634 Exterior House Glass Siding Material Flat Roofline Design Photos And Ideas

"We wanted Brininstool + Lynch to honor the original intent while transforming it into an even better version of itself," says the client. "Clean it up, balance it out, modernize the systems, create more views out to the landscape, and introduce one big, new element: A gorgeous whole-house terrazzo floor, to pull it all together."
"The combination of the low, sprawling midcentury ranch with a more than one-acre expanse of mature palms just spoke to us. Everything felt like it belonged right there and nowhere else," explains the owner.
Inspired by ancient ruins, Frankie Pappas crafts a green-roofed, brick guesthouse that connects deeply with nature in the South African Bushveld.
At night, it is easy to see how the volume at the north end of the site is stacked with the library and a private deck above, and the en suite guest bedroom below. This is separated from the rest of the living space by the open garage, offering increased privacy.
The modularity of the home’s construction is referenced in the grid-like windows. These large areas of glazing allow the home to be filled with natural light.
A concrete block tower in the garden beside the home contains a water tank and solar heating boiler with a shower below.
The metal roof and external walls are constructed from double-layered metallic roofing tiles, which were chosen for their durability against the elements.
The home requires very little maintenance and features a lightweight construction. The modularity of the design also helped to avoid excessive material waste during construction.
The site is a generous lot at an estate in Cotia, on the outskirts of São Paulo—an area that has plenty of greenery. Part of the concept for the home was to replace some of the existing exotic trees with native plants.
The clients are a husband and wife with grown children who no longer live at home. The husband is a psychoanalyst, and the wife is a history teacher at a middle school in São Paulo. During construction of the home, very little earthwork was needed, as the residence nestles into the sloped site to preserve the flat part of the site for a garden of native trees and shrubs.
The exterior of the home features warm blackbutt timber cladding and crisp black metalwork. Each level of the home opens out to a deck or balcony, and the curved white balustrade outside the main bedroom is a contemporary take on the original architecture.
The three buildings are strategically organized around a central courtyard, creating an outdoor room that is protected from sun, precipitation, and wind. The openings between the buildings frame the predominant views.
Grasses, shrubs, and flowers surround the building, making it appear as if it grew out of the landscape, rather than being placed in it. Pavers in the grasses weave between the recreation locker building and the main residence to the central courtyard, which is situated under a canopy.
The elevated canopy above the three volumes not only protects the courtyard from the elements, but hierarchically demarcates this outdoor living area as the most important space in the structure.
The home is known as “Boar Shoat”—a reference to a young hog who is full of energy and life. “The term was used by the owner’s family when he was growing up to describe youthful vivacity,” says architect Hunter Gundersen.
The ultra-modern, glass-and-steel back facade now "acts as an oversized southern aperture and fully retractable gateway" for the home, says Hackett.
The front fence is made from sandblasted stainless-steel rods coated in a protective penetrating sealer. The fence is cantilevered out from a concrete beam below the garden, and the gate retracts into an underground pit. “It’s the first of its type in Australia,” says architect Tony Vella. “It was a work of precision to have these thin rods slide down into the ground through 30mm holes.”
The home incorporates a number of sustainable features. Glass walls are protected by concrete eave overhangs and automated external sun blinds. In addition, the heavily insulated walls, floors, and ceiling (with roof garden layers) add to the efficient energy performance of the home.
The home is located across from one of Melbourne’s bay beaches, and it needed to easily accommodate the family’s regular beach visits. “From morning swims to summer days on the beach, the home is intrinsically connected to the sun, water, and sand,” says architect Tony Vella.
TOLO Architecture worked with landscape designer Wade Graham to create a garden of native and drought-tolerant plants. The spaces between the volumes of the home—outside the master bathroom and bedroom pavilions, for example—have also been planted to create small native gardens.
The home was built by the same carpenter who built the original bunkie on the site in the late 1980s. “He was in his early twenties back then, and now he’s nearly retired,” reveals architect Tom Knezic. “He does all the water access cottage builds there, because he’s just on the other side of the channel.” An external stair leads from the front, ground floor deck up to the deck overlooking the water.
The entrance to the home is on the ground floor. It’s accessed from a large timber deck, which is separated from a secondary deck by a landscaped gravel area that marks the entry.
“One of the most interesting parts of the project was the foundation, as we used ground screws,” says architect Tom Knezic. “I’ve never done a foundation like this, but it’s really neat because you just screw into the ground, weld the beam on top, and you’ve got a foundation in two days. It’s a very light footprint, as we didn't have to do any blasting or chipping. We had to remove some trees to fit the cottage in, but we tried to keep as many as possible around the building—by using ground screws, you’re not damaging the roots of adjacent trees.”
The site is full of forest and Canadian Shield rock—including a large rock outcrop along the lake that rises up to the height of the second floor.
“It’s only an hour and a half from the north edge of Toronto,” says Knezic. “But, because it’s water access only, it feels like you’re far away from everything—and you have a real sense of isolation.”
“My parents tell me they love the home every time they wake up,” says architect Ryan Bollom.
“We always comb through work we really like for general inspiration when starting a project, but usually there isn’t one project we draw from,” says architect Ryan Bollom. “I’d consider The Barak House, designed by R&Sie in 2003, a more direct precedent for this home. Formally and conceptually it’s very different, but its core idea is a flexible wrapper over a more rigid home construction.”
The ground floor projects out from the slope and sits over the top of the concrete foundations, in which a wine cellar—accessed through a hatch in the hallway floor—is located.
