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Exclusive Private Residential Estate in Abu Dhabi

The 130,000 square-meter island of Nurai, located northeast of Abu Dhabi city, is about to be transformed into a absolutely stunning resort and exclusive private residential estates. New York based design firm, Studio Dror, led by Dror Benshetrit, and Paris-based AW2 will turn the area into a boutique luxury hotel resort with 60 suites, 31 beach front estates and 36 water villasThe gorgeous multi-story water villas will span 515 square meters each and be made up of three bedrooms, four bathrooms, a private rooftop garden with a spa pool, private infinity pool, multiple decks, outdoor barbecue area, gourmet kitchen and concealed service quarters. As for the private Seaside residences, each will contain five bedrooms, six bathrooms, a private beach and garden, rooftop garden with spa pool, indoor reflecting pools, concealed service quarters, entertainment patios, outdoor dining areas, chef and show kitchens, and outdoor showers. The resort is due to open in 2010 and the prices for the residences start at $20 million..

Pouya Khazaeli Parsa

پویا خزائلی پارسا

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Architect and client come together on the beaches of the Caspian Sea to build architecture in which the Persian/Islamic culture meets western modernità. Design and photography by Pouya Khazaeli Parsa A new geography of modernity’s alternative places allows for the possible existence of worlds that are parallel to those most familiar to us where every design signal is immediately codified. Encountering a different genre of contemporary architecture in these places induces a sensation of fascination and disconcertment. It is like when we meet people who are normally far removed from our paths of existence and we are uncertain how to classify them for our purposes of love, criticism or mere communication. So if it is true that (at least according to Freud’s interpretation of dreams) every house represents a person, usually with autobiographical traits, we ought to imagine the architect Pouya Khazaeli Parsa – and probably also his client Tahmineh Darvish – as citizens of a difficult Middle Eastern republic torn between East and West, modernisation and conservation, hawks and doves, laissez-faire and building programme. In a context that you sense is disorderly and haphazard, architect and client have sought to recreate a housing structure with slender means and honest design intentions that would, at least in part, indicate their western modernist vocation as opposed to the muddle of ideas and forms that folklore attributes to such places.Having banned all fake references to Islam, Pouya Khazaeli Parsa (who also worked with Shigeru Ban for a while on the studio on the roof of the Centre Pompidou) focused on a difficult spatial variation of Le Corbusier’s “Poem of the right angle”. The crucial and original design idea stemmed from the desire to resolve a functional need of disarming simplicity: to allow those living in the house to enjoy the mystery of the Caspian Sea (maybe a sea, maybe a lake) which is blocked from the view of those in the surreal overdevelopment of the tourist resort of Daryacheh. Aided probably by his experience as a sculptor, Pouya Khazaeli Parsa sent the building soaring towards the sky and marked it with an aerial ramp. This element cuts into the closed mass of the walled box and creates a first-floor terrace that is open on the outside and ends at the true roof garden, which offers a charming panorama that stretches out towards the beach. Far removed from the obsession with ribbon constructions that fills so many S,M,L,XL building competitions, its physiognomy represents the schizophrenic split of the contemporary designer – who aspires, on the one hand, to the order required of every structure but is, on the other, swept away by expression requirements into the whorls of thought and the constructed form.S.C.

Jackson Clements Burrows

This house is located on a high dune at Cape Schank, Australia. The primary program is elevated to take advantage of expansive views across the Mornington Peninsula from Bass Strait to Port Phillip Bay. The house engages with the landscape in both form and materiality. The upper level extends westwards towards the views appearing to emerge from the Ti-tree over an artificial escarpment formed by the lower level.a