate a series of simple sleeping rooms for guests.

To give more living space we designed and renovated this basement. The high ceilings made this space feel even bigger, the open space is modern and will be a fantastic family room. The ceramic tiles imitate hard wood floors but are easy to clean, the staircase connecting the 2 floors was completely re-built with a contemporary look that compliments the space.

The stair railing is rusted steel with a newel post cap also of rusted steel. The entry flooring is slate and abuts weathered gray hardwood that extends into the living and dining rooms. The stairs are carpeted in a gray color to complement the wood flooring and blue/gray of the slate. Interior wood trim is clear fir. Photos by Pelletier + Schaar

Shortlisted for the prestigious ​Stephen Lawrence National Architecture Award​, and winning a RIBA South East Regional Award​ (2015), the kinetic Ancient Party Barn is a playful re-working of historic agricultural buildings for residential use. Our clients, a fashion designer and a digital designer, are avid collectors of reclaimed architectural artefacts. Together with the existing fabric of the barn, their discoveries formed the material palette. The result – part curation, part restoration – is a unique interpretation of the 18th Century threshing barn. The design (2,295 sqft) subverts the familiar barn-conversion type, creating hermetic, introspective spaces set in open countryside. A series of industrial mechanisms fold and rotate the facades to allow for broad views of the landscape. When they are closed, they afford cosy protection and security. These high-tech, kinetic moments occur without harming the fabric and character of the existing, handmade timber structure. Liddicoat & Goldhill’s conservation specialism, combined with strong relationships with expert craftspeople and engineers lets the clients’ contemporary vision co-exist with the humble, historic barn architecture. A steel and timber mezzanine inside the main space creates an open-plan, master bedroom and bathroom above, and a cosy living area below. The mezzanine is supported by a tapering brick chimney inspired by traditional Kentish brick ovens; a cor-ten helical staircase cantilevers from the chimney. The kitchen is a free-standing composition of furniture at the opposite end of the barn space, combining new and reclaimed furniture with custom-made steel gantries. These ledges and ladders contain storage shelves and hanging space, and create a route up through the barn timbers to a floating ‘crows nest’ sleeping platform in the roof. Within the low-rise buildings reaching south from the main barn, a series of new ragstone interior walls, like the cattle stalls they replaced, delineate a series of simple sleeping rooms for guests.

Ottawa’s vibrant Glebe neighborhood stretches across the southern downtown edge of Canada’s National Capital. Its houses run the spectrum from prominent, architect designed heritage residences to modest, tightly packed workers’ homes from the early 20th century. Fold Place replaces on of the latter houses on a street boarded on its south by the open profile of Lansdowne Park and its Aberdeen Pavilion, one of North America’s few surviving Crystal Palace-style domed exhibition halls. The clients, professionals committed to the community’s casual urban lifestyle, asked Andrew Reeves for open, flowing spaces in which simplicity would make modest dimensions seem bigger. Reeves, who has recently made significant contributions toward returning Ottawa to its post war modernist heyday, responded with a tight composition of volumes that maximizes the potential of the narrow 20’by 60’ irregular shaped site while still generating a singular street profile. The street-side component of the two storey core volume steps in to facilitate an eastern side entrance. A cantilevered bay wraps around the corner at the second level, its crisp lines, layering of planes and contrasting materials producing a piece of geometric art. On the opposite elevation, a single storey garage, clad in richly stained pine in contrast to the neutral light-grey stucco of the main volume, is extruded on the angle of the lot. The same pine is used on soffits, in the bay and as a means to break up the major volume, the same kind of unapologetic use of natural materials that marked Alvar Aalto’s Nordic modernism. Inside, an animated “folding” of space creates horizontal and vertical fluidity and interconnectedness. The largely white walled and simply detailed interior rotates around two totemic elements centred on the west and east elevations of the house. One is a sculpted staircase whose ebony strained treads without risers seem almost to float. The other is a light chimney, a countering void marked by a soaring opaque window spilling light onto an interior garden at its foot. These elements also serve to separate the kitchen/dining area from the living room but without impeding a sense of openness. A generous and eclectic use of windows and glazed doors draws in from all sides the delightful ozone saturated light that theorist Christian Norberg-Schulz has identified as such an important element in a northern landscape. If large picture windows that provide stunning tableaus of the Aberdeen’s impressive cupola and the backyard facing wall glazed doors are boldly voyeuristic, many narrow vertical slot and horizontal clerestory windows contribute slices of views while protecting privacy. In sum, Fold Place is an urban dwelling for an informal lifestyle that is committed to engaging its community with openness and sass.

