Tuesday, 22 January 2013
DHV Architects won Best of Houzz 2013 award
Our work won in the Design category, as our portfolio includes some of the most popular images on Houzz in 2012. You can see your award-winning work in this "Best of" ideabook: https://www.houzz.com/ideabooks/5996842
Monday, 10 September 2012
Prepare for oversized extensions as planning rules set to change
Last week's news about the proposed relaxation of planning rules has produced a wealth of mixed reactions. It might have come as a relief for those homeowners who tried unsuccessfully to gain planning permission in the past; on the other hand some people will worry about their neighbours' grand plans and the potential effect on their amenities.
The proposed changes will concern single storey rear extensions only, so for other types of improvements such as side, first floor and loft extensions the current regime will remain in place. Apparently Conservation Areas are to be excluded from the planning relaxation.
Rear extensions are already Permitted Developments, provided they don't project more than 3 meters from the (original) rear wall of the house. The government is proposing to increase the depth of a Permitted extension to 6 meters on terrace and semi detached houses, and to 8 meters on detached properties.
Whilst this is certainly good news for some potential improvers, a 6 meter long extension is an opportunity that should be planned carefully.
In terraced houses for example there is a real risk of "tunnelling" effect, i.e. creating a long and narrow space with light at one end only. Since there is a relationship between the height of the roof eaves and window head, the orientation of the facade and the depth to which natural light will penetrate into a room. The fenestration should be designed to optimise daylight as well as views.
The original rear reception room might end up 'landlocked' and dark to the extent that it is no longer desirable as a living space: an increase in floor area does not necessarily equates to increased living area. Maybe this space could be turned into a utility room, which will involves the remodelling of the overall layout.
Increased Permitted Development rights also raise additional "technical" issues such as party walls and drainage. The majority of terraced houses range in width (internally) from less than 4 meters to about 6.5 meters; to avoid long and narrow spaces it is useful to build astride the boundary (party) line, which necessitates neighbours' agreements and careful detailing of the construction junctions. Discharge of rain and waste water from a large rear extension is also potentially difficult since house drains tend to connect with existing sewers at the rear, in which case they need to be diverted as part of the construction work.
In all but the simplest extensions the final design has to be developed to incorporate technical constraints, the client's brief and budget and the site specifics: this is where architects' ingenuity can make a difference.
Dittrich Hudson Vasetti architects in Bristol have in-depth experience of domestic projects and look forward to assist their clients on home extensions and alterations.
The proposed changes will concern single storey rear extensions only, so for other types of improvements such as side, first floor and loft extensions the current regime will remain in place. Apparently Conservation Areas are to be excluded from the planning relaxation.
Rear extensions are already Permitted Developments, provided they don't project more than 3 meters from the (original) rear wall of the house. The government is proposing to increase the depth of a Permitted extension to 6 meters on terrace and semi detached houses, and to 8 meters on detached properties.
Whilst this is certainly good news for some potential improvers, a 6 meter long extension is an opportunity that should be planned carefully.
In terraced houses for example there is a real risk of "tunnelling" effect, i.e. creating a long and narrow space with light at one end only. Since there is a relationship between the height of the roof eaves and window head, the orientation of the facade and the depth to which natural light will penetrate into a room. The fenestration should be designed to optimise daylight as well as views.
The original rear reception room might end up 'landlocked' and dark to the extent that it is no longer desirable as a living space: an increase in floor area does not necessarily equates to increased living area. Maybe this space could be turned into a utility room, which will involves the remodelling of the overall layout.
Increased Permitted Development rights also raise additional "technical" issues such as party walls and drainage. The majority of terraced houses range in width (internally) from less than 4 meters to about 6.5 meters; to avoid long and narrow spaces it is useful to build astride the boundary (party) line, which necessitates neighbours' agreements and careful detailing of the construction junctions. Discharge of rain and waste water from a large rear extension is also potentially difficult since house drains tend to connect with existing sewers at the rear, in which case they need to be diverted as part of the construction work.
In all but the simplest extensions the final design has to be developed to incorporate technical constraints, the client's brief and budget and the site specifics: this is where architects' ingenuity can make a difference.
