- Architects: Boyance Arquitectos
- Location: Mérida, Mexico
- Author Architect: Gerardo Boyancé Ancona
- Architects In Charge: Beatriz Bolio Aguilar, Andree Pasos Dzul
- Area: 505.07 m2
- Project Year: 2016
- Photographs: David Cervera Castro
Text description provided by the architects. The land is located north of the City of Merida, Yucatan, in the Country Farm, has a privileged location for a house, as it is one of the most traditional and central residential areas of the City, near Avenues principal, but on a quiet street with little vehicular traffic. The area for the development of the project enjoys a very wooded environment and has 20.00 meters of front x 36.00 meters of a bottom with orientation east-west. The design of the project responded to a great extent to these factors, as well as the needs of the user who inhabits it, a young but traditionalist family that wanted something modern and functional.© David Cervera Castro
With a plot of 735.00m², a program of 494.55m² was solved on two floors. The concept for this solution was to create a large central courtyard to the north of the land and a large social block that has the distinction of being a living room, living / dining room, dining room, bar, terrace, since all the corridors of the house are large windows that hide in the walls to completely change the space and adapt it to the user's needs, all this block together with the kitchen look towards this central patio, the services were located in the southern part of the land as a buffer of the house, and to the east the pool and the garden.© David Cervera Castro Ground Floor Plan © David Cervera Castro
On the upper floor, there are the bedrooms and a study area, totally private. The main façade faces west, creating a very private and closed image, which in turn makes the house open to the interior with all the spaces facing the central courtyard.© David Cervera Castro
Last October 23, in the small Galician city of Ares (Spain), the "Guide of colors and materials" was publicly presented, with which the administration of the Galician community - in collaboration with the Galicia College of Architects (COAG) - aims to establish aesthetic criteria and recommendations in the search for a better image and urban quality of Galician populations.
This document is composed of fourteen volumes and its publication was made possible by a laborious process in which, for a year, architects, historians, and graduates of Fine Arts, had analyzed more than 3,800 buildings in rural, urban and peri-urban areas, as well as in industrial properties in the four Galician provinces.Galicia. Image © ondasderuido [Flickr], licensed brand CC BY-SA 2.0
In order to cover all its architecture and give specific recommendations adapted to the different contexts and characteristics that may exist, the guide divides the geography of the autonomous community into twelve areas and establishes four different types of buildings.
The twelve fixed areas are: Western Mountains; Plains and graves of Luguesa; plains, trenches and Ourensana mountains; Minho and Sil canyons margin; South coast- The Baixo Miño region; Central Galicia; Rías Baixas region; Western plains and wells; Gulf of Ártabro; Northern Galicia and the Mariña-bajo Eo.
Of the four types of buildings defined, the first one is the one of the traditional architecture and its evolution until the mid-20th century; in which it is recommended to use for its traditional technical rehabilitations, stone in the walls and wooden joinery.
In second place, the recent architecture, which includes the built since the 60s, with distinctions between urban and rural. In these cases, the guide offers freedom of materials and focuses on colors, which should be consistent with those of the environment in which it is located and, however, it is recommended that they have a matte finish.Pontevedra. Image © Dani Oliver [Flickr], licensed brand CC BY-NC-ND 2.0
The third type, are the buildings in isolated rural land and the fourth are industrial buildings. In addition, the guide also sets maximum limits of brightness and saturation for all colors to ensure harmony.
Although the manual is not mandatory, it will be available to all Galician councils so that they can guide and give recommendations to both the different agents involved in the architectural project and the owners of the buildings. In this way, we seek to achieve a harmonious, balanced, coherent and respectful landscape of the preexisting environment and built heritage.
Via: La Voz de Galicia.
