Author(s): Bodenez et Le Gal La Salle architectes

Le Los-toen

A seventies suburban house in the Finistère countryside. Project: pursue the potentialities of the place, sublime its assets. Work on the context in such a way that the house may play with the site, no longer a trite object placed on a plot.

The landscape to the south is nothing short than glorious and offers a direct view on the Rade de Brest. But the house does not look at it, as a gravel car park borders the south-facing windows.

The view to the north opens onto fields and woods, but a barrier of giant fir trees at the foot of the house hides absolutely everything and casts shadows on the (north-facing!) terrace…

The east side is completely blind but gives onto a large garden.

The house is sadly banal; it seems devoid of any interest.

Reorient the house by rethinking its integration in the context; transform the use to live better. The assets: a bungalow, an interesting central distribution, a superb landscape, and a large east-facing garden that is not being exploited. A simple, well-proportioned volume with a slate two slopes roof without artifice.

The extension continues the volume exactly against the existing eastern wall, giving some interest to the pinion. It is sculpted to become the main entrance of the house. A large canopy marking the threshold prolongs the roof. This generous eaves gives scale and becomes essential. The inhabitants stand there, stopping a moment.

It marks the house. The owners immediately baptise it the “Los-Toen”, literally “roof-tail” in Brittany, and a term that is more adapted than “canopy” or “cap”…

The south-facing car park becomes a garden directly connected to the living areas.

The whole is painted in dark hues. The roof of the extension is in slate, prolonging identically the volume of the existing house.

The colours have been chosen to integrate the context: dense, wooded atmosphere made up of dark greens, blacks, and various intensities of the grey of the mountains in the distance…

The wooden plates assembled in sheet layout similar to the windows of the new main façade are painted using the same oil as that used by farmers to coat agricultural wooden buildings. The diluted black shows the veins of the wood.

These dark, natural colours are associated with the local black stone with which the local manor was built in the 16th century (the black stone village).

The house forms just one whole, it has mutated, it is no longer the house that it was before being “extended”. Instead it is a new context, a unique volume.