Dittrich Hudson Vasetti architects in Bristol have in-depth experience of domestic projects and look forward to assist their clients on home extensions and alterations.
Architectural Trip to Tuscany via Germany and Switzerland
In pursuit of some missing sun we drove to Tuscany with our Volkswagen T4 Van. We started at my alma mater the Bauhaus University Weimar, stopped at Zuerich, visited the oldest house in Switzerland, crossed the Alps via the Gotthard Pass and finally made it to Tuscany where we stayed at our friend's beautiful and newly restored house in the Appenines. We were impressed by a contemporary castle restoration at Verrucole Castle with cortan steel display boards and minimal copper steel windows. On the way back we stopped at Locarno on the Laggo Maggiore where we saw some architectural gems on a walk skirting the mountains around Locarno. Terragni's Casa del Fascio in Como is terrifyingly modern and beautiful with it's immaculate white stone cladding. Luigi Snozzi's urban design at Monte Carasso in Ticino combines town planning with the quest for the Gesamtkunstwerk. We took in Peter Maerkli's remarkable and brutal concrete exhibition building in Giornico in beautiful Ticino. We sought shelter from the relentless rain in Lucerne's KKL by Jean Nouvel.
Wednesday, 11 July 2012
Bauhaus Exhibition at the Barbican
The Bauhaus: "Art as Life" exhibition at the Barbican in London explores the evolution of an experimental arts and craft school in 1920s Weimar into the most influential design school of the 20th Century. Visiting the exhibition was a deeply personal experience for me, having studied architecture at the Bauhaus University in Weimar in the 1990s.
I had a few questions in my head before entering the exhibition: How did this revolution happen and will there be anything more modern or radical than the Bauhaus again?
The first question is easier to answer. In 1919 in Weimar Gropius announced in his manifesto of the Bauhaus that the "ultimate aim of all creative activity is building". However, the Bauhaus was about much more than buildings. Designers, architects and craftspeople worked together to create a "Gesamtkunstwerk"; a total work of art. The Bauhaus students trained in crafts such as glass, timber, metal, fabric, ceramics, carpentry and stone sculpture to fully understand every nuance of these mediums. International artists such as Kandinsky, Klee, Feininger, Schlemmer and Itten came to the Bauhaus and guided the students as masters of their crafts rather than as traditional professors. Geometric patterns in bold yet playful colours dominate the arts and crafts exhibits from these years. Students explored shapes and volumes by reducing them to simple lines; a reduction to the minimal design element, a line.
The Bauhaus was one of the the first movements that tried to break free of historic precedents. Theo Van Doesburg arrived in Weimar in 1921 and shook up the art community with his De Stijl principles. The move to Dessau in 1925 lead to a re-structuring of the course: architecture, photography, advertising and " free art" were added and some craft workshops were abandoned. The art community strived to design every aspect of life, from the space which surrounds us, the elements within it, the performing arts, eating, sleeping even partying and music. Everything is documented through photography. The school moved away from art and craft based production towards machine manufacturing. With the appointment of Socialist Hannes Meyer the school focused on designing standard products which could be manufactured in great numbers and therefore be affordable to everyone.
With regards to the second question; we seem to go round in circles when it comes to design taste and fashion, and many of the exhibits are still incredibly stylish. Will there ever be such a fundamental change in design principles to the same extent as the Bauhaus, which still profoundly influences our lives in many areas? There is more of an emphasis on materiality in modern architecture, but the basic forms are still Bauhaus inspired.
Personally, I was fascinated by the advertising posters with their strong geometric lines and bold typefaces. Advertising and photography were in their infancy as mass mediums, yet the graphic design techniques used at the Bauhaus still look modern nearly ninety years later. The various pictures of the masters and their students with their stylish looks also makes the movement real, something I did not experience in Weimar. I was touched to see how young the staff and students were; it must have been such a vitalising and inspiring place!
The only thing missing from the exhibition are models and plans of some of the iconic Bauhaus buildings. All in all it is a superb exhibition, delving deeply into the history of the most remarkable design school of all times.
Bauhaus: Art as Life is at the Barbican until the 12th August.
