Posted by Whitaker Studio Limited
Earlier this year my client in LA had some friends visiting and, having a little time to spare, they all went on a road trip to visit the client's plot of land in Joshua Tree. Whilst there, amongst
Posted by SUMA/issei suma
The house sits on top of the ridge in a forest of 60' high zelkova trees. The ridge top had been flattened by the previous owner. We have imagined structure which interacts with the trees and reminds
Posted by Architect Show co.,Ltd
N10-house [ House with View terrace ]
- Architects: Commerzn | Linha de Terra Architecture
- Location: R. Ferragial, 1200 Lisboa, Portugal
- Architect In Charge: Raul Serra
- Area: 130.0 m2
- Project Year: 2017
- Photographs: emontenegro / architectural photography
- Contractor: Ozarko Lda
- Specialties: Entrelogica Lda
From the architect. A house made of memories, composed of a narrative of spaces of different areas and proportions, with a high vaulted ceiling and a direct and effective connection between them. Several wounds and scars from the many uses of the space are visible at every moment, much deeper than the superficial remnants that the prolonged closure brings.© emontenegro / architectural photography
The first visits began to be enlightening for the construction of a new stage in the life of that space, which, according to the records available, dates back to 1722 (pre-pombaline) and resisted several stages of the city's history, including Lisbon’s great earthquake (1755).© emontenegro / architectural photography Second Floor Plan © emontenegro / architectural photography
The project was built on two premises: the program to be defined and the strategy of restoration and preservation of each element and detail, that belonged to the legacy of that place. It was a process of proximity, a project truly solved step-by-step, in close relation with the construction. Over the past several months, indelible treasures have been discovered that shaped the final result: 18th century tiles in footers, massive brick vaults, stone blocks from the Fernandina wall, the original wood shutters, etc.© emontenegro / architectural photography
The new history that is built for this place intends to be cared and essential, based mainly on details, materials and technology to improve the experience and permanence of it’s different spaces. Artificial light enhances every memory preserved, materials and accessories are sober so they do not overlap the existing space.Sections 1 / 2
A place with memories that allows the new experience to be in symbiosis with the layers of history that shape space.© emontenegro / architectural photography
- Architects: dot Architects
- Location: Beijing, China
- Architect In Charge: Duo Ning
- Design Team: Sun Qingfeng, Mao Yanyan
- Area: 30.0 m2
- Project Year: 2017
- Photographs: Wu Qingshan
From the architect. Baitasi House of the Future is located in a historic hutong area of Beijing. The client is a tech company focuses on the smart homes. The commission is to create an experimental house that suits the future lifestyles of young people.© Wu Qingshan
Baitasi is one of the well preserved hutong neighborhoods. The original site had a 30 sqm house and a 80 sqm yard cramped with illegal building works.Moveable Module Diagram
When we talk about house we are talking about home. The house of the future should represent such a lifestyle of young people. They can fluidly shift between work and home. Access and convenience are more important to them than ownership. The possibilities of home space outweigh its physical dimension. The boundary between home and society is blurred by the rise of the sharing economy, nomad workers and technology. Our lives are fragmented and can not be accommodated by a fixed layout.© Wu Qingshan
The original house is wood framed. To minimise construction work and reveal the beauty of traditional Chinese wooden structure, we replaced the decayed roof and removed all the interior partitions. Two moveable furniture modules and one fixed module are placed under the new roof. With the moveable modules, the house can have four different layout options. According to the needs of the residents, it can shift from a three bedrooms house to a small office. The facade can be open up to connect the living space and the outdoors.© Wu Qingshan
The moveable modules are controlled by a smart TV. This TV system also controls lighting modes, curtains, security alarm and other home appliances.© Wu Qingshan
Based on the strategy of minimal intervention, we use WikiHouse system for the only new built structure on site. It serves as the kitchen and toilet. The WikiHouse is an open-source project for building houses. It is lightweight and digitally fabricated. Its faster and cleaner construction process suits the crowded and noise sensitive neighbourhood very well.© Wu Qingshan
Compared to many futuristic design, this tiny house is nothing close to future at the first look. But its humble appearance and user adaptive interior may reflect something about the future in the ancient capital.© Wu Qingshan
- Architects: CHU-studio
- Location: 06-1, Yuquan Second Road, Beijing, China
- Architect In Charge: Shao Weiyan
- Design Team: Yang Yongxin, Zhao Zixin, Yang Huicai
- Project Name: Museum Of International Brewmasters Art
- Soft Decoration: CHU-studio
- Area: 1700.0 m2
- Project Year: 2017
- Photographs: Zhuang Boqin
Regeneration of old housed- brewing in Beijing years, continuing intoxicating fragrance of the old winery
Secluded side of the road, outside of a large panel of metal grille wall, wine boxes orderly misplaced and interspersed among them, sun light penetrates to an aged factory building in rear, showing the depth of the elevation texture. This project, the Museum Of International Brewmasters Art, locates in the center of Beijing, a ruin of classical Russian structural industrial building. It is an epitome of a Chinese old brand, Dragon Seal Red Wine, experienced the vicissitudes of times and finally retired cause by out of date. Afterward, a group of people found this mottled container, repositioned the spirit with the dense sense of spatial presence of the old winery, reshaped by contemporary design techniques, trying to create more interacting spaces of wine and people, or people and people. Now, it will reload the spirit and extend the Chinese wine culture.
