Le Prado by Maurice Padovani

Located by the beaches of the Prado in Marseilles, this former smallholding flanked by a stable was renovated in three steps. At the very end of the nineties, the young family setting up on the first floor gladly agreed to the two children sharing the same room for a time. The volume is then entirely freed from all its partitions and false-ceilings thus revealing a rich and space-structuring framework. Behind the complexity of the assemblings of beams and joists, the parents’ bedroom slips in; open to the living room and accessible by a metal stairway. The main wall’s top is entirely open and the old staircase, formerly external, is integrated to the house’s volume thanks to the installation of galvanised steel bays which oblique uprights give rhythm to the surface.

A few years later, the couple acquires the house’s semi basement as well as an adjoining outbuilding. This time again, the main walls are wide open in order to ease the passage of light and new steel bays, as an echo to the first installation, substitute themselves to masonry. The “cooking”, “meal” and “living room” functions can there from move down to the entire ground floor. And there again, to guarantee the freest flow between the spaces, every partition is removed. The little garden’s terrace, layed out during the same building campaign is covered with large ipé blades and the same wood, on the same level, is used for the entire semi basement in order to insure a continuance in reading and feelings. The big wall standing between the house and the now linked outbuilding is covered with a gouged mdf wainscot because of a recurring moisture that is impossible to resorb. The installation of this panel slightly apart from the wall creates an air flow that suppresses the effects of humidity. The panel surface’s undulating relief makes it vibrate under the light.

The two children became teenagers, the first floor wad recently and once more completely restructured. The kitchen space, turned into a small bedroom before is now dedicated to two new bathrooms, the chimney is gone and a new room was created under the mezzanine allowing at last the boy and the girl to be comfortably and fairly installed. The stairway leading to the mezzanine, a bare folded steel sheet, icon of the house, was moved onto the new room’s partition and firmly fixed to a structure hidden within the wall. As with the semi basement, a wainscot, above the steel stairs, covers a wall that converts into a lifeline behind the overhead framework. The OSB used for the wainscot, whitened and sanded as for a modest “céruse” (a particular bleaching technique), is used as well for the building of the living room’s bookcase, the wardrobes in the children’s rooms and for all the furniture in the parents’ bedroom. The kitchen is composed of two fully white-lacquered parallel blocks. Both are apart from the walls around them as well in order to give them a status of independent pieces of furniture and not the one of an integrated system. The block in the back, taller and longer, is essentially devoted to the storing of implements, dishes and supplies. The low islet serves as a functional bar for the dish washing, the preparation and the cooking. The islet’s worktop is a simple zinc sheet framed in an aluminium angle bracket which slight gap with the piece’s body accentuates the suspension effect. Two suspended Diesel’s Rock lamps (Foscarini) light the top. At the other end of the islet, the Elica Twin stainless hood complements the device. To serve the extending oak table, the chairs “la Leggera” by Ricardo Blummer (Alias).

The table is enlightened by the short version of Twiggy, the contemporary alternative to Achille Castiglioni’s classic Arco. The hearth is made of three grey cast-iron sheets, moulded for the occasion. Around the antique freit pallets reconverted into living room coffee tables, a Greg couch by Zanotta and two RAR by Eames for Vitra come with another design icon of the fifties in a prestigious leather-and-steel version : Airborne’s AA. This space in the continuity of the kitchen can be used as a space to have a meal as well. To provide for this contingency, An Ingo Maurer Zettel’z was set up to light the scene. Two meticulously restored and perfectly moving workshop lamps complete the lighting device. On the first floor, another Zettel’z lights the living room space for it was, at the origins of the project, the meal-taking spot. The table migrated, the chandelier and its paper keepsakes stayed.

source: padovani.fr

Villa van Lipzig by Loxodrome architects & planners

The property of the Villa van Lipzig in Venlo/Netherlands is a small, narrow stripe on the border of the new development area ´Stalberg´. It is not the usual plot of a villa- and therefore it became very fast, very clear that an extraordinary solution for the stacking of all desired rooms was necessary. On a small footprint a lot of spaces had to be combined. The introduction of the split-level floors solves this problem. With an extra horizontal shift of each floor, the visual connection between the split-levels becomes visible – in- and outside of the Villa.