- Architects: Herbert Hussmann Architekten
- Location: Klosterstraße 110, 72793 Pfullingen, Germany
- Lead Architects: Herbert Hussmann
- Project Team: Herbert Hussmann, Henning Hinrichs, Christian Nowatzky
- Area: 3080.0 m2
- Project Year: 2016
- Photographs: Stefan Müller
- Construction Management: Albert List
- Outdoor Facility: Hermann und Mang
- Structural Engineer: ARGE Taigel / Dehn
- Building Physics: ebök GmbH
- Building Services Engineer: IVT GmbH
- Electrical Engineer: ib/h2 GbR
- Fire Protection Consultant: Helmut Feil
- Soil Mechanics: Büro für angewandte Geowissenschaften
- Health And Safety Coordinator: Freddi Reiff
- Client: Stadt Pfullingen
Text description provided by the architects. In the vicinity of the historical “Pfullinger Hallen” by Theodor Fischer, the multifunctional gymnasium “Schönberghalle” is situated within one of the typical orchards of the Swabian Alps. The building is partly buried into the softly sloped terrain, forming front courts and entrances on two different levels. The main access for athletes is found on the lower level, together with the playing field and the changing rooms. The entry for visitors is placed on the upper level, leading directly to the foyer and further on to the spectator area above the playing field.Courtesy of Herbert Hussmann Architekten Ground Floor Plan © Stefan Müller
The facade is made of anthracite pigmented, water-repellent precast concrete elements, giving the building a more restraining appearing. The entrances are visually accentuated by oak-wooden inlays and give a first impression of the material used inside the main hall. Robust materials are used in floor- and side room areas, whereas the walls and ceiling of the main hall exhibit high quality oak-wooded carpenter work. Due to the contrast of materials, the main hall is reminiscent of the inside of a jewelry case. In the sport area, floor-to-ceiling glass windows allow wide views of the picturesque surroundings. If necessary, the facade can be completely concealed by an exterior cover.© Stefan Müller
A smaller gymnastic room on the top floor complements the sports areas. Here, a panorama window functions like a frame for the famous “Pfullinger Hallen”, appearing like a picture on the wall. Both sport rooms are visually connected via an interior window. Built around that interior window is the gymnastic rooms cabinet, forming a seating recess which offers a special place for watching the activities below on the field.© Stefan Müller
Sarovic_Plaut Arquitectos’ latest work, “The Grater,” was the Bazar ED 2017 entry pavilion. Last November, Bazar ED’s 13th annual fair united design, decoration and trends at Santiago’s Bicentennial Park.
The pavilion is the first thing people see when they enter the fair and the last thing they see as they leave, making it a particularly memorable space. The spatial atmosphere created by Sarovic_Plaut Arquitectos plays with light and wind to enhance visitors sensorial experience.© Constructo © Nicolas Saieh
Being a temporary installation, the pavilion was designed as a prefabricated structure. Once the architectural components were fabricated, they were assembled on site in the park. The experimental nature of “The Grater” is what made it unforgettable to visitors.© Nicolas Saieh
“The Grater,” was made of steel and Aislapol, high density polystyrene mono-block walls. It stood at 4.5 meters high with a thickness of 50 cm and circular perforations that differed in size.© Nicolas Saieh © Nicolas Saieh Exploited Axonometric
Even the roof is perforated so as not to resist the passage of strong winds brought on by the river-side site. Two opaque, metallic graphite panel boxes signify the entrance and exit against the white Aislapol. Inside the structure, two cylindrical tile skylights bath the pavilion with a warm light and a natural light penetrates the facades through the Aislapol wall perforations.© Nicolas Saieh
The work was a great experience in terms of the experimental construction system, volumetric expression and ability to activate at different moments. During the daytime, it has a unique interior effect thanks to the strong presence of the sun, with shifting lights and shadows due to perforations in the Aislapol walls. At night, its inner light transforms the structure into a referential architectural artifact within the park.© Nicolas Saieh © Constructo
Cliente: Bazar ED_Arbol Color
Project's Name: THE GRATER
Location: Parque Bicentenario, Vitacura, Santiago de Chile
Area: 100 m2
Architects: Sarovic _ Plaut Arquitectos
Collaborator: Vladimir Arredondo
Images: Nicolás Saieh / Constructo
Unbeknown to many, cork is something of a dark horse when it comes to the environment—a model of a sustainable industry and building material. By its very nature, cork is both recyclable and renewable, as it is the only tree that regenerates its bark, while harvesting that bark causes the tree no harm.