Field tandem- wine-making as the concept, connecting shattered solid space as intermediary
The creation of wine is the fruit of the wisdom of our ancestors, combined with soil, water, fire, grain and other elements, spending the most important time in order to brew an exciting wine. We make this totally natural brewing process to match spatial patterns, formed "soil, water, fire, grain" four fields, each space due to the different function resulting in different spiritual meanings. Therefore, the planning of space and circulation uses soil, water, fire, grain brewing process as conceptual developing, containing dynamic timing in the rich and diverse field. Opening the door hiding from the elevation of grills, first enters the "soil" as the theme of space. The soil is the mother of all things, also ancient pit mud, each gram of ancient pit mud contains hundreds of hundreds of millions of microbes involved in wine brewing. Two earth trowel walls standing in between, create a display gallery in a timetable, rammed earth wall inside the elongated space as a master wine studio for teaching, training, display use. After that, the performance of "Water" is in an attempt to break the traditional Immutable wine display, forming a flowing quiet water feature by cutting and refurbishing the old channel, using of water, light and shadow to catalyze situations, extending "the blood of wine" the axis to the bar area, symbolic of "fire".
Rejuvenation-keeping the old building texture, giving the spatial spirit of contemporary thinking
One side of the bar area, "fire" as design concept, keeps the original large storage tank in the area, the unique birthplace of poetry and wing culture, in this blending area symbiotic of water and fire, people can drink alone elegantly, or drink well, fully showing the true Chinese temperament of loving wine, politician's trickery, small people's life, nostalgia situation of common people arouse by toasting and laughing, hundreds kinds of humanity all hidden in glass. Therefore, we ingeniously transform to separated boxes and cleverly imbed flyovers to activate the second floor seating, tea room and wine cellar
The last of the museum, "grain" as the culmination of the end of song, one grain for one land, thus one wind for one land, sorghum wine and red wine, is the most concentrated taste of each local favor. The wine produced by the winery may be shipped to other places, however, the memory of the old winery can only stand here alone. We capture the image of "grain" for the art gallery where existing order in place and special old hardware left behind, strong contrast between old and new in this sorted out white space, tries to collide the contemporary nature of the art gallery, not expressing the beauty of the ruin by completely “old” but in an ambiguous way of creating another "new".© Zhuang Boqin
In the white tone of space, the round openings required for the old winery are converted into the interacting and making dialogue members for the exhibition and viewers, adding the self-evident nature to the space. Open banquet places set up in the second floor, “watching the play” as the concept, create a fusion of new and old by hanging large traditional drama painting, a modern space but with deep cultural heritages. Everything has its end, life and growth in nature, from the life cycle of wine, viewers experience the past of architecture and the new phrase of given, brewing wine just as architecture, as the condensation of times.© Zhuang Boqin
- Architects: Atelier GOM, Atelier8
- Location: Baisha, Heqing, Dali, Yunnan, China
- Design Team: Jorge Gonzalez, Dai Chenjun, Zhao Qing
- Area: 480.0 m2
- Project Year: 2017
- Photographs: Zhang Jiajing
From the architect. Baisha Old town in Yunnan province is a small village part of Lijiang well known for its Jade Dragon Snow Mountain range. It is still the most legit old town in Lijiang. The typical wood and mud brick houses welcome the visitor to discover the ancient life of the village.Axonometric
Our project site contains a typical courtyard structure from the past which unfortunately never reached its fate. This failure made us think in a different ways of developing the potential interest of tourism.© Zhang Jiajing
Our project searches the limit of the urban fabric. We think of an extension of the alleys through the town where the social life is allocated. We intend to create a little town within the town.First Floor Plan
The project is considered from the existing urbanism but without a mere intention of repeating the old codes. It will add new value to the existing urban pattern. Creating the high density we would face the privacy and relationship with the surroundings. These two inputs would eventually configure the project. Our interest to explore these imaginary lines between private and public led to a configuration of single units scattered on the site creating a ramification of the town planning. The project is considered from the existing urbanism but without a mere intention of repeating the old codes. It will add new value to the existing urban pattern. Creating the high density we would face the privacy and relationship with the surroundings. These two inputs would eventually configure the project.© Zhang Jiajing
These units are settled on a grid creating series of rows and each unit will rotate to create different situation on ground floor and open to the view. The existing trees determined also the position of the units. These accurate movements create a controlled random‐like disposition.Axonometric