The lowest two floors consist of the garage and basement facilities. The ground floor includes the large, customized kitchen, a wardrobe and a small guest toilet. The façade of the kitchen is equipped with full-height sliding doors which connect the room to the garden terrace. Up the stairs the living room follows with an open fire place and full oak timber flooring. Full-height sliding doors give a stunning view over the sun terrace into the little forest on the other side of the street. Three bedrooms follow on the higher levels as well as a TV room and another kitchen facility. The roof terrace is equipped with a Jacuzzi and a large freestanding BBQ. The pine tree next to the villa adds another unique feeling to the roof terrace as it gives shadow and a certain ‘grounding’ to the open view above the landscape.

The mixture of closed, narrow spaces and wide, fully glazed rooms make every view on every floor unique. The gaps in between the surrounding buildings are used in their most efficient way. From inside the building you almost don’t recognize the neighbours’ buildings. The view opens into the beautiful wide landscape of the ‘venloër heath’.

The cladding of the façade is made out of two materials: The larger surfaces are filled with rough natural grey slate stone in combination with maranti timber. These areas are framed by flat grey slate stone stripes.

The Villa will be completed in October 2011.

Facade stone: 300/1200*100*60mm//250 m2/ naturally broken surface (fracture)
Ceiling stone slabs: 1200*150*40mm//95 m2// natural surface (cleavage)
Facade slabs (lines within the facade): 1200*450*40mm// 105 m2// sanded/grinded
Ceilingslabs (lines in the ceiling) panels: 1200*450*40mm// 20 m2// sanded/grinded
Sill, cover slab variousdimensions 185 m2 sanded/grinded
Flooring and staircases: 600/750*150*25 -115 m2natural surface (cleavage)

Project: Villa van Lipzig
Adresse of the site: Hinsbeckerweg 19 5915 PT Venlo
Programm: Villa, 630 m2
Design process: 2007 – finished oct. 2011
Architects: Loxodrome architects & planners

source:loxodrome.nl

Autodesk R&D center by Studio BA

The main idea was to teach the software developers about the needs of architects and designers, by placing objects that emphasize the 3d and multi-material complexity of it. Located in the center of the office, these objects are used to create the formal and informal meeting, lectures and relaxation space.

The office area is about 500 square meters and located right beside the Tel Aviv harbor, the Israeli R&D center is the AutoCAD WS developers. it contains a ministand, video games space, relaxation space, dining area, meeting rooms and private/ common workspaces.

The 3d multi-material object, is made out of steel, glass, wood and fabric. It enables movement around, within and on top of it. The space offers a place to work and take a break. It includes a meeting room, video games lounge, ministand for lectures\gatherings and a relaxation roof top space, that enables a view of the entire office.

The dining table made from 6mm bent steel, was designed as a dual function object. it enables a standard height seating as well as a bar height seating. its size and position allows the dinning space to blend as an inseparable part of the office.

An open space terrace platforms that enables , a view towards the office and main window while working. It emphasize its 3D, by being an object with divers angles and heights, that allows the employees to move through and around it.

source: studioba.co.il

Wilhelminian Apartment by Berlinrodeo

This apartment is located in Berlin, Germany. The interior design of this apartment is based by the office interior concept.

This apartment is actually designed by Axel Schaefer intended to the order of the young art collector family, which based in Berlin Tiergarten by the river Spree.

In the progress, BERLINRODEO itself is faced by the challenge which appears during the construction. The challenge is for transforming an older apartment into a contemporary space which is difficult enough, besides, the client itself want a plenty of area to accommodate their art collections.

As a result, the showcase perfect balance inside the apartment is created. It respecting the Wilhelminian-era structure whilst simultaneously including unexpected modern luxury features such as an over sized bathtub.

Contemporary taste meets traditional architecture; it can often be a beautiful marriage. While the people enter this apartment, a classical atmosphere is felt inside this building.