Cork has been sneaking its way into our buildings for many years now; due to its hard-wearing properties it can be found, for example, in the checkerboard flooring of the Library of Congress. Even NASA has been wise to cork's light weight and insulation capacity, using it as an insulator for their space shuttles.<a href='https://www.flickr.com/photos/nh53/5873034272'>Flickr user NH53</a> licensed under <a href='https://creativecommons.org/licenses/by/2.0/'>CC BY 2.0</a>
Only recently have we seen a growing curiosity over cork as an external cladding material for buildings. Despite what many assume, cork is extremely waterproof (why else would we trust it as a stopper for our precious wine), resistant to abrasion, and acts as a fire retardant and an acoustic insulator. Its also has desirable aesthetic qualities, giving buildings mottled earthy tones and natural patterning.
Portugal is the largest producer of cork in the world; it is here where the material begins its life as the bark of cork oak trees in large agricultural forests called montados. The process by which the cork is handled couldn’t be much more sustainable: it is harvested by stripping the outer layer of skin off the tree with a small hatchet that then regrows in time for the next harvest. In the factory, the cork is shredded and compressed at high temperatures, causing it to expand and the sap to melt to form a glue that binds it all together. Once cooled, it can be cut to measure ready to be put up as cladding. None of the harvested bark goes to waste in the process apart from the dust produced along the way. And that’s it—no added ingredients!<a href='https://www.flickr.com/photos/pollobarca/7931491464'>Flickr user pollobarca</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/2.0/'>CC BY-SA 2.0</a>
In Portugal the regulations for the cork industry are extremely tight, ensuring sustainable production, and the trained workers are paid a good living wage. By law, cork oaks cannot be harvested until the tree is at least 25 years old and even then, it can only take place every 9 years. The trees also require no pesticides, irrigation or pruning. The stripped trees absorb vast amounts of carbon dioxide and release more oxygen, so Portugal's montados are often referred to as the "lungs" of the environment. According to the World Wildlife Fund, they also play an important role in protecting biodiversity in the forest:
Cork oak forests support one of the highest levels of biodiversity among forest habitats, as well as the highest diversity of plants found anywhere in the world.
– World Wildlife Fund
An increase in demand for cork would benefit the environment, as the industry would need to plant more trees that encourage these habitats to grow and consume more carbon dioxide.
The adaptability of cork as a material has meant many buildings are beginning to use it for both external and internal uses. When used internally, in the case of the Heart Clinic by Dost, the cork regulates humidity, absorbs odors and provides comfortable sound reverberation, perfect for a clinical environment that aesthetically benefits from an organic, warm atmosphere. As cladding, the impermeable cork protects the building against the elements for a significantly carbon negative material.
Below are 14 examples to offer inspiration for how cork can be integrated into a building:© Wai Ming Ng Courtesy of ATKA arquitectos © Hélène Binet © Adrià Goula © Andrin Winteler, Burobureau © Ken Goshima © Ivo Canelas © Julien Lanoo © Joao Morgado © Fernando Guerra I FG+SG Courtesy of Selencky Parsons © FG+SG - Fernando Guerra + Sergio Guerra © Joao Morgado © Jaume Prat
- Architects: XTOPIX
- Location: Korunní, Praha, Czech Republic
- Lead Architects: Pavel Buryška, Barbora Buryšková
- Design Team: Pavel Buryška, Barbora Buryšková, Lucie Lorencová
- Area: 200.0 m2
- Project Year: 2017
- Photographs: Ondřej Tylčer
Text description provided by the architects. The lightness, openness and natural flow of an airy space are the main features characterizing a maisonette apartment covering the area of approximately 200 m2. The flat was built in the 90s in the attic of the apartment constructed in Prague's quarter called Vinohrady. The disposition adjustments of the flat were minimal, due to already existing sophisticated spatial plan originating from the previous owner's pen. One of the cornerstones in designing the proposal was the fact that clients being a young couple are passionate collectors of paintings.Interior Design 6th Floor - Proposal © Ondřej Tylčer