The goal was to give as much privacy on the ground floor as possible extending the inner space towards the exterior while achieving unique views of the surrounding landscape for each cabin.© Zhang Jiajing
The architects soon realize the construction must follow some local technique but still wanted to explore the limits of it. Local crew immediately advice of the pitched roof but due to the square dimension of the rational structure the roof is shaped only one direction. It is the closeness of the units which would protect from the wind and rain.Isometric Section
The entire structure is local pine wood with a 4m square side. First floor is comprised allowing the section to expand later, however the floor is opened for natural light come through and break the horizontal boundary.© Zhang Jiajing
Two sides of the square are closed with local black brick on the first floor pushing the interior space outside and stopped by the next door unit wall brick. A concrete‐wood mixed stair, in situ concrete table and iron fireplace complete the set of fixture inside the open plan. Upstairs, the fireplace pipe, the stairs handrail and the mattress configure the layout.© Zhang Jiajing
- Architects: Robarts Spaces
- Location: ICC T2. No. 288, Shaanxi South Road, Shanghai, China
- Area: 7000.0 m2
- Project Year: 2017
- Photographs: WangYi
From the architect. When The LEGO Group set out to create its new hub in Shanghai (ShangHub), which is one of five major hubs for The LEGO Group worldwide, people were, as always, placed at the center.© WangYi
“ShangHub endeavors to embody the LEGO® values of Imagination, Joy, Fun, Creativity, Learning, Caring and Quality to the core. By raising the value of user experience through human centric design, the ambition was to create a world class workplace where only the best is good enough,” says Sudhir Saseedharan, Design Manager, Global Design and Engagement, Corporate Facilities.© WangYi
The Global Design and Engagement team at The LEGO Group collaborated with Robarts Spaces, an interior design and architecture firm headquartered in China, to create the new workspace. The highly integrative design process reflected the LEGO team’s objective to create and nurture “engagement through design”, fostering collaboration, innovation, fun, respect with global & local connectedness to each other, to customers and to the LEGO brand and history. The ShangHub is the latest LEGO office designed with the “New Ways Of Working” strategy with employees empowered to choose their work setting, from a variety of workspace options, removing physical and organizational barriers to creativity.© WangYi
Multiple design workshops were conducted, each themed with a different objective, such as overall design principles, functional layouts, and wayfinding providing fun and fostering creativity, but also resulting in thoughtful, inventive consultations on interpreting the LEGO brand into the space. This collaboration was also highly productive, with the design team moving from blocking layout to approved design layout in just four days.© WangYi
With a range of workspace formats, such as an energizing work café, a Zen Zone, Play Zone, along with team huddle and silent spaces, the team designed a zoning strategy for the three levelled, 7,000sqm space, from Active at the highest floor to Quiet at the lowest floor, with workspaces shifting from highly collaborative to silent. Transitional areas were designed to provide opportunities for spontaneous conversation and creativity, with kiosks located nearby, providing facility services such as printers, stationery, wayfinding, and coffee-tea points.© WangYi
At its most active, the ShangHub features an expansive Café, itself with numerous typologies of seating, postures and settings for casual recreation and refreshment, a pantry stocked with healthy snacks, a coffee bar complete with professional barista, as well as typologies for individual working, group meetings and ideation sessions. The Café’s bleacher podium, punctuated by numerous round soft pads, evocative of the dots on LEGO bricks, regularly hosts Town Hall meetings and other knowledge sharing events. Nature is present in real form through large planters which function as spatial dividers and provide bio-phylic benefits to the environment, and is graphically represented on glass installations.© WangYi
The LEGO Mini-figures as macro-graphics create a bold presence throughout the space. LEGO brick spheres and cuboids hang, in cloud-like clusters, emphasizing the products’ materiality and design, while appearing as contemporary reinterpretations of Chinese lanterns. A white Chinese pavilion, flanked by a bamboo canopied path leading to a hidden corner for playing Chinese chess, enjoying the Shanghai skyline or cultivating inspiration for a new project to inspire the next generation of builders, is located near the entrance to the LEGO ShangHub Board Room, all subtly referencing traditional Chinese design, inspiring creativity and engagement and reinforcing the LEGO visual identity.© WangYi
Around the office are design walls featuring LEGO creations created specifically for the space by staff and by local children who are invited to create LEGO murals, fostering local community engagement. Engagement through design and design through engagement remain the principles animating of the new LEGO ShangHub.
