– The only thing that’s fixed is the horizon.
Scotland has close relationships with Norway, primarily cultural, but also landscaping is a lot of recognition. Their undisturbed coastal landscape could equally be Western Norway. And as in Norway, the landscape is influenced by the architecture.
On the banks of Loch Dunvegen, on the island of Skye, northwest of Scotland, the Scottish architectural firm Dualchas Architects has drawn a house that stretches along a ridge. Architect Daniel Bär describes it as a contradiction, because here there should be no building. The climatic does not mean that.
– The only thing that’s fixed is the horizon, he explains to clicks. no.
“The idea of contradiction is not just a reminder of the isolated location and the mystery of this, but also about the obvious challenge it entails living in such a climatic drama,” he stated to the website Dezeen when they portrayed the project.
Growed from a ruin
There was an ancient ruin there when the architects arrived, but it lay down and forms the entrance to the house. And the old trail that led up to the ruin has got a new end point.
– The house is located on the edge of the cliffs, high above the sea. It gives in a way the old path an excellent endpoint, describes Bär.
Two building volumes
The site was initially unbuilt and too small
The architects’ challenge was how to approach the overwhelmed landscape across the lake. The solution became two building bodies, one closed while the other opened to the surroundings.
The first building contains all the features such as kitchen and bathroom, while the other is reserved for stays.
– Together they create a building that creates both shelter and secrecy, but at the same time opens up to the surroundings, says Bär.
An experience of panorama
The house is coming from the bottom, from the sea, and in the open landscape the building can be seen at a long distance. At first sight, it travels like a small wall towards the monumental Scottish coastal landscape.
The cabin that makes the visitors cry
But as you move into the landscape and approach the house, the proportions change. Now it’s the building that takes over the lead role. But not before entering the house, the tension between buildings and landscapes is triggered, and you enter an open space with a glass front embracing the whole landscape.
– The site’s topography allows you to experience the whole landscape’s panorama through the windows, describes Bear.
Shifts in length and height
In the horizontal plane, the building bodies are displaced in relation to each other, which gives the house a movement. But also in the vertical plane there are displacements, and it creates some voids that the architect has filled with glass.
In this way, these voids are sensed inside the house and act as openings towards the surroundings.
If you drive past, you can not expect to see the house
In addition to the light emitted from these spaces, light also falls into the center of the building, between long struts running throughout the length of the building.
Robust material usage
While the terrain and the surroundings have defined the building bodies and their location, architects wanted to emphasize the house’s design language with a specific material use.
The outer garment is a variety of larch and local slate that float together in an appealing envelope..
Inside the house is simple and clean cut, with a polished concrete floor that runs throughout the house.
One long side is completely covered with glass, while the backside is almost closed, with a hideous entrance party that in no way reveals what’s inside.
According to Daniel Bär, living is also defined by the place chosen for his house.
– This home seeks an answer to how quality of life can be expressed through architecture and physical construction. The self-contradiction, expressed by the tension between the simple building body and the dramatic landscape, is not only a reminder of the mystery and isolation of the place, but also a clarification of the rare possibility of staying in such a place, ultimately is the builder’s choice. And in that context, the building becomes just a frame, says Bär and asks the following rhetorical questions:
– How much building do you need to live in a place?
The house’s surface is 115m2.
When you open the doors in the cabin, it becomes almost twice as big
A cottage for all seasons
Built house in bridge over a stream
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