It because the support of the interior design itself. The combined of semi-traditional is blending in modern interior design, for the example the roof, bathroom, floor etc.

The roof is decorated with the contemporary gypsum ornament which gives the bright situation. The natural atmosphere come from the apartment floor which is made from a wood with installed in triangular pattern. Very nice!

Inside the bathroom, an attracted eye view is found there, a large bathtub is installed, very unique! While the bathroom walls itself are patterns in various cubical colors.

The bookshelves interior design is big; many of books can storage here. And of course for an art collector, the gallery room also founded inside the apartment.

source: berlinrodeo.com

Volare Ristorante by Plasma

A group of Italian-Venezuelan businessmen with a long tradition of culinary and restaurant experience was planning to open their first restaurant in Medellin. The city was chosen in part because of the cultural changes that have been taking place in Colombians second city, and partly because from thefirst moment of their arrival, the city welcomed them and made them feel at home. The aim was to create a space that will transport diners to a corner of Italy where tradition, good food and the warmth of the “Ristorante” dining experience with decades of tradition and transformation could be noticed in every detail.

After some conceptualization and planning meetings in which the client emphasized the importance of literalsconcerning architecture and Italian atmospheres, the design team reached a middle ground in which the essence of traditionremains as protagonist, but it mixes seamlessly withexisting technologies, materials and traditional craftprocesses and contemporary aesthetics.

VOLARE target market from the beginning was the adultcontemporary with a special taste for travel and food experiences, culture, good spirits, friends and unforgettable moments.

Concept and design: Plasma Diseno + Juan C. Llano
Project directors: Carlos García + Daniel Mejía
Designers: Daniel Mejía, Carlos García, Javier Gómez, Laura Palacio, David Patino, Juan E. Ballesteros, Juan Camilo Llano
Production: NODO + Plasma (Clara Cuartas) + Contacto Arquitectura
Client: COIT s.a.s
Location: Medellín, Colombia

source: plasma4.com

Mourning House by Pascal Arquitectos

This is a project with very strong emotional implications. We had to understand the mood of the user, who at such this moment would not care very much for an aesthetical analisis of any place, but at the same time we wanted to create a space that can create a spritual mood, for this we refered to ancient buidings that were designed for this purpose, as the Egiptian “Mastabas” or some Mayan buildings in Palenque.

Religious rules and buildings codes in the Jewish Religion are very strict for this kind of places, and we were guided by several groups of Rabbies for this matter.

A project of this nature must encourage introspection and peaceful visual harmony through a discrete use of materials and lighting. The construction is located in a residential area and being planned as an isolated construction from the sorroundings, an indoor illuminated yard was built. The building façade is completely covered by Grissal flamed granite.

The building welcomes de visitor with a 6´4” wide and 30´ high triangular shaped wooden door which leads to an access tunnel in the same shape, creating a solemn atmosphere as you enter. This darkening experience at the entrance ends when the hallway opens to a large, double height granite hall illuminated by the northern light coming from the indoor courtyard with a tall Dracaena at the center and a symbolical abstract sculpture by artist Saul Kaminer as the only artwork piece for decoration.

No furniture was used inside this place,only a floating bench surrounding the room, that is made out of the same wood used in all the building. It also serves to hide al of the air conditioning, speakers and recesed lighting which adds a dramatical touch. This way the rooms shows no added ornament but the light and shades playing on the granite volumes.The ceiling is made of dark cumaru wood and floats without touching any wall and a skylight puts a highlight on this detail.

AWARDS

• November 2008 – IV SMI International Biennal of Interior and Landscape Design, Guadalajara 2008. Silver Medal Winners: Meditation House, Institutional – Religious Category. Honourable Mention for Nisha Lounge Bar Hospitality, Restaurants and Bars Category.

• August 2008 – X Biennal of Mexican Architecture Exhibition 2008. Silver Medal Winners: Meditation House (Religious buildings) and Honourable Mention for Nisha Lounge Bar (Interior Design and Visual Integration).