Product designer Ini Archibong grew up taking things apart with little success putting them back together, and cutting class to throw pottery. After a false-start in business school, he taught himself CAD, philosophy, and mathematics until he serendipitously found himself apprenticing an architect. That led to a degree from Art Center and discovering a love of designing furniture. Now he lives and works in Switzerland where he recently obtained a Master’s in Luxury (listen to find out what that means!). Listen:
Stay tuned for a new episode of Clever in two weeks! Don’t miss an episode: Subscribe to Clever on Apple Podcasts, Stitcher, Google Play, SoundCloud, or use our feed http://clever.libsyn.com/rss to subscribe via your favorite podcast app.
Sidewalk Labs and Waterfront Toronto have revealed plans for a brand new community on Toronto’s Eastern Waterfront that will bring together “forward-thinking urban design and new digital technology to create people-centred neighbourhoods that achieve precedent-setting levels of sustainability, affordability, mobility, and economic opportunity.”Public Realm Vision. Image Courtesy of Sidewalk Labs
A subsidiary of Alphabet (Google’s parent company), Sidewalk Labs was chosen following an international Request for Proposals (RFP) issued in March of this year. The company now will work together with the city to develop plans for an 800-acre publicly-owned area of land called the Port Lands, one of North America’s largest undeveloped tracts of urban land. An investment of $1.25 billion CAD has already been allocated for the construction of infrastructure and flood protection necessarily to revitalize the area.Eastern Waterfront Map. Image Courtesy of Sidewalk Labs Digital Infrastructure Vision. Image Courtesy of Sidewalk Labs
The district is envisioned as an entire mixed-use community for tens of thousands of people centered around advanced technology such as climate-positive energy systems, self-driving transit and economically and environmentally efficient construction methods. New entertainment districts, parks and newly accessible waterfront beaches will welcome all Toronto residents to enjoy the neighborhood.
The neighborhood design will continue to be massaged over the next year with extra attention placed on community input. The process will begin next month with a town hall meeting on November 1st. To jumpstart the development, Alphabet has already announced plans to bring Google’s Canadian headquarters to the Eastern Waterfront.Eastern Waterfront as it looks today. Image Courtesy of Sidewalk Labs Vision. Image Courtesy of Sidewalk Labs
“Successful cities around the world are wrestling with the same challenges of growth, from rising costs of living that price out the middle class, to congestion and ever-longer commutes, to the challenges of climate change,” said Dan Doctoroff, CEO of Sidewalk Labs and former Deputy Mayor of New York City. “Sidewalk Labs scoured the globe for the perfect place to create a district focused on solutions to these pressing challenges, and we found it on Toronto’s Eastern Waterfront—along with the perfect public-sector partner, Waterfront Toronto.”
“This will not be a place where we deploy technology for its own sake, but rather one where we use emerging digital tools and the latest in urban design to solve big urban challenges in ways that we hope will inspire cities around the world,”
Learn more about the plans here.
News via Sidewalk LabsMixed-Use Vision. Image Courtesy of Sidewalk Labs
The following post is brought to you by A’ Design Award and Competition. Our partners are hand-picked by the Design Milk team because they represent the best in design.
Submission deadline for the next A’ Design Award & Competition nominations is approaching. Maybe you’ve seen some posts about it on Design Milk before, but to refresh your memory, A’ Design Award & Competition is the world’s leading design award, reaching designers, architects, and brands in over 180 countries in 40 languages. If you’re a designer or an architect, it’s a must-enter of all the global competitions, especially for young or emerging designers.
All of the entries for the A’ Design Award & Competition are peer-reviewed and anonymously voted on by an esteemed jury panel that consists of scholars, design professionals and media. With more than 100 different award categories, including special awards like the Good Industrial Design Award, Good Architecture Design Award, and the Good Product Design Award, there’s a good chance you already have something in your portfolio that you can nominate.
Not only do you get a trophy and a certificate, but you also get your work exhibited, PR/marketing services, networking opportunities, and the opportunity to attend a gala!
Take a look at our favorite 2016-2017 architecture and building winners:
House Rheder II Weekend House by Heike Falkenberg (also top photo)
- Architects: Sally Draper Architects, DP Toscano Architects
- Location: Melbourne VIC, Australia
- Project Year: 2017
- Photographs: Trevor Mein
- Interior Designer: Haussegger Interiors
- Landscape Architect: TCL
From the architect. The redevelopment of the Junior School campus at Ruyton Girls’ School into a powerful three-level learning hub is the latest in a series of dynamic school projects by Melbourne practice Sally Draper Architects in association with DP Toscano Architects.
The firm specialises in tailoring designs to embody the culture of each client, and this has resulted in awards for excellence and environmental sustainability. In Ruyton’s case, the challenge was to integrate two dark and disparate buildings from different eras into a light, warm unified space where a love of learning, curiosity and creativity could be fostered and embraced.© Trevor Mein
Students at Ruyton, in Melbourne’s inner-east suburb of Kew, are encouraged to dream big and take bold action to fulfil their potential, both academically and with civic and environmental engagement and global citizenship. Within this framework and a tight budget, SDA’s job was to translate the philosophy into a building for Prep to Year 6 that would facilitate the students to excel happily in an enquiry-based and project-based environment.© Trevor Mein
For SDA, this meant the emphasis had to be on the education process first, augmented by architecture that would be elegant and understated rather than making a loud statement.
