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Hallway Concrete Floors Design Photos and Ideas

Three vertical pillars run through the structure, from top to bottom. On each floor, there are three portals that provide all the services, like water and electric outlets.
A view of one of the steel openings to the addition allows light to come through.
The breezy gallery space connects the art studio to the ADU’s living volume, and can be kept open to the kitchen, or closed off with a large sliding panel.
A 1,259-square-foot rammed earth addition now arcs off the back of the original house. A transitional corridor connects the bedrooms, including the parents’ new master suite, with the shared living areas. A plethora of glass doors overlook the communal courtyard created by the unique shape of the addition.
The firm placed an entry hall at the nexus where the addition meets the original house, with the door to the master suite on the left. Built-in storage, here clad in charred wood, is designed for flexibility of use and accessibility to children and adults alike.
A view down the connecting corridor of the addition, with the shared living spaces at the end. The floors throughout are polished concrete screed with standard mix and sealed with a water-based polyurethane. The high clerestory windows atop the rammed earth walls bring in plenty of light.
An interior window allows occupants in the kitchen to see into the study and down the hall. “Our project reflects my idea of a home: Spaces as a background driver for family activities—functional, interconnected, and well-proportioned,” said Welsch.
In the light-flooded lobby of Sister City, mismatched chairs huddle around a wooden table, and an arched doorway is anchored by a slatted wall. White brick, open metal shelving, and a speckled tile floor complete the space.
“The bridge is a transitional feature that represents the connection between old and new,” says architect Miguel Rivera. “The design is very intentional—a series of frames compresses the space as you move into the existing house, and expands as you move into the addition that opens out to the main courtyard.” It also provides a seismic joint that separates the two different foundations, and incorporates slots for return air intake from the main living area.
“Stepping through the bridge is like going through a portal in time,” says architect Miguel Rivera. “The space opens up, and you find yourself in a brightly lit living and dining room with gray porcelain tile floors and floor-to-ceiling windows that contrast with the punched openings of the bungalow.”
“The house is entirely made of pink pigmented concrete that allows it to subtly tune in with the mineral tones of the surrounding mountains,” explains architect Federico Ferrer Deheza.
The cutouts and skylights are designed to take advantage of the sunlight, but also the night sky, too. “The moon will come out, and just cover a certain part of a wall,” says Magdalena. “It’s fantastic.”
“The light changes the color of the house constantly,” says Magdalena. The concrete absorbs and reflects the sunlight in ever-shifting ways.
Cuddington designed the sanctuary with "a migratory mindset. This house has the ability on all three levels to make programmatic changes so it’s not so singular in its thinking," he says. Consider the upper floor, marked by a staircase framed in whitewashed plywood. This area had the potential from the get-go for "the children to move up here and have their autonomy," at some point, he adds, "but what we didn’t know is how important it would be during COVID as a breakout space for Zoom calls and distance learning."
Hotel vibes begin in the basement's concrete-lined hallway leading to the bedrooms.
In the entry, a high interior window borrows light from the bedroom wing and a woven wood screen in the kitchen lets the owners see who’s at the front door. Kalon Studios crafted the bench from a single ash log. “It will split a bit over time,” Lachapelle says.
Near the hallway is a sculpture by Zaric. The picture window toward the end of the space can be covered by a sliding screen for privacy and to diffuse light.
Large glazed walls connect the different functional volumes of the home. “You are constantly aware of the landscape as you walk from one area of the house to the next,” says Costello. This impression of the landscape being a part of the home itself is emphasized by the continuation of the board-formed concrete from exterior to interior.
Industrial black metal doors—such as the entrance to the main suite—offset the internal timber cladding, reenforcing the contrast between the architecture and the interior.
The clients must pass through the courtyard, experiencing the outdoors, as they move between the private and public spaces.
When open, the door leads into the dining room, which has been extended to create a communal gathering space for the family.
A sliding door crafted from part of a shipping container, with the typography becoming a graphic and defining element within the space.
The front entrance leads into a shipping container that features a mud room, laundry and bathroom. This space has been opened up to the circulation space between the existing home and the new addition.
The circulation space between the addition and the old house. The heated concrete floors have been polished to reveal the aggregate, enhancing the refined industrial appeal of the interior.
A battened window lets in northern light while reducing summer solar gain.
The home’s sunny vestibule features a vibrant yellow door and a photo by William Bailey.
Garden and living spaces blend together in this Australian dwelling which inverts the classic wraparound veranda.
Punctuating a hallway with light was among the clients' few requests for the house. EFFEKT achieved it through a panel of glass that highlights a swath of greenery.
The window seat can also double as a bed. "It's particularly long, which was so that an adult can sleep there, or two kids could comfortably cozy up and sleep there," says Shaw, noting that it’s tucked around the corner from the bed for privacy.
One of the biggest challenges was prototyping, sampling, and testing to determine the correct formulas and process for the materials. “Concrete, for example, when poured in different environmental conditions produces different results,” says architect Tony Vella. “This doesn’t always work for a homogenous architecture.” As a result, the concrete was one of the most expensive elements of the home. “It was extremely detailed and very laborsome, but definitely worth the investment,” reveals Vella.
The couple’s art collection is diverse, representing their different tastes. This part of the gallery features work from Tam Van Tran (left), Yunhee Min (right), and a didgeridoo from Northern Australia.
“There was a notion that the floor and walls could be neutral surfaces, except for these very colorful rooms, and that would really help to make it feel like it’s the art that's the thing that you actually see,” says Tolkin. “When you put art on a more neutral surface, it tends to pop out and it’s very visible.” This section of the gallery features a painting by the client, Cathie Partridge.
The circulation space that connects the pavilions doubles as a gallery, so it’s much wider than a conventional corridor. This part of the gallery features a work by Tom Wudl (in the foreground), and a painting by Tam Van Tran (in the background).
In the bedroom hallway, a window is placed specifically in front of each door. “It’s like you have your own personal relationship with the window as you come through,” says Andrew Ashey, co-principal at AAmp Studio.
The entry door opens up to direct views of the central courtyard. "This view replaces the traditional accent wall, or piece of artwork, with a glass opening framing the sky and exotic plants (with a 500-year-old ironwood tree focal point) drawing your eye through the courtyard, expanding the feeling of the space," note the architects. The black lighting fixture is from Restoration Hardware.
The entire ground floor has a burnished concrete floor slab with in-slab hydronic heating. This lends a subtle and warm tone to the floor and pairs beautifully with the timber elements throughout the home.
“We wanted to connect their lifestyle to the design and the materials,” says Ashizawa. The Nanaminoki tree and other plantings outside the wide windows bring a green into an otherwise minimalist palette.
The family of five who live here love the outdoors; the architecture of their home brings that nature in to every moment... even when you're sitting on the built-in entryway bench to put on your shoes.
Natalie Myers in the doorway of her Yucca Valley retreat. Her goal with the renovation was to maintain the authenticity of the 1958 homesteader cabin and avoid a predictable "rustic-chic design sensibility."
Sasaki designed a white-painted box-like insert just beyond the office. The volume holds two bathrooms and a utility room.
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