The resulting solution thus leaves largely blank white walls as a neutral gallery background for a growing painting collection. Hanged paintings are complemented by a series of composed interior elements featuring other artistic installations - a light mosaic above double bed, a circular cutout in the wall between the bathroom and the living room with a view of the bathtub (the window can be shaded with a built-in electric blind) or a large format painting by our client's favorite artist printed on the glass above the kitchen desk.Interior Design 7th Floor - Proposal © Ondřej Tylčer
The living room naturally creates the heart of entire flat thanks to its unique character; it is dominated by growing ficus and spacious relaxing multilevel platform evoking the "archetypal rural furnace". This atypical interior element has been customized especially for the clients, integrating a large-format sofa with chairs and a conference table, a library or an indoor space serving children as a bunker (a system of larger or smaller mutually interconnected spaces). The residential quality of the duplex is reinforced by vast south-facing terraces overlooking the roofs of the surrounding neighbourhood.© Ondřej Tylčer
- Architects: Mikkelsen Arkitekter
- Location: Copenhagen, Denmark
- Area: 400.0 m2
- Project Year: 2017
- Photographs: Søren Aagaard
- Other Participants : EKJ, Jull og Nielsen cow
Text description provided by the architects. Damesalen resulted from the need for new testing laboratories. The concept for the building was to replace the roof of a former university gymnastics hall with a new floor that would accommodate the various functions of the program. The project offered the opportunity to explore an architectural concept where the additional floor was enclosed in a simple elegant glass box. Architectural and functional variations occur in the glass façade depending on the program and functions of the spaces behind. The design was also informed by its surroundings and its orientation.© Søren Aagaard / Mikkelsen Arkitekter
Bespoke glass solutions were developed by both the architects and suppliers to create a building envelop that would embody design and performance in the form of a novel and integrated concept. With an increasing request for higher performing envelope solutions, the tendency is to go towards thicker insulations, deeper facades, and reduced glass areas. In many cases, the overall quality of the architecture is weakened and the interaction between inside and outside reduced. Integrating thin transparent high performance insulated layers into double or triple glazed units is an interesting alternative to deep facades.© Søren Aagaard / Mikkelsen Arkitekter
Coming from double skin facades which consist of various layers placed within the depth of a meter, it is difficult to imagine that such a rich architectural expression can function within the depth of a 78mm deep triple glazed unit. But the architectural quality of very thin facades is interesting. Imagine a façade driven by a 2D graphic experience rather than depth and layering or an architectural language based on the integration of transparent screens or prints, translucent filters, or thin insulation placed within the cavity of glazed units.Exploded Axonometric
A façade must make sense and express quality from a distance as well as close up. The challenge is to communicate scale and materiality from a distance while expressing more as people get closer. It is important that façades are experienced not only from the outside but as well from the inside. We often see facades fail to do so. By positioning an insulated material within the cavity of a triple glazed unit there is an opportunity to experience the same material from both sides or to create a deliberate difference.© Søren Aagaard / Mikkelsen Arkitekter
For Damesalen, the metal mesh surfaces follow this principle, therefore giving an overall homogenous understanding of the building.© Søren Aagaard / Mikkelsen Arkitekter
- Architects: B.L.U.E. Architecture Studio
- Location: Beijing, China
- Architect In Charge: Shuhei Aoyama, Yoko Fujii, Yuting Wang
- Client: DYTM
- Area: 160.0 m2
- Project Year: 2017
- Photographs: Ruijing Photo
Text description provided by the architects. Undertake a variety of media, business and cultural exchanges, this space is divided into the foreground, activity hall, guest room, VIP reception room and auxiliary area with renovation. The space height also change as the type of space changing, present a different space effect. The simplified arch is to be elements of ceiling, different directions of arch divided different areas, but at the same time the arch also achieve a smooth transition, to satisfy the metabolic and fluent unified effect of the space.© Ruijing Photo