While the reimagined junior school was officially opened on May 24 2017, the students – who moved into the new learning space at the beginning of Term 1 – have firm impressions:
“I like that its more communal, with lots of open space and you get to know the whole year level, not just your own class” Lauren – grade 6
“The studios are bright and pretty and it makes me happy to learn in such a lovely room” Rui - grade 2
“I love that there are no doors to get to the other class. It’s also calm and relaxing” Francesca - grade 2
“I like that the rooms have lots of windows, giving us beautiful views of the gardens outside,” Sophie Year 3.© Trevor Mein
Sally Draper, and the practice’s associate director Shahab Kasmai, workshopped the project extensively with the Ruyton Principal, Linda Douglas, Head of Junior School, Nicole Ginnane, and the school’s Business Manager Leanne Smith. The consensus was a spate of elements that would inject life into grim old buildings: light, sunshine, fresh air, a seamless flow from indoors to out; agile, adaptable and flexible learning spaces; a sense of ownership, wellbeing and comfort as part of smaller groups and class levels as well as the bigger school community. It was also important to SDA that the girls felt a sense of being in a home-like environment – a safe and carefree place to encourage adventure and educational challenges.
“The whole idea of school as home rather than an institution is something we’re very interested in, particularly for young students,” Draper says. “We have a gorgeous climate that means we live both inside and outside. But this philosophy has rarely been translated to schools and there’s no reason why it shouldn’t be.”Ground Floor Plan
The existing buildings comprised a 1960s structure and the Carolyn Anderson building, an adjacent three-level BER structure built in 2011. The only connection was a glass-walled walkway on the top level. This lack of cohesion meant that students and teachers had the inconvenience of leaving one building to reach the other and had significant difficulty in creating a sense of collegiality within the school. The problem was solved by constructing a new linear component connecting the two buildings. This strategy, together with the removal of an intermediate floor to create a double height space resulted in a unified new campus.© Trevor Mein
The heart of the junior school is now a vast, covered central hub that soars seven metres high and, in doing so, provides a light-filled visual link for the entire campus. It acts as an assembly hall and doubles as a function room and physical education space, among numerous varied uses. A baby grand piano in one corner beckons music classes and performances while a large flat-screen monitor on a far wall is an all-important nod to 21st-century technology. The highlight is a glass wall that rises the full height of the space on the west side. It opens to, and overlooks, an inviting paved courtyard where timber seating encircles a towering blue spruce, just one of many prized specimens in gloriously leafy surrounds. On the east side, students spill out to a partially covered precinct that is part adventure playground /part outdoor classroom. Secret nooks and walkways encourage exploration and pathways lead onto to play equipment designed specifically for the younger girls1st Floor Plan
Colour hues indoor and out reflect the soft tones of the wider school materials palette. This extends to brick paving and sandstone-coloured exterior walls juxtaposed against natural timbers including oiled sunscreens on classroom balconies and windows. Classroom design, too, builds on the school philosophy of calm spaces that encourage group and independent learning, contemplation and experimentation.
With the younger students on the ground level, the school is divided into a series of zones – one for each year level. Tiny, dark classrooms have been opened up to create year-level learning studios, each enclosed on three sides and opening to a communal year-level space.© Trevor Mein
There’s plenty of dedicated messy areas for the little ones and breakout spaces for independent tasks or projects in small groups while a central component common to all year levels is a gathering space colour coded to the class level. Here, voluminous fabric curtains close for private meetings or mini-performances to audiences arranged on stepped seating.
The level of sophistication heightens as the classes rise in rank, exemplified by a meeting room with conference table for important Year 6 decision-making.© Trevor Mein
Today, as you visit Ruyton at 3.30pm pick-up time, girls, parents and teachers are milling, chatting and playing around the vast central hub that is their new home away from home. There is light and warmth, both in mood and surrounds. Sally Draper Architects has given Ruyton – one of Melbourne’s oldest and most respected independent schools – a new campus that is solid and lasting with an eye to a triumphant future.
The Tres collection originally launched in April 2016 and since then it’s become one of the most successful collections ever for nanimarquina. Due to its popularity, the brand chose to expand the collection by adding new colors, a new style, and a new product, a pouf, to round it out. With the Tres collection, its name reflects the three fibers that are used, along with the three-part compositions.
The Tres collection of rugs are traditional Indian flat-weave Dhurries composed of New Zealand wool, felt, and cotton, which in their various combinations, change up the tones and patterns for the resulting looks. The family-owned company has always been committed to craftsmanship by highlighting the age-old craft of weaving and in Nani Marquina’s design, she has a way of merging tradition with a modern aesthetic. The mix of fringes helps distinguish the three separate pieces as they’re invisibly joined together.