The home is made of 42 unique cross-laminated timber panels. The smallest panel is 450 millimeters x 1500 millimeters, and the largest panel is the entire southern wall—14.4 meters x 2.3 meters. The cantilevered ground floor at the rear of the home was made possible by the strength of these panels.
There is a play between really earthy, natural materials—which are seen in some of the cladding, tiles, and concrete work—and a very sleek, black metal aesthetic. “I have a lot of experience in commercial architecture, so I’m not scared of using more commercial, industrial materials on a residential building,” says Craig.
The two wings are connected by the courtyard, and a dining and living space that opens to the street. Privacy is provided by a large, three-meter-wide sliding panel. "In the mornings, we open the panel up to allow our living space to engage directly with the street—think the Dutch Calvinist tradition of opening one’s home to the public gaze," says Joe. "We have met many neighbors as a result, and it is a powerful device connecting public and private realms and enabling community. In the evening before bed, we shut it down."
The house has two distinct wings—the 1885 original "front" and the contemporary "rear." The front part of the home has been restored to the original 1885 floor plan, while the rear of the home was demolished and replaced with a new build that contains the garage, bathroom, and storage on the ground floor, and the boys’ bedrooms on the upper floor.
“The clients are passionate about nature conservation,’ says architect Ant Vervoot. “They know how every plant, insect, and animal fits into the greater ecosystem—their curiosity about the Bushveld is insatiable and inspiring. It really is an amazing thing to be around them in the bush.”
House of the Tall Chimneys is entirely off the grid. Power is generated with solar panels; black and gray water is contained and managed before it’s further filtered by the undergrowth; and potable water is collected from the nearby stream. “More important than these technological fixes, however, is the fact that the building requires very little in terms of resource input in order to function successfully,” says architect Ant Vervoort. “Careful design is probably the most fundamental aspect in designing environmentally sustainable buildings.”
“We asked Frankie for a home, and they built us a fantasy,” remarked the clients when House of the Tall Chimneys and House of the Big Arch were completed.
The guesthouse is located in a private reserve in the Waterberg, a mountainous region about three hours from Johannesburg.
The green roof was designed to give back the space that was taken up by the building’s footprint to the Bushveld and the animals. It is planted with site-endemic grasses, aloes, and creepers. “What pleases me one hell of a lot is that the building is completely hidden when you’re more than 20 meters away from the structure,” says Vervoort. “It’s invisible, and I’m super proud of that. The most important aspect of this building was to revere the site. I use the word revere because we didn’t just respect it—we treated this site as if it were God. I think we should do that more as architects.”
“The chimneys are in essence two big columns with some beams between them, and they look a bit like rugby posts,” says architect Ant Vervoort. “The crossbars of the rugby posts hold up the timber beams.”
A brick path leads through the forest to the entrance of House of the Tall Chimneys. “Bricks are a really cost effective way of creating space,” says architect Ant Vervoort. “Over and above that, when used correctly, bricks create complex patterns that I don’t think it’s possible to mimic using other materials.”
The entrance to House of the Big Arch is a nine-meter-tall passage, which creates a high-pressure system that pulls cool air into the kitchen.
House of the Tall Chimneys is the guesthouse of House of the Big Arch, also by Frankie Pappas. The two buildings share the same material palette, and are linked by a long path through the forest.
The aluminum windows are powder coated in a charcoal color, which is intended to match the shadows created by the forest and help the building further blend in.
The team lidar scanned around 40,000 square meters of the forested site to create a 3D model—including trees, branches, and roots—that would allow them to accurately determine how to position and design the building to have minimal impact on the surrounding trees. “We then designed a seriously thin building that could slot between the trees,” says architect Ant Vervoort.
The bedroom is elevated around five meters above the forest floor, and the space beneath has—like the green roof—been given back to the Bushveld. “Naturally, this space is shadier than the surrounding forest, so it creates a different microclimate for different species to flourish in that area,” says architect Ant Vervoort. “It’s an area that we have cultivated.”
“My brother-in-law is an avid gardener, so pairing rooms with gardens, and experiencing the house as a series of spaces with different relationships to plants and trees, evolved naturally,” explains George.
Another key element of the design is the fact that the home's energy is supplied by extensive solar collection and the harvesting of gray water, radically reducing the building’s energy expenditure. In fact, the house generates more energy than it consumes.
The contemporary addition pairs concrete and glass. "For us, it was really the only material that was going to handle the formal qualities that we wanted – stretching seamlessly from indoors to outside, taking on sculptural aspects, acting with strength both horizontally and vertically, and so on," explains George.
Located in Providence, Rhode Island, the American Woolens Dye house is a brick and timber structure that was originally built in 1880. The building is listed on the National Register of Historic Places, and it served as a textile mill before a thoughtful and extensive renovation transformed the property into a gorgeous live/work space.
The original home on the site was developed in 1936 as a 1,250-square-foot residence with two bedrooms and one and a half bathrooms. Architect Joseph Dangaran wanted to respect this modest scale when he designed a new home for his family.
The glass-backed home illuminated at night.
The home’s original footprint, circular front driveway, and original brick facade were preserved.
As the midcentury era was winding down, architect George Smart was commissioned to design a low-slung brick and glass house at 2300 Timber Lane in Houston’s River Oaks neighborhood. The home would go on to serve as the clergy house for St. Luke’s United Methodist Church for 49 years.
The ground-floor living space looks inward to the courtyard and is protected on all other sides by the mass of the building and the blank brick facade.
A side patio leads from the front of the home to the courtyard. The same red bricks used for the facade have been used for the paving to create a seamless fabric that wraps the built form and the site.

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