• May 2008 – IX Biennal of Architecture 2008, Costa Rica: “Retos y Desafíos del siglo XXI”. 2008 First Prize Winners with Meditation House.

• November 2007- Bienal Miami+Beach 2007. Architecture, Landscape Architecture, Interior Design. Silver Medal Winner, Public Buildings below 10,000 sq.feet, Meditation Chapel.

Architectural Project: Pascal Arquitectos, Carlos Pascal & Gerard Pascal
Construction: Arch. Rafael Salame
Project Date: 2006
Area: 262 m2
Address: Bosques de las Lomas, Mexico City
Photographer: Víctor Benítez

source: pascalarquitectos.com

Stacked House Renovation by Architecture paradigm

The project is about exploring this notion of joint family culture in the changing urban scenario. The site is a 400sqm with a steep drop of 2.5 meters from northeast to the southwest. It is flanked by roads on the north and western edges. An existing three bedroom house built by the client in the early eighties negotiated this sloped terrain. The brief was to use this structure and add a three bedroom unit on it for his son’s family.

Design for the stacked house examines these parameters in the context of two families spread over three generations co-existing while retaining their personal identities. The idea was to reflect the additive nature of the program, to look at the house as an open ended amalgamation rather than a finite object. The process involved reworking the existing floors to accommodate new program and look at the emerging logic at lower levels to inform the designing of the new unit. The existing house sits in the middle of the site bound by open space on all sides. This open space served as an effective buffer against the busy corner where one of the edges is defined by a school and a temple. The house establishes a strong relationship with the outdoor spaces (unbuilt spaces) in the context of tight urban conditions. The use of layers helps in establishing varying degrees of transparency and dissolving boundaries between in and outside. Being connected to the neighborhood through this brings in a sense of security while maintaining privacy.

Flexibility is carefully considered to enable different possibilities of usage over time. This is exhibited in the open-ended use of one of the rooms in lower as well as upper level units, integration of indoor and outdoor spaces or the open plan with minimum use of internal masonry partitions especially in the upper unit allows multiple possibilities of usage at a later date.

The existing building posed a challenge as it was load bearing structure. And few of the internal walls had to be removed while taking into consideration the weight of the gardens above. A simple system of Columns and beams has been strategically introduced to support this idea. The inverted beams strengthened the existing slabs while accommodating the weight and depth of the lawn above. The cantilever of 4.5M in the southeastern corner provides the wooden deck at the first level ample shade and also adds to the expression of stacking.

The idea of stacking and labyrinth as expression of private realm is supported with the use of materials and detail. Glass skylights, ferroconcrete and glass bottle panels, conical skylight cum ventilation device, the wooden screens and pergolas explores the medium of light as a tactile material lending character to each of the spaces. Passive strategies like rain water harvesting, solar water heating, terrace gardens along with efficient planning and conscious use of low energy materials and renewable materials like timber renders this project a environmentally sensitive attempt. The material palette apart from locally available material like natural stone, wood glass and steel explores unconventional technologies like oxide flooring tiles, earth plastered walls, ferroconcrete and precast technologies. The expression stems out of a will to create spaces which are intimate, warm and memorable while accommodating the sensibilities of changing life styles.

Architects – Architecture Paradigm Private Limited, Bangalore, India
Project Team – Sandeep J, Manoj Ladhad, Vimal Jain, Aishwarya & Dharma.
Location – Bangalore, India.
Structural Engineer – BL Manjunath & Co, Bangalore.
Project Year – 2010
Photographs – Vimal Jain.

source: architectureparadigm.com

Wahroonga Preparatory School by GGF Architects

Wahroonga Preparatory School is nestled between the St Johns Uniting Church Group (NSW), a highly signifi cant State Heritage listed group of buildings all original and well maintained, screen the school building along both street frontages. The commonwealth government’s Building the Education on Revolution on (BER) programme’ motivated the School to move forward its plans for expansion, fulfi lling crucial needs for additonal classrooms, library, music and art room.