Shania Shegedyn Photography

photography: Grace Espiritu Photography http://www.ge-photo.com/

This home is a bachelor’s dream, but it didn’t start that way. It began with a young man purchasing his first single-family home in Westlake Village. The house was dated from the late 1980s, dark, and closed off. In other words, it felt like a man cave — not a home. It needed a masculine makeover. He turned to his friend, who spoke highly of their experience with us. We had remodeled and designed their home, now known as the “Oak Park Soiree.” The result of this home’s new, open floorplan assured him we could provide the same flow and functionality to his own home. He put his trust in our hands, and the construction began. The entry of our client’s original home had no “wow factor.” As you walked in, you noticed a staircase enclosed by a wall, making the space feel bulky and uninviting. Our team elevated the entry by designing a new modern staircase with a see-through railing. We even took advantage of the area under the stairs by building a wine cellar underneath it… because wine not? Down the hall, the kitchen and family room used to be separated by a wall. The kitchen lacked countertop and storage space, and the family room had a high ceiling open to the second floor. This floorplan didn’t function well with our client’s lifestyle. He wanted one large space that allowed him to entertain family and friends while at the same time, not having to worry about noise traveling upstairs. Our architects crafted a new floorplan to make the kitchen, breakfast nook, and family room flow together as a great room. We removed the obstructing wall and enclosed the high ceiling above the family room by building a new loft space above. The kitchen area of the great room is now the heart of the home! Our client and his guests have plenty of space to gather around the oversized island with additional seating. The walls are surrounded by custom Crystal cabinetry, and the countertops glisten with Vadara quartz, providing ample cooking and storage space. To top it all off, we installed several new appliances, including a built-in fridge and coffee machine, a Miele 48-inch range, and a beautifully designed boxed ventilation hood with brass strapping and contrasting color. There is now an effortless transition from the kitchen to the family room, where your eyes are drawn to the newly centered, linear fireplace surrounded by floating shelves. Its backlighting spotlights the purposefully placed symmetrical décor inside it. Next to this focal point lies a LaCantina bi-fold door leading to the backyard’s sparkling new pool and additional outdoor living space. Not only does the wide door create a seamless transition to the outside, but it also brings an abundance of natural light into the home. Once in need of a masculine makeover, this home’s sexy black and gold finishes paired with additional space for wine and guests to have a good time make it a bachelor’s dream. Photographer: Andrew Orozco

Shortlisted for the prestigious ​Stephen Lawrence National Architecture Award​, and winning a RIBA South East Regional Award​ (2015), the kinetic Ancient Party Barn is a playful re-working of historic agricultural buildings for residential use. Our clients, a fashion designer and a digital designer, are avid collectors of reclaimed architectural artefacts. Together with the existing fabric of the barn, their discoveries formed the material palette. The result – part curation, part restoration – is a unique interpretation of the 18th Century threshing barn. The design (2,295 sqft) subverts the familiar barn-conversion type, creating hermetic, introspective spaces set in open countryside. A series of industrial mechanisms fold and rotate the facades to allow for broad views of the landscape. When they are closed, they afford cosy protection and security. These high-tech, kinetic moments occur without harming the fabric and character of the existing, handmade timber structure. Liddicoat & Goldhill’s conservation specialism, combined with strong relationships with expert craftspeople and engineers lets the clients’ contemporary vision co-exist with the humble, historic barn architecture. A steel and timber mezzanine inside the main space creates an open-plan, master bedroom and bathroom above, and a cosy living area below. The mezzanine is supported by a tapering brick chimney inspired by traditional Kentish brick ovens; a cor-ten helical staircase cantilevers from the chimney. The kitchen is a free-standing composition of furniture at the opposite end of the barn space, combining new and reclaimed furniture with custom-made steel gantries. These ledges and ladders contain storage shelves and hanging space, and create a route up through the barn timbers to a floating ‘crows nest’ sleeping platform in the roof. Within the low-rise buildings reaching south from the main barn, a series of new ragstone interior walls, like the cattle stalls they replaced, delineate a series of simple sleeping rooms for guests.

Shortlisted for the prestigious ​Stephen Lawrence National Architecture Award​, and winning a RIBA South East Regional Award​ (2015), the kinetic Ancient Party Barn is a playful re-working of historic agricultural buildings for residential use. Our clients, a fashion designer and a digital designer, are avid collectors of reclaimed architectural artefacts. Together with the existing fabric of the barn, their discoveries formed the material palette. The result – part curation, part restoration – is a unique interpretation of the 18th Century threshing barn. The design (2,295 sqft) subverts the familiar barn-conversion type, creating hermetic, introspective spaces set in open countryside. A series of industrial mechanisms fold and rotate the facades to allow for broad views of the landscape. When they are closed, they afford cosy protection and security. These high-tech, kinetic moments occur without harming the fabric and character of the existing, handmade timber structure. Liddicoat & Goldhill’s conservation specialism, combined with strong relationships with expert craftspeople and engineers lets the clients’ contemporary vision co-exist with the humble, historic barn architecture. A steel and timber mezzanine inside the main space creates an open-plan, master bedroom and bathroom above, and a cosy living area below. The mezzanine is supported by a tapering brick chimney inspired by traditional Kentish brick ovens; a cor-ten helical staircase cantilevers from the chimney. The kitchen is a free-standing composition of furniture at the opposite end of the barn space, combining new and reclaimed furniture with custom-made steel gantries. These ledges and ladders contain storage shelves and hanging space, and create a route up through the barn timbers to a floating ‘crows nest’ sleeping platform in the roof. Within the low-rise buildings reaching south from the main barn, a series of new ragstone interior walls, like the cattle stalls they replaced, delineate a series of simple sleeping rooms for guests.

