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"I aways wanted to have a proper shower outdoors. This was my little dream, you know, just showering with the sun,
"I aways wanted to have a proper shower outdoors. This was my little dream, you know, just showering with the sun,
The open doorway that separates the main living area from the kitchen used to be the entrance to the house. Back then, you had to go outdoors to access the open-air kitchen and bathroom.
The open doorway that separates the main living area from the kitchen used to be the entrance to the house. Back then, you had to go outdoors to access the open-air kitchen and bathroom.
"We wanted to have our storage open and visible, because I think the more visible something is, the tidier you keep it and you also don't buy loads of extra stuff,
"We wanted to have our storage open and visible, because I think the more visible something is, the tidier you keep it and you also don't buy loads of extra stuff,
The open doorway that separates the main living area from the kitchen used to be the entrance to the house. Back then, you had to go outdoors to access the open-air kitchen and bathroom.
The open doorway that separates the main living area from the kitchen used to be the entrance to the house. Back then, you had to go outdoors to access the open-air kitchen and bathroom.
Windows and glazing were one of the largest overall costs, setting Geo and Zoe back €10,306.
Windows and glazing were one of the largest overall costs, setting Geo and Zoe back €10,306.
The house is located near Punta Mujeres, in northeastern Lanzarote, an area characterized by black volcanic soil and good waves, making it ideal for keen surfers, Georgina “Geo” Giner Gallardo and Zoe Barceló Vicedors.
The house is located near Punta Mujeres, in northeastern Lanzarote, an area characterized by black volcanic soil and good waves, making it ideal for keen surfers, Georgina “Geo” Giner Gallardo and Zoe Barceló Vicedors.
At night, the remote location supplies its own privacy. Minimal lighting indoors and out makes it easy to see the stars.
At night, the remote location supplies its own privacy. Minimal lighting indoors and out makes it easy to see the stars.
The connecting patio surrounds a solitary tree, with views of the surrounding desert.
The connecting patio surrounds a solitary tree, with views of the surrounding desert.
Two bedrooms share access to the patio and hot tub.
Two bedrooms share access to the patio and hot tub.
A spa-like bathroom showcases the calm of a neutral palette.
A spa-like bathroom showcases the calm of a neutral palette.
The main house and guest house are united by a shared patio. The table and benches in the foreground are made of steel and wood.
The main house and guest house are united by a shared patio. The table and benches in the foreground are made of steel and wood.
A ceramic piece by Kevin Willis sits on the nightside beside an antique indigo boro cloth sourced from Japan. The metal sconces are from Linchen.
A ceramic piece by Kevin Willis sits on the nightside beside an antique indigo boro cloth sourced from Japan. The metal sconces are from Linchen.
An antique wicker chest sits beside a ceramic vessel by Kevin Willis in the bathroom.
An antique wicker chest sits beside a ceramic vessel by Kevin Willis in the bathroom.
Floor plan for The Hide Out by Anthrop Abbott Architects
Floor plan for The Hide Out by Anthrop Abbott Architects
The Karoo <i>Uitkyk</i> (Hide Out) is located on a private farm, and was initially conceived as a deck for viewing wildlife, such as antelope, giraffes, and birds. “You can hear everything in nature as it’s so quiet,” says architect Leon van der Westhuizen. “You can also see the weather changing as you sit and watch from the ridge—it’s a really amazing feature of that spot.”
Uitkyk
The remote site is only accessible via a 4x4 vehicle, and doesn’t have mobile phone reception—which made construction challenging as any queries needed to be relayed to the architects using a satellite phone for emergencies or by driving to the nearest point with reception. “It was a real mission,” says architect Leon vad der Westhuizen. “We had to plan everything meticulously and the construction team relied heavily on our CAD data and the building information we shared.”
The remote site is only accessible via a 4x4 vehicle, and doesn’t have mobile phone reception—which made construction challenging as any queries needed to be relayed to the architects using a satellite phone for emergencies or by driving to the nearest point with reception. “It was a real mission,” says architect Leon vad der Westhuizen. “We had to plan everything meticulously and the construction team relied heavily on our CAD data and the building information we shared.”