A number options for expansion of the school building and playgrounds were considered well before the advent of the BER program, including options to purchase adjoining parcels of land; reconfiguration of areas and uses within the current curtilage amongst others. It was resolved to increase the bulk on the upper levels within the ‘L’ shaped footprint to accommodate additional classrooms, library, music room and ancillary facilities. Other core elements of the brief included accessibility (provision of lift ) and refurbished ground fl oor including lobby and main entry.

The aims and objectives of the design brief included needs to ameliorate and enrich the school environment primarily for the children that inhabit the space; to adaptively reuse the school building while having minimal or no impact on the heritage signifi cance of the Church and hall complex and its setting, bringing together a history of renovations into a cohesive aesthetic. The adapted building should respect and retain the heritage signifi cance of the group while adding a contemporary layer that provides value for the future.

Environmentally there have been many benefits to retention of the original building and its embodied energy, including reduced scope for demolition, recycling of building materials amongst other lifecycle benefits. A critical goal of the development was modernisation of the 1960’s building to allow improved safety standards, leading technology including teaching aids and energy efficient measures amongst many others. Consideration was given to the indoor environment including temperature, humidity, air quality, lighting and noise levels.

St Johns Uniting Church Group is listed in the State heritage register (no.01670). “As a group, and individually, the buildings are of exceptional aesthetic significance. They are well proportioned, refined in detail and the work is well crafted” . The manse built c1898 in federation style (design by Charles Slatyer of Slatyre & Cosh architects, (source: NBRS&P) predates the church and hall complex which was built in stages during the c1920’s by the eminent architect John Sheddan Adam of Sulman, Power and Adam and has retained a high level of integrity.

The School building designed by Laurie & Heath Architects was built during the c1950’s- c1960’s and stands in stark contrast to church and halls in style and detail. It has been altered on many occasions over the years becoming less signifi cant in the group.

The windows of the church were designed by the well-known glass artist Norman Carter (1875-1963). The selection of building colours were informed and inspired by the two main characteristics taken from a specific window. This included the margin and then the story inside the border including yellows, orange, reds, greens and blues. Following consultation with NBRS+Partners and the direct involvement of the Heritage Council of NSW they were then reconfigured to provide a bright, happy and engaging building providing a contemporary reflection of a traditional art form.

Cost of project:
At a final cost of 2.2 million, the project represented an affordable approach to design, funded in part by the Commonwealth government’s (BER) programme with the remainder paid directly by the School and Uniting Church Property Trust of NSW.

As the lead architect GGF was involved throughout the process from concept through to inception and final hand over. The design process was a result of collaboration, not only between client and architect but also representatives of the school and church community. Those who participated shared a common intent or ethos allowing a creative approach to design.

Architect: GGF Architects
Builder: Admire Build Pty Ltd
Engineer: Eclipse Consulting & Martens & Associates
Heritage: NBRS+Partners
Town Planner: Glendinning Minto & Associates
Photographer: Archishot & Tanja Milbourne Photography

source: ggf.com.au

202 Jewellery by Grech & Vinci

Young Maltese architecture firm Grech & Vinci have recently completed an interior for luxury boutique 202 Jewellery.

Offering a sense of calm on a main street in Malta’s busy retail capital of Sliema, the project revolves around the concept of a space “wearing a necklace, as a woman wears a piece of jewellery”.

The interior of the existing retail unit was stripped right down to its bare structure – a radical cleansing which presented an opportunity to create a retail environment where illuminated and pristine white acts as a foil for precious metal and gems.

Against this, custom display modules act as adornments, or a ‘necklace’, varying in size, function, materiality and luminance.

These modules not only showcase the jewellery, but also sculpt the space; creating walls that become an ever-changing display, and voids that become a passage which flows in a circle from the entrance.

source: grechandvinci.com

The Grocery by Plasma4

In 2011, THE GROCERY asked PLASMA to design its new restaurant in Medellín’s international airport: JOSE MARIA CORDOBA. The design team wanted to create a cozy and confortable space that could make waiting time a little more relaxing. The airport is located in a cold weather region near Medellín, where green forests and mountains are predominant. In THE GROCERY, we wanted to bring a portion of that environment: a warm, natural , relaxing, modern, friendly and surprising place where travelers could feel, at least for a moment, away from the stressful and boring waiting room atmosphere.