Ottawa’s vibrant Glebe neighborhood stretches across the southern downtown edge of Canada’s National Capital. Its houses run the spectrum from prominent, architect designed heritage residences to modest, tightly packed workers’ homes from the early 20th century. Fold Place replaces on of the latter houses on a street boarded on its south by the open profile of Lansdowne Park and its Aberdeen Pavilion, one of North America’s few surviving Crystal Palace-style domed exhibition halls. The clients, professionals committed to the community’s casual urban lifestyle, asked Andrew Reeves for open, flowing spaces in which simplicity would make modest dimensions seem bigger. Reeves, who has recently made significant contributions toward returning Ottawa to its post war modernist heyday, responded with a tight composition of volumes that maximizes the potential of the narrow 20’by 60’ irregular shaped site while still generating a singular street profile. The street-side component of the two storey core volume steps in to facilitate an eastern side entrance. A cantilevered bay wraps around the corner at the second level, its crisp lines, layering of planes and contrasting materials producing a piece of geometric art. On the opposite elevation, a single storey garage, clad in richly stained pine in contrast to the neutral light-grey stucco of the main volume, is extruded on the angle of the lot. The same pine is used on soffits, in the bay and as a means to break up the major volume, the same kind of unapologetic use of natural materials that marked Alvar Aalto’s Nordic modernism. Inside, an animated “folding” of space creates horizontal and vertical fluidity and interconnectedness. The largely white walled and simply detailed interior rotates around two totemic elements centred on the west and east elevations of the house. One is a sculpted staircase whose ebony strained treads without risers seem almost to float. The other is a light chimney, a countering void marked by a soaring opaque window spilling light onto an interior garden at its foot. These elements also serve to separate the kitchen/dining area from the living room but without impeding a sense of openness. A generous and eclectic use of windows and glazed doors draws in from all sides the delightful ozone saturated light that theorist Christian Norberg-Schulz has identified as such an important element in a northern landscape. If large picture windows that provide stunning tableaus of the Aberdeen’s impressive cupola and the backyard facing wall glazed doors are boldly voyeuristic, many narrow vertical slot and horizontal clerestory windows contribute slices of views while protecting privacy. In sum, Fold Place is an urban dwelling for an informal lifestyle that is committed to engaging its community with openness and sass.

Ottawa’s vibrant Glebe neighborhood stretches across the southern downtown edge of Canada’s National Capital. Its houses run the spectrum from prominent, architect designed heritage residences to modest, tightly packed workers’ homes from the early 20th century. Fold Place replaces on of the latter houses on a street boarded on its south by the open profile of Lansdowne Park and its Aberdeen Pavilion, one of North America’s few surviving Crystal Palace-style domed exhibition halls. The clients, professionals committed to the community’s casual urban lifestyle, asked Andrew Reeves for open, flowing spaces in which simplicity would make modest dimensions seem bigger. Reeves, who has recently made significant contributions toward returning Ottawa to its post war modernist heyday, responded with a tight composition of volumes that maximizes the potential of the narrow 20’by 60’ irregular shaped site while still generating a singular street profile. The street-side component of the two storey core volume steps in to facilitate an eastern side entrance. A cantilevered bay wraps around the corner at the second level, its crisp lines, layering of planes and contrasting materials producing a piece of geometric art. On the opposite elevation, a single storey garage, clad in richly stained pine in contrast to the neutral light-grey stucco of the main volume, is extruded on the angle of the lot. The same pine is used on soffits, in the bay and as a means to break up the major volume, the same kind of unapologetic use of natural materials that marked Alvar Aalto’s Nordic modernism. Inside, an animated “folding” of space creates horizontal and vertical fluidity and interconnectedness. The largely white walled and simply detailed interior rotates around two totemic elements centred on the west and east elevations of the house. One is a sculpted staircase whose ebony strained treads without risers seem almost to float. The other is a light chimney, a countering void marked by a soaring opaque window spilling light onto an interior garden at its foot. These elements also serve to separate the kitchen/dining area from the living room but without impeding a sense of openness. A generous and eclectic use of windows and glazed doors draws in from all sides the delightful ozone saturated light that theorist Christian Norberg-Schulz has identified as such an important element in a northern landscape. If large picture windows that provide stunning tableaus of the Aberdeen’s impressive cupola and the backyard facing wall glazed doors are boldly voyeuristic, many narrow vertical slot and horizontal clerestory windows contribute slices of views while protecting privacy. In sum, Fold Place is an urban dwelling for an informal lifestyle that is committed to engaging its community with openness and sass.