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Exterior Brick Siding Material Metal Siding Material Design Photos and Ideas

The loft extension is arranged over two levels, with the form housing the study and terrace, and the upper front section the primary bedroom and en suite.
To reduce the budget, Hyde used cement fibre sheeting as an alternative to concrete blocks.
Pine and gravel sleepers follow the site’s natural slope, weaving through the existing pine trees until reaching the home’s entrance.
LA-based commerical director Jared Eberhardt purchase this desert property near Joshua Tree just before the COVID-19 pandemic hit. It contained a small, downtrodden house that needed a full renovation to become habitable. Over the course of the pandemic, Jared transformed it into a midcentury-inspired getaway that combines the original 1958 house with a fresh, new addition.
This thatch-roofed brick cottage in Nieby, Germany, was originally built by tenant farmers or crofters from a nearby estate in the late 1800s. It stands on a small triangular plot of land surrounded by barley fields and faces toward the Geltinger Birk nature reserve. The home’s street-facing facade was preserved and restored with only a minimal, black-steel dormer window belying the more substantial alterations which open onto the private rear yard. A subtle black-framed addition containing an oak-lined living space is tucked under the thatched roof and opens onto a sunken timber terrace while large picture windows are cut into the historic brick volume in areas which had been damaged from the previous additions.
To the front, the gardens are laid around a central lawn with a circling driveway which provides parking. There is also a garage for family cars.
Lark Rise rises from the sea grass on a quiet pedestrian street.
Inspired by ancient ruins, Frankie Pappas crafts a green-roofed, brick guesthouse that connects deeply with nature in the South African Bushveld.
This warehouse conversion by Ian Moore Architects also features an equine genetics laboratory and an enormous garage filled with classic cars.
“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.”
“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.
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.
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 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.
The slim profile of the red bricks used in the facade creates a textured surface across the monolithic form, while red and brown tones of each brick create an organic, varied pattern of color.
The entire home is wrapped in a brick "skin" that extends onto the ground at the front and sides of the home. The entrance is found through a simple void in the facade beside a pond with floating vegetation that hints at the verdant interior.
The dark brick facade peels away into the garage, creating an interior stairwell. The garage door, like the front door, is crafted from black steel.
The warehouse-inspired front door on the southern side of the home is crafted from black steel and features a solid steel screen that slides in front of it, creating a completely blank facade.
The neighboring property has a beautiful, established garden. The gridded windows of the Park Terrace house—which take inspiration from the industrial warehouse archetype—are positioned to capture snippets of this garden, in effect borrowing the landscape. A small terrace has been cut out of the gable form to create a division between the master bedroom and the living area.
The southern facade of the home—the entrance—is a completely blank facade, which gives the home a private aspect, says the architect. The brick facade curves into the interior of the home.
The previous home on the Park Terrace site was damaged in the earthquake and subsequently demolished. Architect Phil Redmond, director of PRau, used this project to explore an archetypal industrial form which was lost as a result of the earthquakes.
The mostly blank brick-clad exterior belies the complex geometries that inform the multilevel plan inside. The windows are arranged to frame specific views—including the steeple of the nearby St. Michael’s Church—while retaining privacy from the street.
The firm worked with landscape design company Alchemie to plan the landscaping and create a variety of seating areas throughout the property.
The addition houses a kitchen and family room on the main level, and the master bedroom and roof deck above. Sliding glass doors now allow generous sightlines to the yard, and also convey a lightness to the new architecture that contrasts with the character of the old.
For the new addition, new brick syncs with the old, while blackened steel provides a modern counterpoint to the historic facade.
Casey Brown Architecture designed the Hart House, a modern update to the one-room Australian beach shack that overlooks Great Mackerel Beach. The contemporary home mimics the shack vernacular with its simple, boxy construction that’s wrapped in a protective shell of corrugated metal.
Large timber-framed glass sliding doors open the kitchen/dining space to the rear courtyard on two sides.
The external brick walls are part of the 1990 addition. The upper part had been rendered in acrylic and painted butter yellow. This was removed and the section was re-clad with a charred solid timber shiplap cladding. An enormous double-height window floods the living space with natural light.
The Copenhagen landmark is easily identifiable by its 115-foot-tall chimney.
A modern steel extension was stacked on top of the historic brick architecture to expand the living space to 2,153 square feet.
A layering of old and new, solid and transparent are evident in the play of materials and form. The original brick walls remain, wrapped by the wood- and metal-clad addition.
The exterior combines recycled brick, radial sawn timber, and galvanized roof sheeting. "Materials were selected to meet the clients’ brief that the house fit within the cognitive idea of an old shed," explain the architects.
The beach shack's corrugated metal shell is detailed with curved edges. The building faces northeast to take advantage of ample sunlight and ocean views.
Located in North Fitzroy, the 2,272-square-foot Grant House is set on a long and narrow east-facing site with shared side alley access.
The glazed facade is broken up by classic midcentury lines.
"The wood exterior was selected to make the house blend in with the landscape," Troyer says. "I wanted something that didn’t require painting and aged in a way that would provide a degree of richness. " He envisioned a garden that better surrounded the home, and a more modern exterior. He used ash wood slates of various dimensions from Thermory USA, which were heat-treated for a more sustainable finish.
Overall, the design strove to preserve some of the character of the original front facade while allowing a contemporary structure to unfold.
The design of the remodel negotiates a 12-foot drop from the front of the lot to the back with a modified roof form that allows for three stories.
A close-up of the brickwork which is broken up by the unique, randomized brick coursing to help blend old and new bricks.
Bricks from the original bungalow were salvaged and repurposed.
New exterior facade while modern, nods its head to the historic character of the neighbourhood
In the entrance, a team with the general contracting firm Martha uncovered an abstract mural that Engels painted himself and then plastered over. He also made the geometric door handle. Simon speculates that Engels sourced the marble, found all over the house, from Expo ’58, after the pavilions had been dismantled.
Villa Engels, the home of the esteemed Belgian modernist Lucien Engels (1928–2016), was falling apart when its second owners bought it in 2013. Yet due to its heritage status, any changes they planned would have to be approved by the provincial preservation office. Engels completed the elongated, cantilevered residence in 1958, the same year he finalized the master plan for Expo ’58, the Brussels World’s Fair that famously featured the Atomium.
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