Just past the southeast corner of Cleaver Square in Kennington, south London, sits a weathered brick wall with a painted timber gate. From the street, it looks like nothing more than a garden boundary — unremarkable, quiet, entirely in keeping with the 18th-century square around it. Step through the gate and the story changes completely.

Behind it is the Walled Courtyard house, a single-storey, two-bedroom home designed by London-based architecture studio Inglis Badrashi Loddo (IBLA). It is the first new house built on Cleaver Square in over 175 years — and it was designed to be invisible.

Designer: IBLA

The site, a modest 63 square metres, was formerly a car park. It once formed part of the walled garden of the Grade-II listed Georgian townhouse that sits adjacent to it. The owners of that townhouse commissioned IBLA to design a separate, accessible dwelling on the land — compact, light-filled, and historically sensitive.

IBLA didn’t fight the enclosure. They embraced it. The boundary walls were reconstructed using a combination of salvaged and new London stock brick, deliberately left without windows so the exterior reads as one continuous garden wall. Inside, those same walls are washed in lime-mortar paint, pulling light inward and immediately shifting the atmosphere. “The site is very compact, completely enclosed and inward-looking — our main goal was to create a bright and light-filled home that felt expansive and generous, despite the constraints,” said IBLA director Kim Loddo.

The layout unfolds around a central courtyard garden, with every main room connected to it through full-height sliding glass doors. The main bedroom and ensuite occupy the western end, with long sightlines running through to the kitchen and dining area at the centre. There, custom plywood cabinetry sits beneath a skylight that keeps the space bathed in natural light through the day. To the east, an adaptable room serves either as a second bedroom or a reading snug. The main bathroom, tucked into the curved corner of the site, is lit from above by a circular skylight.

A neutral palette runs throughout — white walls, whitewashed exposed timber roof joists, and grey porcelain flooring — with pocket doors that slide cleanly into wall recesses to keep sightlines open. The joists, as Loddo notes, do real structural work while lending the ceilings an honest rhythm.

For sustainability, the home relies on an air-source heat pump, underfloor heating, high-performance insulation, and a sedum roof that quietly completes its environmental credentials. What IBLA has built here is a masterclass in restraint. A home that holds its history close, hides from the street entirely, and reveals itself only to those who pass through the gate.

The post This Hidden London Home Lives Behind a Garden Wall – And It’s Pure Genius first appeared on Yanko Design.

Most houses on a lake want you to know about it. The Counter-Slope House by Montreal-based yh2 Architecture is the opposite — perched on a steep slope along the southern shore of Lake Memphremagog in Potton, Quebec, it earns your attention precisely because it doesn’t demand it.

Completed in 2024 across 4,530 square feet, the residence sits within one of Canada’s most geographically charged landscapes: a terrain of dense woodland, dramatic gradients, and mountain-cast shadows. The studio, led by founding principals Marie-Claude Hamelin and Loukas Yiacouvakis, approached the site not as something to build upon, but as something to negotiate with. The result is architecture that reads less like an imposition and more like a considered guest.

Designer: yh2 Architecture

The plan breaks into two distinct volumes, each stepping gently into the slope to follow the contours of the land rather than flatten them. Above each volume, a subtly shifting dual-pitched roof reduces the building’s perceived mass while quietly echoing the topography that surrounds it. It’s a move that feels almost camouflaging — the house belonging to the hillside rather than sitting on top of it.

A dense treeline separates the structure from the lake, and YH2 turned this threshold into an architectural tool. Windows are positioned not to frame the water directly, but to catch glimpses of it through the leaves — shimmering and partial, like something discovered rather than displayed. Light enters from the opposite direction, filtering softly through the interior and shifting across the day. The experience of the house becomes tied to time, season, and the slow movement of the natural world outside.

Materials were chosen with the same economy. Weathered cedar wraps the exterior, its tone and texture fading into the surrounding woodland without ceremony. Inside, white oak and an exposed timber structure give the spaces warmth and rhythm. The wood is left unfinished — honest about what it is, and precise in how it performs. Black architectural elements appear selectively throughout, acting as framing devices that sharpen the relationship between interior space and landscape view.

The Counter-Slope House doesn’t try to resolve the tension between architecture and nature. Instead, it holds that tension open, letting both exist on their own terms. For a studio with three decades of critically recognized work behind it, this project feels like a distillation — proof that restraint, when applied with conviction, is its own form of ambition.