The Tres collection includes three different rugs – Tres, Tres Texture, and Tres Stripes – and along with the poufs, they come in seven colors – Black, Ochre, Turquoise, Sage, Blue, Chocolate, and Pearl.
Poufs seem like a natural extension from their rugs, especially as they utilize the same weaving techniques. They’re trapezoidal in shape and are partially upholstered in a Tres rug.
Design Milk featured Belgian artist Wim Delvoye’s carved tires back in 2012. His new exhibition on view at Galerie Perrotin in New York this month turns up the volume, featuring must-see sculptures from the last five years. In a variety of materials, it all feels like a competition between machine precision and hand-made perfection – where too much is not enough, and everybody wins.
For his “Twisted Tire” series, a motorcycle tire was digitally scanned and warped into various Möbius forms. The ENTIRE thing is cast in stainless steel, with a black patina to mimic rubber (there is no rubber in this sculpture). See other Möbius tire versions here.
The centerpiece of the show is the REAL 1950’s Maserati 450S racing car that has been intricately hand-embossed by Iranian artisans hired by Delvoye. It’s ALMOST too much – like inlaying diamonds INTO a ruby, but I can’t look away. The result is a unbelievable 360° view of thousands of hand-tapped details.
Other embossed aluminum objects litter the exhibition, including a set of modified Rimowa luggage pieces (also not cheap) and 2 fire extinguishers that look like they just happened to be in the gallery during this detail festival. I do hope that if/when they make it to a museum, they are hung in a random hallway.
My favorite are the neoclassical Rorschach’ed bronze sculptures. Just over 2 feet tall, each was sourced from real neoclassical figurines, (like this one?) then digitally stretched, twisted and mirrored into fully three-dimensional silhouettes of classic artistry and deformed digital manipulation.
And by far the most intricate, time-consuming (and inexplicable) is the massive “Twisted Cement Truck”.
Stretching nearly 12-feet tall and part of a larger “Gothic Works” series, it’s a Mercedes (yes Mercedes) cement truck that is pieced together from Gothic architectural elements, digitally torqued, hung from its nose, and made from HUNDREDS of laser-cut stainless steal pieces, taking a team of workers over a year to design and build.
This show adds insane levels of detail to the already “perfect” objects – using both highly skilled human hands and new levels of digital technology. The result is a rollercoaster of visual experiences that must be seen up close and in person.
Cover image & all gallery installation photographs © Delvoye / ADAGP Paris, 2017, photographed by Guillaume Ziccarelli / Courtesy Perrotin
All other detail & single work images photographed by the author, David Behringer.
- Architects: AMOO
- Location: Barcelona, Spain
- Archictects In Charge: Aureli Mora, Omar Ornaque
- Area: 37.0 m2
- Project Year: 2017
- Photographs: Filippo Poli
From the architect. 37m³ flat under the pretext 'maiden dwelling'. It could be for a couple with no children, but this is the order.Floor Plan
Located in the quiet Dos de Maig Passage besides the old Hospital de la Santa Creu i de Sant Pau, this block built in 1930 consists of two houses almost symmetrical per floor. The floor plan of the project, despite its small size, has two facades (NE-NO) and a little interior patio. We found a flat with 3 bedrooms, a living room, a kitchen, a sink and a hall.© Filippo Poli
Working with the preexistence and requirements of the client, the false ceiling of wooden beam and ceramic vault is discovered, restoring it. We also level the forging of the pavement. Taking advantage of this operation, the tiles of hydraulic pavement are replaced, making small modifications of the existing combinations. Marble pieces fill the holes made by the demolition of the original partitions.Axonometric
Of these partitions only one is preserved. This is the one that separates the bedroom from the rest, and around which is built the piece of furniture that integrates kitchen, dining room and living room. Shelves, cupboards and others are articulated around.© Filippo Poli
The patio totally absorbs the services (kitchen, toilet), which are expanded to make them compatible with contemporary uses and demands. Kitchen, toilet and bedroom are under the false ceiling line, while the continuous space of the hall, dining room and living room have the height of the beam filling.
Simple solutions as large sliding doors and mirrors have been used, optimal in these cases of reduced spaces.© Filippo Poli
Posted by Ofist
C.V. House, which is designed by Ofist, an Istanbul based creative design studio has a fascinating interior design which will make you feel like you are in a secluded heaven in the middle of such a crowded,
Posted by Arquitectos Locales Perú
Entregamos a nuestro cliente el diseño y construcción de una casa que satisfacía las necesidades de la familia con costos al alcance del cliente. Parte del servicio consistió en la obtención de las
MVRDV, in collaboration with ISA Architecture, has revealed the designed of the Zhangjiang Future Park, a park and community center for the workers and residents of Zhangjiang Hi-Tech Park in Pudong, Shanghai, China. Fully integrated into a rolling park landscape will be a library, an art centre, a performance centre and a sport center – four civic programs that are currently lacking in the neighborhood.© MVRDV
Zhangjiang Hi-Tech Park was established in 1992 as a complex for companies operating within the fields of tech and innovation. Twenty years later, and the neighborhood has become a center of both business and life, with more than 4,000 companies employees 100,000 workers whose families live largely nearby.