The space is made of plain cement, with the original wood color, while showing the sense of calm and gentle relatives. Clean wooded furniture with brass cupboard door, showing a modern style. Compared with the arch of western architecture, bringing out harmony contrast. We can see the mixed culture from an interweave of form and texture.© Ruijing Photo
The foreground and VIP lounge are arranged in a natural light area, and the entrance retains the transparent glass to ensure that the entrance and bar areas are clean and bright. Reception area on the second floor chooses adjustable wood louver which is matching with spaces. We choose ultrawhite electrolytic glass as wall surfacing of inner space to satisfy the private require of watching activities which is based on consonant texture.© Ruijing Photo
The activity hall retains the high effect and uses the height advantage to design a big step that can be used for viewing. In order to meet the space requirements of different activities, the large steps can be retractable. When the steps are fully unfolded, it can contain about 70 people with speech, report and other activities. When the steps are packed up, it can accommodate up to 40 people to watch 3 or 4 persons’ performances. The large step’s opposite, ceiling conceal a width of 4 meters of projection curtain depends on it’s arc-shaped which is equipped with sound equipment accordingly. When the lights are turned off, the curtain goes down and the hall becomes a small theater. The ceiling of the second floor to connect activity hall was hidden in the ceiling, which was used for hanging the drawing, and could be turned into a miniature gallery when needed.© Ruijing Photo Plan © Ruijing Photo
This is a space of less than 200 ㎡ contains business and commercial activities, negotiation, rest and so on various functions and needs. It makes the space has variability through the use of materials and technology, thus, it also contains the core of cultural integration from material and form.© Ruijing Photo
- Architects: Nitin Killawala + Associates
- Location: Lonavala, India
- Architect In Charge: Nitin Killawala
- Area: 5500.0 ft2
- Project Year: 2017
- Photographs: Dinesh Mehta
- Team: Ketan Mistry
- Structure Design: Shanghvi & Associates Pvt.Ltd.
- Landscape Design: AMS Consultants
Text description provided by the architects. Perched atop Amarja Hills in Pawna at the tip of a hillock is the cluster of cuboids forming the basic structure of this weekend escapade© Dinesh Mehta
Each room is trapezoidal in plan as well as section focusing on view frame of serene Pawna Lake and soft mountains cape. In order to define the individuality of each room these cuboids are placed apart connecting by a low height connector lobby. The cuboids are placed like dices to suit the contours and capture best views.Ground Level Plan
Also, the structure is like a simple garage like blocks having two strong walls along its depth while large openings on both ends for cross ventilation. Two long walls of concrete blocks clad with black basalt for easy maintenance and weather proof having galvanized deck sheets placed on steel purlins to simplify the structure. This roof in steel in place of concrete slab avoids shuttering / scaffolding etc. Also, instead of false ceiling for thermal insulation, clay tiles are placed over thin layer of concrete© Dinesh Mehta
Three out of four cuboids are linked with a large sprawl of lawns, by constructing optimum retaining wall and earth fill to get seamless view between the wide openings of structures and the distant water body.© Dinesh Mehta
Amarja Hills is no different. Any setting with natural elements of water and mountains are always exotic especially during sunsets and sunrises.© Dinesh Mehta
- Architects: Robot 3
- Location: Ting Tian Shou Si Dian (Chao Yang Jie), ZhongJie ShangQuan, Shenhe Qu, Shenyang Shi, Liaoning Sheng, China
- Architect In Charge: Fei Pan, Zhi Wang
- Technical Support: Dong Han
- Client: Ideal Space
- Area: 265.0 m2
- Project Year: 2017
- Photographs: Robot 3 Studio
Text description provided by the architects. The location of the project is in Plaza66, Zhongjie Street, Shenyang.
Two walls were built in the house in the street, a wall divides inside and outside, a wall divides the left and right direction. The "Wall" is in our hearts all the time, giving us shelter, imprisonment, and hope.© Robot 3 Studio © Robot 3 Studio
The two walls create a dream, the wall is transparent, and the long wall is stretched.
