GLobal Villa Design

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Are printed publications like Global Design Villas still relevant in today’s digital world? Innovation in single family home design has improved significantly in the last two decades as our shared collective knowledge has grown due to the Internet. Architects now have instant access to unlimited digital design publications, new construction methods and the latest construction materials. Photo and

Global Villa Design

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image sharing platforms like Pinterest and Instagram give us the ability to view and share architecture images like never before. It is only natural to question the value and place of a printed architectural publication amid all this freely available information. Social image sharing applications are undoubtedly the most popular way to share and view architecture photos today. The users’ experiences on these social platforms are often fleeting and based on a single two dimensional image of one part of the building.The three dimensionality of building gets lost in a two second attention span that has already moved on to the next image in the feed. Very quick inferences

Publisher: Lu Jican Chief Editor: Li Aihong Executive Editor: Li Aihong Art Designer: Chen Ting Registered Address Suites 2001, 20/F., Chinachem Tower, 36 Connaught Road Central, Hong Kong, China Tel: 852-31840676

are made about the design quality without any further investigation. These “fleeting” images certainly influence our collective design thinking, but it lacks in substance.A building’s holistic design cannot be judged on aesthetics alone. Function, context and sustainability are equally as important, and the reader needs to understand all these facets to judge the final design outcome. Global Design Villa does a thorough investigation of each home, and each project is brilliantly communicated through text, multiple interior and exterior photos, diagrams, floor plans and sections. This information enables the reader to understand the design on a much deeper level .

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Architecture is not about followers, likes and shares. It is not about two dimensional images. Architecture Editorial Department

is about creating something tangible that gets used by people in the natural world. There is nothing

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“fleeting” about built architecture, and printed architecture publications like Grand Design Villas will

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always be relevant in today’s digital world.

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Rudolph van der Meulen Architect Nico van der Meulen Architects

ISBN 978-988-14688-0-2 No part of this publication may be reproduced or utilised in any form by any means, electronic or mechanical, including photocopying, recording or by any information storage and retrieval system, without prior written permission of the publisher. All images in this book have been reproduced with the knowledge and prior consent of the designers and the clients concerned, and every effort has been made to ensure that credits accurately comply with information applied. No responsibility is accepted by producer, publisher, or printer for any infringement of copyright or otherwise arising from the contents of this publication. Printed and Bound in China.


Paul McClean — President of McClean Design What do you think is the most effective way of presenting a project?

tools. It is amazing how interested Clients still are in seeing something drawn by hand. A quick concept sketch drawn in front of them at the table will still captivate more over any rendering.

We use a combination of tools to present a project. Our presentations include walk through animation videos, photorealistic renderings, floor plans and elevations. The most important part of critical design presentations is an in person meeting with the client. Watching how they react to the proposal gives us invaluable insight into how we should move forward.

If you had to choose just one of your projects, which project would it be? Why?

Do you draw often? I still draw though many people in my office do not anymore which is a little sad. I feel that is still the only way to design. A fluid connection between the pen and the thought process seems to exist that is completely different to the screen. All our designs start off as hand sketches and I still edit all drawings by hand with supporting sketches. It is amazing how quickly things have developed. Only five years ago most of our initial presentations were based on hand drawn sketches that I personally prepared, now it is mostly done with the aid of 3D visualization

Paul grew up in Ireland where he attended the Dublin Institute of Technology graduating with honors in architecture in 1994. During his time at university he traveled extensively and worked for award winning architectural practices in London, Dublin and Sydney, Australia. He also worked with the Monument Service of Ireland sketching and surveying many of the historic castles and monasteries dotted throughout the Irish landscape. In addition, He spent a year working with a firm in Dublin on museums and art galleries in the national capital. After graduation, he arrived in Southern California and worked for various local architectural firms before establishing McClean Design in 2000. Paul feels that they have been very fortunate these last few years and have managed to complete many new homes. He always enjoyed working with different people and is constantly amazed by the different and varied backgrounds of our clients. He has been able to establish lasting relationships with high quality builders and other design professionals helping to ensure that our entire team is committed to realizing the dreams and aspirations of our clients. Design is more than a job for him. It is what he wanted to do as a little boy and which he is lucky enough to be able to practice today and hopefully for a very long time.


Gosh, that is such a difficult question. The short answer is the one I am currently working on! All our projects are invaluable in the design phase, some projects come together easier though which is often a combination of circumstances involving the client and the builder. Our house on Blue Jay Way which we recently renovated for the Swedish DJ Avicci is probably a good choice as it received so much exposure that we were able to expand significantly into the LA market and beyond, leading to so many design opportunities. The first house we did in Canyon Acres will always be special, a passionate client and our first ideas realized. My own house which we completed recently was an intense experience and the joys of living there every day are incredibly satisfying.