The four containers are also the same brand, which was an important consideration as each brand has slightly different dimensions, and the highly detailed design of the hide-out necessitated precision.
The four containers are also the same brand, which was an important consideration as each brand has slightly different dimensions, and the highly detailed design of the hide-out necessitated precision.
Three of the four decks—the two bedroom modules and the front of the living room module—open up almost entirely to a staggered deck that is cantilevered over a rocky ledge, immersing the inhabitants in the vast landscape. A substantial “bridge” system of stairs and walkways connects the three timber decks.
Three of the four decks—the two bedroom modules and the front of the living room module—open up almost entirely to a staggered deck that is cantilevered over a rocky ledge, immersing the inhabitants in the vast landscape. A substantial “bridge” system of stairs and walkways connects the three timber decks.
It was essential that the prefabricated modules and the attached elements—such as the exterior stairs and “bridges” that connect the decks—was easy to assemble at the remote site. To avoid issues, Anthrop Architects created a mock up of 80% of the hide out before shipping.
It was essential that the prefabricated modules and the attached elements—such as the exterior stairs and “bridges” that connect the decks—was easy to assemble at the remote site. To avoid issues, Anthrop Architects created a mock up of 80% of the hide out before shipping.
The four containers were second-hand but were purchased in nearly-new condition—a decision that added to the overall cost of the project. “It was one of the requirements of the the client,” explains architect Leon van der Westhuizen. “He didn’t want them all banged up as the exterior was left exposed and needed to look really neat.”
The four containers were second-hand but were purchased in nearly-new condition—a decision that added to the overall cost of the project. “It was one of the requirements of the the client,” explains architect Leon van der Westhuizen. “He didn’t want them all banged up as the exterior was left exposed and needed to look really neat.”
The exterior cladding is thermally stabilised pine from Finnish company LunaWood. “It works beautifully with our climate and the harsh UV,” says architect Leon van der Westhuizen.
The exterior cladding is thermally stabilised pine from Finnish company LunaWood. “It works beautifully with our climate and the harsh UV,” says architect Leon van der Westhuizen.
The decks and pergolas are attached to the shipping containers and were folded around the modules during transport—an approached that informed the way the modules look. “It’s kind of like the moon landing,” says architect Leon van der Westhuizen. “There’s all the mechanics of actually getting the capsule up there and that drives the aesthetics. A lot of engineering went into that and there were a lot of intricacies.”
The decks and pergolas are attached to the shipping containers and were folded around the modules during transport—an approached that informed the way the modules look. “It’s kind of like the moon landing,” says architect Leon van der Westhuizen. “There’s all the mechanics of actually getting the capsule up there and that drives the aesthetics. A lot of engineering went into that and there were a lot of intricacies.”
The compact weekend retreat has been designed to withstand the elements and for longevity—an approach that resulted in an overall cost of more than $300K. “We had to overengineer some elements as it’s such a remote location that repairs and replacements would be difficult,” says architect Leon van der Westhuizen. “In the end, that all added up.”
The compact weekend retreat has been designed to withstand the elements and for longevity—an approach that resulted in an overall cost of more than $300K. “We had to overengineer some elements as it’s such a remote location that repairs and replacements would be difficult,” says architect Leon van der Westhuizen. “In the end, that all added up.”
The designer furniture—much of which is by local South African makers and brands—elevates the cozy retreat, and offers an element of surprising contrast to the rugged landscape and remote site. It was also essential that anything transported to site was of high enough quality to stand the test of time, as transporting replacements would be logistically challenging.
The designer furniture—much of which is by local South African makers and brands—elevates the cozy retreat, and offers an element of surprising contrast to the rugged landscape and remote site. It was also essential that anything transported to site was of high enough quality to stand the test of time, as transporting replacements would be logistically challenging.
Adequate insulation was key in maintaining comfort. Off-the-shelf products were used to fully insulate the shipping containers, and a high-quality, double glazing system was imported from Europe. These doors slide open to create a seamless connection between the interior and exterior spaces.