The space between the walls is determined and blurred, but visible to each other. It is possible and hope, not imprisoned and closed. The long wall that stretches outside to the house is a guidance and the wall can be living, not just a divider or reference.Sketches. Image © Robot 3 Studio
It is possible and hope, not imprisoned and closed.The long wall that stretches outside to the house is a guidance and the wall can be living, not just a divider or reference.© Robot 3 Studio
To celebrate Miami Design Week 2017, Italian designer Mario Milana created a limited edition of his Asana Ground Chair for Les Ateliers Courbet’s Miami offshoot at The Surf Club, a venue designed by Joseph Dirand at the Four Seasons Hotel. While the original comes in Italian leather, this special version is hand stitched and upholstered in an off-white bouclé fabric by Pierre Frey.
The low chair is meant to bring the user closer to the ground with the goal of acquiring physical and mental balance.
Its name is based on the yoga term, ‘asana’, which means ‘the posture that brings comfort and steadiness’. To aid in that, the back adjusts up and down
Located on the Mediterranean coast in La Torre de la Horadada, Alicante, Spain, The Beach House came about when a family needed more space for their vacation home. Laura Ortín Architecture designed the new space on top of the original one-story beach house, typical of the area. Instead of building the exterior like the surrounding houses, they took a unique approach and created a faceted, modern facade that stands out on the block.
The slanted, light blue roofline is meant to extend out to the sky.
Part of the new design includes a terrace on one side of the house, as well as a loft with access to a roof terrace on the other side.
Inside, they chose affordable materials to keep the costs down, so the finishes are fairly simple. Raw plywood covers the upper walls and the loft space, while white paint is used on the main floor. Terrazzo floors add texture and a decorative element to the interior.
The upper part of the structure is offset so the best views from the loft could be secured.
The bedrooms are kept minimal, as a majority of the time is spent on the terraces.
Photos by David Frutos.
- Architects: Harry Gugger Studio
- Location: Vancouver, BC, Canada
- Local Architect: Iredale Architecture
- Area: 40200.0 m2
- Project Year: 2017
- Client: Credit Suisse – Real Estate Fund International
Text description provided by the architects. Surrounded by water and framed by mountains, the unique urban cityscape of Vancouver’s downtown is defined by its spectacular natural setting.
‘The Exchange’ is located in the heart of this downtown area. As one of a select few new, high density, office developments in the city’s central business district this new tower will bring valuable diversity, revenue and jobs to the neighbourhood and to the city as a whole.Before. Image Courtesy of Credit Swiss
The design rationale for the new ‘Exchange’ tower is entirely derived from its surrounding context and environment; in particular the existing Old Stock Exchange building, which is to be preserved and rehabilitated on the site. This refined, handsome and elegant building has facades of carefully composed vertical pilasters that are designed both to best accentuate its height and at the same time ground the building within the streetscape of the city.Elevations
The new tower does not attempt to dominate or compete with this prominent original building but rather to successfully work together with it in order to create an overall composition that looks at once to Vancouver’s future without obscuring its past.Courtesy of Credit Swiss
By both breaking up the mass of the tower over its entire height and by recessing its bulk from the perimeter of the site above the Old Stock Exchange, the new building allows the existing structure to fully define the streetscape, retaining and confirming its proud position within the heart of Vancouver’s downtown.Section
As the form of the tower retreats lower down to better define the original form and independence of the Old Stock Exchange, it consequently grows higher above to maximize its potential on the site. Here at the upper, more valuable floor levels, the tower steps out in two directions to provide larger, more efficient floor plates. These steps consequently create terraces on the tower’s sides that are optimally positioned to exploit the best views of the surrounding city and the dramatic panorama of the mountains beyond.Courtesy of Harry Gugger Studio
The stratification and stepping of the tower’s form, coupled with the chamfering of its corners both reduces its overall bulk and impact on its neighbours and leaves the Old Stock Exchange building as the single-largest element on the site, emphasizing its presence within the city centre.South Elevation
Restricted from creating a strong intervention on this skyline, ‘The Exchange’ instead looks to create a distinctive icon within the space of the city itself. Viewed from the street, its cantilevered form creates a unique identity for the tower at the centre of Vancouver’s business district. Seen in-the-round ‘The Exchange’s’ form is different from all angles yet remains identifiably the same coherent structure, clearly distinct from its neighbour’s and further pronouncing its individuality and historical pedigree.Courtesy of Credit Swiss
A respect for the architectural and significant social heritage of this original building is also paramount to the origins and identity of the tower’s façade design. The strongly vertical nature of the Old Stock Exchange’s façade is echoed in the elegant pinstripe of the tower’s external aluminium mullions. This unified system responds to the solid pilasters of the Old Stock Exchange Building that is to be retained on the site whilst accentuating the verticality of the tower itself, defining a more uniform and slimmer overall appearance of the building from all orientations.Plans
The vertical mullions perform a further function, shading the building envelope and significantly reducing its cooling load requirements. Their passive screening effect also greatly improves the visual privacy between the tower and its immediate residential neighbour, Jameson House.
