
F Residence
GOSIZE / Go Fujita · Nishinomiya, Japan
A useful starting point for comparing a protected exterior with garden-facing rooms.
Concrete houses
Explore concrete homes through their spatial choices, from private courtyards to rooms embedded in a wooded slope.
490 designs in this collection · How we select and source

GOSIZE / Go Fujita · Nishinomiya, Japan
A useful starting point for comparing a protected exterior with garden-facing rooms.

FORM / Kouichi Kimura Architects · Shiga, Japan
Controlled openings give the outer volumes a different character from the spaces experienced inside.

APOLLO Architects & Associates · Minato, Tokyo, Japan
The darker exterior composition invites a comparison with the light and views beyond its screened edge.

James Stockwell Architect · Newcastle, Australia
Domestic rooms descend a wooded slope, alternating between embedded and projecting spaces.

Bruno Dias Arquitectura · Ansião, Portugal
The courtyard opening establishes a shared outdoor focus within a single-storey plan.

Araujo Galvan Arquitectos · Near Guadalajara, Mexico
Several garden relationships distinguish shared living spaces from more secluded bedrooms.

Gosseye + Verbeke · Near Bruges, Belgium
An enclosed approach contrasts with glazed ends to the circulation routes.
Photograph credits and the published project account are on each design page.
Concrete can shape a house through its enclosure, structure or relationship with the ground. This selection follows those spatial choices: private courtyards, sheltered terraces, rooms set into a hillside and openings that frame a garden. A shared material does not mean that every example belongs to the same historical style.
Begin with the relationship between solid and opening. A long wall can protect a courtyard, while an overhang can extend a living room toward the landscape. Compare those roles before treating surface texture as the whole architectural idea.
Concrete appearance alone does not identify a mix, supplier or finishing process. Project-specific specifications remain in the separate exact-material records when documented. The broader collection uses the catalogue’s material theme and should be read alongside each published project account.
Material and historical style are different ways of describing a building. Use the project’s evidence and context before assigning a movement label.
A photograph may show visible texture, but a precise mix or finish needs project-specific documentation.

Design Anthology
Design Anthology

Design Anthology
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Design Anthology
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Design Milk

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Paulo Mendes da Rocha and João de Gennaro · São Paulo, Brazil
Vilanova Artigas · Curitiba, Brazil
João Filgueiras Lima · Brasilia, Brazil
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Dezeen
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