The first question is easier to answer. In 1919 in Weimar Gropius announced in his manifesto of the Bauhaus that the "ultimate aim of all creative activity is building". However, the Bauhaus was about much more than buildings. Designers, architects and craftspeople worked together to create a "Gesamtkunstwerk"; a total work of art. The Bauhaus students trained in crafts such as glass, timber, metal, fabric, ceramics, carpentry and stone sculpture to fully understand every nuance of these mediums. International artists such as Kandinsky, Klee, Feininger, Schlemmer and Itten came to the Bauhaus and guided the students as masters of their crafts rather than as traditional professors. Geometric patterns in bold yet playful colours dominate the arts and crafts exhibits from these years. Students explored shapes and volumes by reducing them to simple lines; a reduction to the minimal design element, a line.
The Bauhaus was one of the the first movements that tried to break free of historic precedents. Theo Van Doesburg arrived in Weimar in 1921 and shook up the art community with his De Stijl principles. The move to Dessau in 1925 lead to a re-structuring of the course: architecture, photography, advertising and " free art" were added and some craft workshops were abandoned. The art community strived to design every aspect of life, from the space which surrounds us, the elements within it, the performing arts, eating, sleeping even partying and music. Everything is documented through photography. The school moved away from art and craft based production towards machine manufacturing. With the appointment of Socialist Hannes Meyer the school focused on designing standard products which could be manufactured in great numbers and therefore be affordable to everyone.
With regards to the second question; we seem to go round in circles when it comes to design taste and fashion, and many of the exhibits are still incredibly stylish. Will there ever be such a fundamental change in design principles to the same extent as the Bauhaus, which still profoundly influences our lives in many areas? There is more of an emphasis on materiality in modern architecture, but the basic forms are still Bauhaus inspired.
Personally, I was fascinated by the advertising posters with their strong geometric lines and bold typefaces. Advertising and photography were in their infancy as mass mediums, yet the graphic design techniques used at the Bauhaus still look modern nearly ninety years later. The various pictures of the masters and their students with their stylish looks also makes the movement real, something I did not experience in Weimar. I was touched to see how young the staff and students were; it must have been such a vitalising and inspiring place!
The only thing missing from the exhibition are models and plans of some of the iconic Bauhaus buildings. All in all it is a superb exhibition, delving deeply into the history of the most remarkable design school of all times.
Bauhaus: Art as Life is at the Barbican until the 12th August.
Monday, 2 July 2012
Budding architects at Colston's Primary School in Bristol design olympic stadia
Elke and Izaak from DHVA facilitated an architectural model making workshop for the year 3 children of Colston's Primary School in Cotham, Bristol. Izaak explained at an initial lecture the history of stadia and how function influences their design, and showed the children exciting examples of interesting stadia from around the world to fire their imaginations. On day one of the workshop the children prepared their base plates, sports fields and seating for football, cycling, athletics and aquatics stadia. On day two the children created fantastic architectural structures with card, bubble wrap, foam, tensile fabric and clear plastic. On day three the children coloured and decorated the models. Various items, especially model trees, we're kindly donated by the professional model-making workshop Amalgam Models in Bristol. The children were very enthusastic about the project and created some unique, quirky, and quite professional models, and learned about architecture, scale and how "form follows function".
Wednesday, 20 June 2012
DHVA are accredited planning agents
DHV Architects are now 'Accredited Planning Agents' for Bristol City Council (Householders' Applications).
The Accredited Agents scheme recognises that we are producing consistently good quality planning applications which are validated without the need for further information or amendments. An application submitted by an accredited agent is automatically validated and is determined in six weeks (as opposed to the statutory eight).
This reduces the total time from submission to determination from eight to six weeks.
The Accredited Agents scheme recognises that we are producing consistently good quality planning applications which are validated without the need for further information or amendments. An application submitted by an accredited agent is automatically validated and is determined in six weeks (as opposed to the statutory eight).
This reduces the total time from submission to determination from eight to six weeks.
Wednesday, 23 May 2012
Gold Star Awards
DHVA has been short listed for the Redland and Cotham Amenities Society Gold Star Award, for the new entrance foyer to Colston's Primary School in Cotham.
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