Harry Gugger Studio in collaboration with Iredale Group Architecture.Courtesy of Harry Gugger Studio
If you’re a photographer or graphic designer that lives, breathes, and works in Adobe Lightroom on the daily, you’re very well aware any bit of well learned speed is always tempered by the need for accuracy when it comes to editing an image. Fast is good, accurate is better. Designed with Lightroom users in mind – both professionals and amateurs alike – the Loupedeck photo editing console reintroduces what we’ve lost in the era of virtual touch-swipe UI: an ergonomic and tactile mechanism for editing with acute accuracy.
Developed by a team of former Nokia developers for both Windows and macOS Adobe Lightroom users alike (note: Adobe Lightroom 6 or Adobe Lightroom Classic CC required), the Loupedeck presents an intuitive assemblage of knobs, dials and buttons inviting exploration, while also recognizing the time-oriented requirements of photo editing professionals. In presenting a great many of the most common adjustment tools as tactile controls, the requirement for hunting across menus or even accessing keyboard shortcuts is reduced to a minimum or eliminated.
Our loaner’s matte finish felt comfortable to the touch across each of its controls; whether using the large Rotate/Crop dial, turning one of the small row of color adjustment wheels (each turn offering a subtle click), or adjusting shadows and highlights with a knob, the Loupedeck’s controls feel confidently aware users will need access to a wide expanse of adjustments across any photo editing projects.
Whether manipulating minute pixel-level edits or entire image adjustments, editing with physical controls delivers a more satisfying feedback between intent and execution. Simply put: it feels good using the Loupedeck right out of the box.
We’ve only integrated the Loupedeck into our workflow for a few weeks, but its productivity-boosting potential was immediate, one of those rare professional design tools that adds an element of fun (perhaps attributed to novelty, but also, who doesn’t enjoy turning knobs, pressing buttons, and adjusting dials?). It’s easy to imagine over the span of more weeks and months using the Loupedeck our productivity would improve even further, its easily memorizable layout navigable by touch and becoming as much part of muscle memory as any keyboard shortcut – the best sort of tool: an accessory you never think about, but that always delivers reliable efficiency.
The Loupedeck is available online for €249.00 with shipping to the United States available.
Posted by Comelite Architecture Structure and Interior Design
Retail interior designs are all about hooking your customer in while showcasing your merchandise, and CAS designed this bedding store interior design in Al-Qassim, KSA with both of these points in mind.
The following post is brought to you by Capital One. Our partners are hand-picked by the Design Milk team because they represent the best in design.
What do the vast majority of millennials believe a workplace has to offer to inspire creativity and productivity? That’s the very question companies large and small are working hard to answer: Pixar’s headquarters is famous for the playful sway of their interior design. Google takes on an office-as-playground atmosphere to promote inspired thinking. And Apple? They’ve built the mothership – an enormous campus epitomizing the open floor plan design to compel interaction. So, who has it right? The 2017 Work Environment Survey sponsored by Capital One believes it has some of the most relevant and important information revealing the future of where and how we work.
