Houzz Tours
Architecture
Modern Architecture
Houzz Tour: Rugged Irish Landscape, Serene Modern Weekender
This getaway home embraces its environment with windows that frame the views and thoughtful situating on its site
Besides Iceland, Ballyconneely peninsula in Ireland's Connemara, County Galway, is one of the westernmost parts of Europe. Mountains, coves and rocky inlets define the rugged area as much as the Atlantic stretching to the west. Ellis and Seamus, a married couple with two kids, built a weekend house in this beautiful landscape, an hour's drive from their home in Galway.
The couple met with architect John Dorman in 1998, hired him after liking his first plan and moved into the house just before Christmas in 1999. A decade and a half later, they "still find this building completely fit for purpose ... a building that is both timeless and sensitive to its environment," the clients wrote in a review of the work. Their description hits upon what makes the building so successful: It responds to the environment and the place's history without sacrificing any modern needs.
Houzz at a Glance
Who lives here: This is a weekend home for Ellis and Seamus, who are married, and their 2 children (now young adults)
Location: Ballyconneely, Connemara, Ireland
Size: 1,800 square feet
That's interesting: The architect's varied inspirations — spanning old and new, traditional and modern, history and pop culture — combine to create a contextual retreat that addresses modern needs.
The couple met with architect John Dorman in 1998, hired him after liking his first plan and moved into the house just before Christmas in 1999. A decade and a half later, they "still find this building completely fit for purpose ... a building that is both timeless and sensitive to its environment," the clients wrote in a review of the work. Their description hits upon what makes the building so successful: It responds to the environment and the place's history without sacrificing any modern needs.
Houzz at a Glance
Who lives here: This is a weekend home for Ellis and Seamus, who are married, and their 2 children (now young adults)
Location: Ballyconneely, Connemara, Ireland
Size: 1,800 square feet
That's interesting: The architect's varied inspirations — spanning old and new, traditional and modern, history and pop culture — combine to create a contextual retreat that addresses modern needs.
Dorman's response to environmental factors is immediately apparent when one approaches the house. The forecourt was formed from a dip in the slope, into which the garage has been built; it's tucked under the living spaces, which are all positioned on one floor above. The house is a simple rectangular bar that runs from the garage on the west to the master suite on the east; the long elevation here faces south. The entrance to the house is via the gentle rise of the stairs on the left.
"The house itself is aligned north–south along the site’s contours," Dorman explains. "To the north the field rises up gently, and to south the principal views overlook Ballyconneely Bay. The gables face east, towards the rising sun and the distant Twelve Bens mountains, and to the west towards the setting sun."
Here we are looking over part of the bay to the south side of the house. It stands out, with its white walls and dark slate roof, yet doesn't look out of place.
Here we are looking over part of the bay to the south side of the house. It stands out, with its white walls and dark slate roof, yet doesn't look out of place.
The house takes advantage of the southern orientation through some large windows as well as with a covered verandah that is accessed via the family room (wood walls) and master suite (sliding doors on right).
Before we head inside, here is a close-up of the stone steps that lead to the front door. The gradual rise is a really nice touch, responding to the natural slope and making an easy transition from the garage and forecourt to the interior. This run delivers people to the middle of the house, as we'll see in the plan that follows.
(Note the skinny window above the garage, as it serves an important role inside the house.)
(Note the skinny window above the garage, as it serves an important role inside the house.)
Initially I described the house as a rectangular bar, but that is an oversimplification that doesn't get at the plan's best qualities. Another way to think of it is as a rectangle that is carved at two corners — in the northwest for the entry steps and in the southeast for the porch. Still another way to describe it is as two smaller rectangles that contain the bedrooms and overlap to create the open family space. Regarding the last, Dorman admits he was inspired by Frank Lloyd Wright's use of sliding and overlapping rectangles (as evidenced in the Robie House).
As important as the articulation of spaces via rectangles is the positioning of storage and other services on the north wall, where smaller openings are provided. Dorman found influence in Jørn Utzon's own house in Hellebæk, Denmark (1952), and Edward Cullinan’s Marvin House in San Francisco (1959), but also in the one-room-deep cottages typical of western Ireland.
As important as the articulation of spaces via rectangles is the positioning of storage and other services on the north wall, where smaller openings are provided. Dorman found influence in Jørn Utzon's own house in Hellebæk, Denmark (1952), and Edward Cullinan’s Marvin House in San Francisco (1959), but also in the one-room-deep cottages typical of western Ireland.
Yet the interior does not seem derivative, perhaps because Dorman's influences are both varied and broad. A few tactics define the interior and make it distinctive: the curved ceiling below the gable, the birch walls lining the spaces and the matching pocket doors (note the locations in the floor plan), which give the family space flexibility and privacy. More of Dorman's influences are seen in those pocket doors: the Rietveld Schröder House's flexible interior shaped by sliding panels and the architect's childhood fascination with the 1960s TV series Get Smart and its opening sequence of automatic sliding doors.
Here we are looking to the west and the guest rooms–children's rooms. A sliding door can close off those spaces from the family space, but when open the tall window over the garage sits perfectly at the end of the hallway vista. Dorman describes it in other terms: "On the equinox when all the doors are open, the low-angle setting sun creeps slowly through the west bedroom, down the corridor and into the wood-lined family room, bathing it in a golden glow before dropping below the horizon." Lovely.
Here we are looking to the west and the guest rooms–children's rooms. A sliding door can close off those spaces from the family space, but when open the tall window over the garage sits perfectly at the end of the hallway vista. Dorman describes it in other terms: "On the equinox when all the doors are open, the low-angle setting sun creeps slowly through the west bedroom, down the corridor and into the wood-lined family room, bathing it in a golden glow before dropping below the horizon." Lovely.
Like the vertical window over the garage, every window is well considered. The large window in the family room is visible immediately after one enters the house and turns to the right.
Another corner of the family room serves the dining area and provides access to the porch and the master suite; the last is again served by a sliding birch door that can close it off from this space. Note the horizontal window by the dining table.
Here is the view from that horizontal window, perfectly framing the horizon and vista for someone seated at the table.
A 180-degree turn from the dining table we see the kitchen, which is along the north wall but which is still served by a window. Inspired by a 1970s house in Rhode Island designed by Christopher H.L. Owen, a long horizontal window is positioned between the lower and upper cabinets.
Above the bookcase (also birch) at the left is a north-facing skylight that balances the natural light entering the space from the south.
Above the bookcase (also birch) at the left is a north-facing skylight that balances the natural light entering the space from the south.
The skylight also acts as sundial of sorts, allowing some direct sunlight to enter and cast distinctive patterns on the side wall below the curved ceiling.
The master bath is also served by a horizontal window, and as in the dining area, the logic of its location is immediately apparent. No wonder I previously wrote that this tub and window make for "a beautiful scene to soak in while soaking."
The last type of window — accompanying the large openings, vertical and horizontal windows, and skylight — is square. There's one in each of the bedrooms at the west end. (They are visible next to the wood shutters in the first photo of this ideabook, and there is also one in the family room next to a writing desk.)
As Dorman describes it, the "window becomes a landscape painting," and it's hard to argue with that. The beauty of western Ireland's landscape is undeniable, and in Dorman's hands this weekend house carefully opens itself up to its surroundings while still serving as what the clients call a cozy and snug cocoon.
As Dorman describes it, the "window becomes a landscape painting," and it's hard to argue with that. The beauty of western Ireland's landscape is undeniable, and in Dorman's hands this weekend house carefully opens itself up to its surroundings while still serving as what the clients call a cozy and snug cocoon.