Can you describe an evolution in your work from when you began until today? I have always been attracted to modernism as it developed in southern California. The uniquely benign climate allows you to live in a way that is difficult to achieve in other places, the year round mild climate is ideal for blending indoor and outdoor living. This has been a key component of our work since the beginning. We have been fortunate to work almost continuously on projects with great views of the surrounding landscape, urban and rural as well as many homes in the coastal area. This has helped us to continue to develop structures that are light and transparent in the hope of blurring the boundary between indoors and the landscape beyond. As the years have progressed we have worked on large and more complicated projects but we strive to hold on to those original concepts and continue to develop them in new ways.

What are your thoughts on the importance of renders in architecture today? Renderings are a key design tool in helping clients understand what we intend to build. Since the advent of photorealistic renderings it has become much easier to communicate with the client and also with consultants and builders what the design intention is. We must remember that they are just a tool though and can sometimes be misleading. Locally, we have seen many instances where design teams have used seductive renderings to help gain support for a project only to have everyone disappointed with the final result.


Sustainability Raised above the valley floor, the house captures wind from the adjacent vineyards. Openings in the exterior envelope have been increased with the addition of large operable windows and sliding glass doors leading out to a wrap-around porch, allowing the clients to take advantage of the Mediterranean-like climate and natural ventilation. Deep overhangs of the hipped roof help shade these areas during the hottest times of the year and buffer interiors from direct solar gain. Enlarged window openings and new skylights provide significant day lighting throughout the house, decreasing the need for supplemental lighting. Preexisting incandescent lights were replaced with LED fixtures, reducing electrical demands, while the addition of solar panels on the roof of the detached garage are expected to further offset the resultant power usage. The resource efficient upgrades within the house are carried into the surrounding landscape as well, where native plant selections and strategic zoning areas have been decided based on sun exposure and water usage, helping to limit the site’s overall water demands.





The W.I.N.D. House Architects Ben van Berkel, Caroline Bos, Astrid Piber with Ger Gijzen, RenĂŠ Wysk and Luis Etchegorry, William de Boer, Elisabeth Brauner, Albert Gnodde, Cheng Gong, Eelco Grootjes, Daniela Hake, Patrik Noome, Kristin Sandner, Beatriz Zorzo Talavera

Structural Engineer Pieters Bouwtechniek, Haarlem

Client: undisclosed

Location Noord-Holland, the Netherlands

Area 528 m²

Photography Inga Powilleit / Fedde de Weert

Located on the outskirts of a Dutch village and close to the sea in the

Heat gain is reduced through the use of tinted glass on the fully glazed front

province of Noord-Holland, the W.I.N.D. House is backed by a sheltered

and back facades. This coated glazing further enables natural light to flood

wooded area and fronted by a large, open expanse of polder landscape. The

the interior spaces, whilst increasing privacy during daytime. The walls and

design of the house responds to both its setting and to the seasons, whilst

ceilings of the house are clad with natural clay stucco and the main walls

regulating and maximizing upon the effects of these.

consist of clay bricks which aid in providing a healthy indoor climate due to the evaporating effect of the clay.





The orange colored film that has been placed on the transparent handrails of the galleries draws the eye upward emphasizing the depth and vertical visual relationship between the floors and the two portions that make up each villa.




4a Architekten GmbH P280

A-cero JoaquĂ­n Torres y Rafael Llamazares arquitectos.

Ezequiel Farca P174, P238

Hariri & Hariri Architecture P186


In2 P192

P292 P180

Bohlin Cywinski Jackson P046

Chuangyi Fan

LSA Architects P030

McClean Design P024, P106, P122, P200, P272

MIA Design Studio P084, P090, P242


Clark | Richardson Architects P250

Dan and Hila Israelevitz Architects P164

Efrat silverman Architect P078

platau. platform for architecture and urbanism


ABIBOO Architecture

AND studio

Pitsou Kedem Architects P070

Nakhshab Development & Design P224

Nico van der Meulen Architects P036, P114, P134, P154

Pallaoro Balzan e Associati P230

SAOTA P054, P062, P146

Sicart and Smith Architects P206

Studio Metrocubo P256

Swatt | Miers Architects P128, P170

UN Studio P210

Wunschhaus Architektur P218

Yazgan Design Architecture P286