Adequate insulation was key in maintaining comfort. Off-the-shelf products were used to fully insulate the shipping containers, and a high-quality, double glazing system was imported from Europe. These doors slide open to create a seamless connection between the interior and exterior spaces.
The kitchen is defined by a black “box” made from Mica board that contrasts with the birch plywood cladding used elsewhere throughout the interior. “We couldn’t put a wall in so we defined it with texture,” explains architect Leon van der Westhuizen. “It was intentionally kept really simple and honest.”
The kitchen is defined by a black “box” made from Mica board that contrasts with the birch plywood cladding used elsewhere throughout the interior. “We couldn’t put a wall in so we defined it with texture,” explains architect Leon van der Westhuizen. “It was intentionally kept really simple and honest.”
The interior of each shipping container is clad almost entirely in birch ply, which imbues the interiors with a light, natural feeling that complements the surrounding landscape.
The interior of each shipping container is clad almost entirely in birch ply, which imbues the interiors with a light, natural feeling that complements the surrounding landscape.
Hiroshi Nakamura & NAP used 87 translucent bricks to reframe a family’s connection to nature and the city.
Hiroshi Nakamura & NAP used 87 translucent bricks to reframe a family’s connection to nature and the city.
Opposite the optical glass facade, the slant of the northern facade is the result of Tokyo urban planning requirements. A constant gradient diagonal line restriction dictated that the home’s mass recede diagonally away from the northern property line, to ensure adequate light and ventilation for the neighboring property—a policy not uncommon in lower-density residential areas of Tokyo.
Opposite the optical glass facade, the slant of the northern facade is the result of Tokyo urban planning requirements. A constant gradient diagonal line restriction dictated that the home’s mass recede diagonally away from the northern property line, to ensure adequate light and ventilation for the neighboring property—a policy not uncommon in lower-density residential areas of Tokyo.
87 pieces of optical glass—each measuring 13.1 feet tall and 3.3 inches square in cross section—are aligned vertically at the front facade. The high specific gravity of the glass ensures sufficient sound insulation against the noise of the city.
87 pieces of optical glass—each measuring 13.1 feet tall and 3.3 inches square in cross section—are aligned vertically at the front facade. The high specific gravity of the glass ensures sufficient sound insulation against the noise of the city.
“The warmth of the plants and trees is felt in the home,” the homeowners share. The garden includes a tall Iroha maple tree (left), an evergreen Horutonoki tree (right), along with moss and ferns at the base.
“The warmth of the plants and trees is felt in the home,” the homeowners share. The garden includes a tall Iroha maple tree (left), an evergreen Horutonoki tree (right), along with moss and ferns at the base.
“The garden activates seclusion from the mundane world, creates tranquility in the city, and liberates the mind in the passage between the mundane world and nature,” says Principal Architect Hiroshi Nakamura. “When people feel stressed, they can look out the window at the garden and transfer their mind to it.”
“The garden activates seclusion from the mundane world, creates tranquility in the city, and liberates the mind in the passage between the mundane world and nature,” says Principal Architect Hiroshi Nakamura. “When people feel stressed, they can look out the window at the garden and transfer their mind to it.”
"The effect of the plantings on the terrace is enormous,” reflects the couple. “Not only do the branches and formations give a sense of the four seasons, but the way it looks from the living room contributes to a sense of calmness. It gives the illusion that we are viewing art."
"The effect of the plantings on the terrace is enormous,” reflects the couple. “Not only do the branches and formations give a sense of the four seasons, but the way it looks from the living room contributes to a sense of calmness. It gives the illusion that we are viewing art."
When addressing the constant gradient diagonal line restriction, Nakamura and team used the constraint to strengthen the design. “The diagonal line restriction can be a negative factor, but we intentionally incorporated the limitation into the [roofline] of the traditional Japanese wooden architecture, elevating [it] to the atrium of the staircase,” says Nakamura.
When addressing the constant gradient diagonal line restriction, Nakamura and team used the constraint to strengthen the design. “The diagonal line restriction can be a negative factor, but we intentionally incorporated the limitation into the [roofline] of the traditional Japanese wooden architecture, elevating [it] to the atrium of the staircase,” says Nakamura.

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