Never planned, however, were public facilities for gathering and recreation – a scenario MVRDV’s Future Park sets out to correct. Located on an island at the crossroads of two waterways and valuable green spaces, the masterplan aims to create a new destination that brings nature, culture and entertainment into one comprehensive landscape.
The project is envisioned as a combination of a relaxing, park-like atmosphere and the cultural excitement of a city center. The two conditions are separated through vertical layering, with park lawns above and urban plazas beneath. Buildings nestled into the landscape act as the knuckle between the two settings, providing the space for cultural and recreational activities while housing additional park space on their roofs. Paths on both levels allow for ease of circulation between program elements.© MVRDV © MVRDV
“The building volumes gently blend into the landscape and provide the park with activities,” explain MVRDV. “Multiple access points converge towards the main central square, providing each a different perception of the site. The design proposal forms an intriguing silhouette, a recognizable collection of buildings that emerge from the park: a crack in the landscape that produces urban life. People are able to walk not just around the buildings, but even on top of them, therefore experiencing radically different perspectives of the site.”
“The green roofs programme is as lively and diverse as the park programme and strongly integrated with the buildings’ functions.”
The 10,000-square-meter library will offer a variety of social and reading spaces arranged around a central atrium, envisioned as an extension of the central plaza. Across the plaza, the art center will offer 5,000 square meters of natural-light-flooded exhibition space.
Next door, the 10,000 square meter performance center will house two theaters: a larger 700-seat auditorium for plays and concerts, and a 300-seat theater for smaller events. Other areas will include spaces for music, lecture halls, dining facilities and lounges.
The final main element is the sports center, which will offer 10,000 square meters of sports facilities including an olympic-sized swimming pool and large glass-walled sports hall. Courts and fields will continue out into the park and onto the rooftop.
The project is slated for completion in early 2019.
News via MVRDV.
- Architects: MVRDV, ISA Architecture
- Location: Pudong, Shanghai, China
- Design: MVRDV - Winy Maas, Jacob van Rijs and Nathalie de Vries
- Design Team: Nathalie de Vries, Wenchian Shi, Marta Pozo Gil with Marco Gazzola, Lorenzo Mattozzi, Enrico Pintabona, Cai Zheli, Chiara Girolami, Shengjie Zhan, Chi Li, Cosimo Scotucci, Wenzhao Jia, Emma Rubeillon, Chi Zhang, Jammy Zhu, Ray Zhu and Shuting Zhou
- Visualization: Antonio Luca Coco, Paolo Mossa Idra, Costanza Cuccato, Davide Calabrò, Pavlos Ventouris and Tomaso Maschietti
- Co Architect: ISA Architecture
- Landscape Architect: Openfabric
- Designers: Francesco Garofalo, Jacopo Gennari Feslikenian and Maria Teresa Pinna
- Client: Zhangjiang Group Co. Ltd.
- Area: 56000.0 m2
- Photographs: MVRDV
You know that feeling when you’re last to arrive at a dinner and the only seats left are towards the ends of the table? The unlucky souls that land those positions are most likely going to miss out on large portions of the conversations unless they’re constantly leaning forward or back to listen around the person they’re beside. Looking to solve that problem is designer Kirk Van Ludwig, founder of Vancouver-based Autonomous Furniture, who created the Kaiwa Table.
The Japanese word kaiwa loosely translates to conversation and to help with that very think, Van Ludwig angled both ends of the table in order to create additional conversation lines.
The tabletop’s biased grain visually enhances the angles and clear acrylic standoffs underneath were used to connect the legs, adding an unexpected detail. The table comes in sustainably sourced FSC-certified Douglas Fir with a German hard wax oil finish or in Western Red Cedar with a torched top and sides and legs with a lightly tinted oil wax finish.
London-born, Sydney-based artist Kate Banazi is definitely one to watch if you don’t already have her in your sights. Her Instagram account is like a heaven where color and geometry meet in perfect harmony and you might remember this cool collaboration she worked on with another designer she met through that very same social media app. Focusing on silk screen printing, her playful work explores layers of graphic components, gridded structures, and bold color palettes that keep your mind intrigued just as much as your eyes. We decided to explore her process further by virtually heading to Sydney, Australia, to check out her art studio and to see a little bit of how she does it, in this month’s Where I Work.
What is your typical work style?