The post This House on Lake Memphremagog Was Designed to Disappear first appeared on Yanko Design.

Perched above ancient stone walls in Nova Lima, Minas Gerais, the Xingu House reads less like a building and more like a geological event. Designed by Belo Horizonte–based studio Tetro Arquitetura — led by principal architects Carlos Maia, Débora Mendes, and Igor Macedo — the residence occupies an 8,000-square-meter plot that arrives with its own history, its own landscape, and its own set of demands.

The site is layered in a way that most architects only dream about. Stone walls left over from a previous structure carve through the terrain, native forests press in from the edges, grassy plateaus open to sweeping mountain views, and somewhere beneath it all, a cave sits waiting — earmarked as the home’s future winery and cheese cellar. Tetro didn’t try to simplify any of it. The shape of the house is a direct answer to every peculiarity the land threw at the team.

Designer: Tetro Arquitetura

The studio’s starting point was straightforward: find the best view and push the residents toward nature at every opportunity. That intent shaped everything. The main volume of the house lifts six meters above the natural ground level, floating over the old stone walls and giving the two primary suites an uninterrupted panorama of the surrounding mountains. What makes this possible are the thick, irregularly-shaped concrete pillars rising from below — structural forms that pull double duty by housing bathrooms, the staircase, an elevator, and service areas within their mass.

The program is divided across three distinct sectors, referred to internally as “tips.” The elevated main volume holds the primary suites; the other two tips extend outward and settle onto the plateau created by the old stone walls, containing the guest accommodation. The result is a home that doesn’t sit on its land so much as reach across it — arms extended, each pointed toward a different fragment of the terrain.

The relationship between structure and nature becomes even more deliberate at the spa. Rather than attach it to the main house, Tetro designed it as an entirely separate volume — one that threads itself between existing trees rather than displacing them. Inside, a sauna, changing rooms, a resting area, and a gym make up the program, all sheltered within a shape that responds to the forest rather than imposing on it.

At 1,500 square meters, the Xingu House carries the kind of complexity that can easily become noise. Tetro keeps it quiet — letting raw concrete, native landscape, and a clear sense of purpose do the talking.

The post Tetro Arquitetura’s Xingu House Turns a Complex Brazilian Hillside Into Something Extraordinary first appeared on Yanko Design.

Most mountain houses try too hard. Cut Out House, designed by New York-based studio Young Projects, does the opposite — it sits in the foothills of the Canadian Rocky Mountains, tucked into a low-density development where the land does most of the talking.

The project was conceived as a family vacation home, and it wears that intention openly. Rather than asserting itself against the landscape, the house responds to it — balancing intimate spaces oriented toward the dense surrounding woodland with communal areas that open dramatically toward the mountains. That duality is the architecture. Everything else follows from it.

Designer: Young Projects

The defining move is the butterfly roof, which Young Projects uses not just as a formal gesture but as a tool for orchestrating experience. The angled planes slope in opposite directions, directing views outward from within while reflecting the terrain’s gradient from outside. Where the roofline climbs, communal living spaces claim the panoramic views. Where tree density compresses the sightlines, private bedrooms pull back into quieter, more sheltered corners of the plan. The roof, in a sense, is the planner.

The “cut out” in the name refers to a series of subtractions carved from the building’s overall volume — openings and recesses that give the house its sculptural character without overworking it. This is a form shaped as much by removal as by addition. The result reads as something confidently simple, which is the harder thing to achieve. Most houses at altitude either defer too much to the landscape or compete with it. Cut Out House does neither.

Gray Accoya wood clads the exterior, a material choice that ages gracefully and lends the structure a tonal continuity with the rock and timber of the surrounding terrain. It doesn’t announce itself. From across a nearby body of water, the butterfly roofline is the first thing you read — a dynamic silhouette that shifts with the light and suggests movement even when the house is still.

Bryan Young founded Young Projects in New York in 2010, and the studio has built a reputation for work that thinks carefully about the relationship between built form and context. Cut Out House extends that sensibility into alpine territory, where the stakes of getting that relationship wrong are immediately visible in every window. The house doesn’t compete with the Rockies. It leans into them, shapes itself around them, and in doing so becomes something more interesting than a retreat — it becomes a calibrated act of looking.

The post Young Projects’ Cut Out House Proves Subtraction Is the Most Powerful Tool in Architecture first appeared on Yanko Design.