In roofs and walls we used pine wood sheets in its natural finish, carefully selected to evidence the beauty of its imperfections. For lighting we tried to create an atmosphere of warm indirect lights between the wooden modules, accompanied by ambient light equally warm and appropriate for reading and relaxing. The modules that make up walls and ceilings are made of phenolic plywood and are divided into 6 pieces that are repeated generating the main texture of the restaurant. Each of these modules is composed of two parts which are assembled without visible screws and are attached to the walls and roof with a CR structure.

In the preparation area, pieces of polished stainless steel were used for counters and accessories, clear colored ceramics were used for floors and walls. The dividing walls between the preparation area and the self were made ​​from natural stone and architectural woodworking and special furniture (pay point, doors, window frames and doors, etc.) were built in natural pine. The furniture (seats and tables) are from KASSANI and CONTACTO ARQUITECTURA was the main builder.

Design: Plasma Diseño
Project director: Carlos García
Production (Plasma): Clara Cuartas
Constructor: Contacto Arquitectura + Plasma Diseño
Client: The Grocery
www.plasma4.com
Medellín, 2011

Marquesa de Alorna school

The existing Marquesa de Alorna School, designed by architect José Sobral Blanco in 1956, was one of the 50 schools built in Portugal according to the type promoted by the Construction Board for Secondary and Technical Education in the 1950’s. Like many of these schools, it had two main bodies, one containing the academic and administrative areas, the other containing the gym and cafeteria. The two bodies were linked by the main atrium of the school and the covered playground.

In this instance, the set defined a patio surrounded by an amphitheatre-shaped slope with woods, the result from an excavation on the hillside to build the original school. The beauty of the patio has since been disfigured, as the covered playground was closed, cutting the visual relationship between the patio and the city, and as the slope was largely destroyed in order to allow the construction of a parking building owned by a bank.

As part of the “School Modernization Program” of the Parque Escolar, our project provides for two types of intervention, namely:

A) in the existing building, the atrium, corridors and stairs, generously proportioned with its floor and wainscots in hydraulic mosaic; the exterior walls in painted plaster; the window frames in painted wood and the roof in flat tiles are restored. The existing classrooms receive new elements to bring more comfort – a suspended ceiling, a window blind, a wall;

B) on the other hand, three new bodies are added to the set:
1) a tower with the new laboratories and drawing rooms , west of the existing wing containing the classrooms;
2) a body, designed as a bridge, with the library, links the existing body that contains the gym and the cafeteria to the classrooms. Under this bridge, a covered playground, designed as an outdoor hypostyle room and relating directly to the students room, restore the original visual continuity between the main atrium and the patio of the school;
3) a semi-buried body of spas under the sports field which is protected by a plant structure that partly recovers the green screen earlier realized by the woods.

Given a school in which the diversity of spaces and situations was increasingly reduced throughout its history, a sentence of João dos Santos served as a greater stimulus for the project: “If you do not have a village, my son, you have to go in search of it! A boy can not live without his village.”

Location: Lisbon
Project year: 2007-2008
Construction year: 2008-2010

Architect: José Neves
Colaborators: Rui Sousa Pinto, André Matos, Bernardo Enes Dias, Filipe Cameira, Hugo Ferreira, Nuno Florêncio, Vitor Quaresma; João Pernão, Maria Capelo (colour consultants)
Landscape Architecture: Proap
Engineering: Betar, Joule, Natural Works

Photographs: Laura Castro Caldas & Paulo Cintra; João Dias

Client: Parque Escolar

GoogleMaps coordinates: 38.734904,-9.158971
GPS coordinates: 38º 44.082’ N; 9º 9.550’ O

source: joseneves.net

Extension of the Polski Theater in Poznan

The extension of the historical building of Malarnia – the Polski Theater in Poznan intimate scene includes the reconstruction of the existing theater space, improved by the new technical facilities, moreover creation of the new small building that links two of the existing buildings of the theater, and finally the construction of the underground storage facilities.