The rebellion against open office settings – where personal privacy is completely eliminated under the banner of collaboration-always environments – seems a foregone conclusion, as ill-conceived for worker happiness as any expanse of windowless cubicles. Yet, the ideal conditions permitting the possibility of creative ideas to form and gestate seems as uncertain as the Heisenberg principle, simultaneously requiring privacy and openness. Too much privacy, and collaborative efforts wane. Too little, and the solitary moments required for creative minds to explore ideas withers. Employers are beginning to recognize the key in achieving this equilibrium is neither here nor completely there, but achievable integrating environmental flexibility. And now we have survey results to prove it.
Capital One’s 2017 Work Environment Survey queried 2,500 full-time office millennial professionals in Chicago, Dallas, New York City, San Francisco, and Washington D.C., providing an overwhelming agreement (86%) that “companies cannot encourage innovation unless workplace design and environment is innovative”, identifying flexible workspaces are an integral mechanism for encouraging the best ideas (88%). Sadly, 62% of those polled said their company’s current workplace environment fails to encourage innovation, revealing the majority of companies are not only failing to meet the expectations of their employees, but also likely diminishing opportunities for innovative thinking to occur during work hours.
One becomes obvious reading the findings is establishing an inspiring workplace isn’t a singular solution – it’s a sum of numerous factors:
In light of these findings underlining design’s importance in driving innovation, the one-size-fits-all strategy of yesterday seems obviously ineffectual and antiquated. Multi-purpose, adaptable, and reconfigurable spaces are the new ideal, promoting employees to alter environments dynamically (while also facilitating focused productivity vs. mitigating distractions as needed throughout the day). In this way the interior itself becomes a vehicle of empowerment, a tool for collaboration.
But what should employers hoping to upgrade existing workspaces execute within the realistic limitations of space, budget, and resources? One of Capital One’s in-house design experts, Michelle Cleverdon, offers these recommendations:
The design process should start with conversations with associates to assess what’s important to them, what drives them to do their work, what they care about and what makes them proud to work for their company or organization. Insights from these conversations will help define what inspires a particular workforce and how to enhance the workplace environment to achieve the greatest impact.
Asking associates to describe their bright spots (what makes life easier) and their pain points (the little things that can really hamper their day) shines light on what’s already working well in the workplace as well as on issues that need to be addressed. Another way to pinpoint this is to challenge associates to “hack” their space, empowering them to identify what’s not working well and experiment to create solutions with what they have (or with a small investment). Giving associates ownership and support in identifying space challenges and developing creative fixes enables organizations to start small and refine ideas that will enhance their workplace environments until they’re tried and true.
In other words, ask and you shall receive. In the end, communication, observation, and experimentation are all critical in creating engaging workspaces where inspiration has the opportunity to evolve into innovation.
- Architects: Neumann Monson Architects
- Location: Des Moines, IA, United States
- Area: 45000.0 m2
- Project Year: 2014
- Photographs: Assassi Productions
- Contractor: Graham Construction
- Structural Engineer: Raker Rhodes Engineering
- Mep Engineer: Brewer Engineering
- Civil Engineer: Civil Engineering Consultants, Inc. (Urbandale, IA)
- Landscape Architect: Perficut
Text description provided by the architects. This five-story, 45,000 sf historic district mixed-use project offers retail, twenty residential units, and a penthouse office. Proportioned to accord with its surroundings, the building offers calculated departures from the traditional.Site Plan
Material and massing articulate the program. The palette is simple: dark brick, clear glass, anodized aluminum, and weathering steel. The circulation spine’s glazed wall connects steel-clad egress towers to the brick residential block raised above the retail floor. The penthouse, a glazed white beacon, completes the ensemble.© Assassi Productions Plans © Assassi Productions
At the street level, expansive windows connect passers-by to 6,000 sf of commercial space. Recessed tenant entries to the east and west provide privacy and cover. Above, residential units share a layout concept in which the kitchen, which is centered on the living space, parallels the exterior wall and shares a plumbing wall with a primary bathroom. Level four boasts projecting glass and steel balconies as well as an outdoor commons space – available to all tenants—that offers westward views of the skyline. On level five, the penthouse workplace doubles as an occasional social gathering venue. A linear service core provides programmatic flexibility. Three fully-glazed fritted exterior walls take advantage of downtown views and open to a perimeter roof terrace.© Assassi Productions
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