My work style is haphazard, depending on how late I worked the night before and work I have going on. I like to work on Saturdays and take my weekends as a Sunday and Monday, although the nature of what I do means I’m always drawing or working some idea through. I move between silkscreen printing at my studio to working on the computer or sketchbooks at home. Inevitability both places end up filthy.
What’s your studio/work environment like?
I think I’ll admit to messy although my studio mate, Daniel Gray, will probably say it’s much messier than messy – borderline feral.
How is your office organized/arranged?
I work from a factory unit in Sydney. I’m on a mezzanine level which has the kitchen and bathroom attached, so our door is always open and my other studio mates come through often. My space is organized into desk spaces and printmaking space – dry/wet space. I share my space with the illustrator Dan Gray Barnett and the whole unit is shared with a glass artist, a creative and media company and a photographer.
How long have you been in this space? Where did you work before that?
I’ve been here three years now and before that I was in a beautiful space in Koskela, sharing with Joanna Fowles the textile designer. Before that, I was in my neighbours spare room and on a tiny plastic wrapped balcony at home. I’ve been so lucky with the support and friends I’ve made since I arrived in Sydney who have made space for me or pointed me in the right direction..
If you could change something about your workspace, what would it be?
The only thing would be to be able control the heat, the space is too cavernous to have air conditioning so there’s a couple of months of the year which are really bad for printmaking, so it’s always working a way around that as soon as the summer starts to hit.
Is there an office pet?
Stanley my dog comes in with me sometimes, he loves spending time with the other studios – probably because he gets spoilt and they’ve got sofas.
Do you require music in the background? If so, who are some favorites?
I love having the company of music or a podcast, we’ve got eclectic tastes so we keep it democratic with the weekly discover playlist on Spotify and now I’m hooked on the new gems I’m being sent every week. I’ve also been listening to Malcolm Gladwell’s podcast ‘Revisionist History’ which has been really interesting.
How do you record ideas?
Sketchbooks, backs of hands, envelopes, text messages and poorly in my brain.
Do you have an inspiration board? What’s on it right now?
I don’t as everything keeps falling off the walls! I keep everything in sketchbooks, scraps of paper, and folders stacked high.
What is your creative process and/or creative workflow like? Does it change every project or do you keep it the same?
It tends to differ with each project but always starts with a sketchbook and pencil, it’s my go-to beginning, a therapeutic start and is the easiest process for me to start ideas flowing.
What kind of design objects might you have scattered about the space?
We don’t tend to keep design objects in here as I’m so messy, it’s more of an industrial space. But I’ve got gifts from friends and families, a much loved Joe Colombo Boby trolley which holds all my pencils, a nodding dog from my mum, drawings from my son.
Are there tools and/or machinery in your space?
I’ve got a great selection of power tools plus the usual printmaking tools and machinery, an exposure unit, washbay, vacuum table. Most used tool must be the hairdryer and a scalpel.
What tool do you most enjoy using in the design process?
INK! Does that count as a tool? Pencils, all my equipment… I’m a lover of all my tools.
Let’s talk about how you’re wired. Tell us about your tech arsenal/devices.
A computer, a Wacom tablet, a scanner, camera and that’s about it.
What design software do you use, if any, and for what?
Photoshop and Illustrator are my tools for creating and producing the filmwork which I send off to be made up.
Is there a favorite project you’ve worked on?
So many that I feel lucky to have worked on with great people or collaborators, a recent one was with my friend Diego Berjon who lives in Spain, which became an across continent collaboration for WeWork in Sydney. We created a big body of work for their new building in Sydney. And the most recent would be the collaboration with Berlei for their centenary – seeing Serena Williams in a bra with my art on it made me cry a little!
Do you feel like you’ve “made it”? What has made you feel like you’ve become successful? At what moment/circumstances? Or what will it take to get there?
I’ve never thought about that because I’m always trying to learn new things by working with people in different disciplines.
I feel successful in that I’m able to work on things I really enjoy or challenge me, within a creative industry that’s constantly changing. Working with great people like LocalDesign gives me a ‘shelter’ to develop ideas and a support system to try new things which I’m never going to take for granted, I’ve worked enough jobs that gave me little joy to know how lucky I am right now and that I’m always learning.
Tell us about a current project you’re working on. What was the inspiration behind it?
I’m working on a huge collaborative project with some and getting some new work together for the Stockholm Affordable Art Fair in September, as well as planning a new show in London for next year.
What’s on your desk right now?
I’ve had to clean it, I’m not showing you pictures of half eaten plates of food and moldy coffee cups. This is not a true representation, it is super tidy for me… and I found a load of things that I’d forgotten about!
Do you have anything in your home that you’ve designed/created?
Some clothes, some artwork and lots of not quite rejected objects that I consider are works in progress that sit around gathering dust until someone else quietly disposes of them and I don’t notice.