Behind the glass facade there is a small entrance foyer and the black box – central element of the new building – with cloakroom and toilets for the spectators.

Above the enlarged theatrical space there is a suspended technical platform, that allows to take full advantage of the spatial qualities of Malarnia. On the mezzanine there are rooms for technical staff.

Because of the possibilities of creating any theatrical space as well as any auditorium arrangement, the new interior of the Malarnia building is the place of existing interactions between the stage and audience.

Extension of the Polski Theater in Poznan

Architects: trabendo. + arpa
Interior design: trabendo.
Location: Poznan, Poland
Design Team: Jerzy Gurawski (arpa), Lukasz Nowak (trabendo.), Katarzyna Stawarz-Nowak (trabendo.)
Client: Polski Theatre in Poznan, Poland
Project Area: 250 sqm
Project Year: 2010
Completion Year: 2011
Photographs: Jeremi Buczkowski (www.jeremibuczkowski.com)

source: trabendo.pl

Siesta Twin Houses: Architecture meets Fashion Design

“…Zuccherodesign Architects, in collaboration with the Dutch textile designer Antje Paul-Kessel from iDress, has created a pristine all white scenario for these extremely colorful textiles played out in various shapes and forms. The fundamental color palette is neutral and monochromatic. Pops of color are introduced trough the soft furnishings of the sofa pillows and curtains. The design and textile choices together bring an exciting statement of sophistication to this ultra modern house in Ibiza.

Built on two identical existing structures, these three-storey glass cube Siesta Houses, were redesigned by the Ibiza based Zuccherodesign Architects who took inspiration from the breathtaking sunset of Santa Eulalia bay. In a small densely inhabited island such as Ibiza, it is a challenge to find a hilltop location near the sea that is free from daily tourist activities.

This tranquil feeling of seclusion was the first design objective when positioning the Siesta Houses. The second objective was to bring the feeling of the sea inside the house metaphorically painting the walls with delicate colors to reflect the sunlight. Constructed with open concept interiors (kitchen, dining-room and living-room plus master-suite, all in the main floor) and joining rectilinear forms that seemed to float on a cliff, these spaces feature spectacular views from every vantage point in their interior. A massive fire place is the only division in this pristine space while maintaining perfect dialog with the futuristic-shaped Moon System sofas designed by Zaha Hadid for B & B Italia. A floor-to-ceiling glass wall expands the conceptual impact of the living-room while offering direct access to the open-air terrace which features a hanging-pool. The house entrance is accomplished from a small private street approached from behind and connected by a bridge, allowing total privacy to the inhabitants. In the evening, the home’s slat-style facade allows the interior light to permeate and merge with the exterior lighting system, bathing the house in a dramatic and glowing aura of its own.

Architect Zucchero has honored the unique style that is typically Ibizian. This cosmopolitan approach to living in these exceptional spaces, presents an opportunity to truly realize an open and free experience leading the way to redefine the concept of the Mediterranean Maison…”

source: zuccherodesign.com

Let’s p[ray] with the ray and shade

In the beginning, this mosque was a simple aspiration from the surronding residence to celebrate Ramadhan 2011. They work together according to their own ability to donate for the mosque that will be used in Ramadhan 2011, it can be said that the social aspect in this architecture piece is so bold.

Small doesn’t mean it unnactractive, small doesn’t mean it doesn’t have “architectural statement” the low budget doesn’t limit the architectural intervention to be shown, even though there is a probability to reduce the entire architectural statement.

There are many architects were inspired to play with lights, so when we thought about tropical simplicity shelter architecture architects are presented with several tools to play, we have shade and ray. According to this, we decide to move based on with shadow and ray, with contemporary statement, and creating a new language of architecture through it. Therefore, several fracture and folding used in this design often looks like giving space to each other, in order for liberating the shadow to communicate as the architectural language and creating his own story.

Even if this mosque has a modern look, it took the basic sillhouete from Datum mosque, mass horizontalism (plus dome sometimes) and minaret, which sometimes used as the easiest visual language to be recognized as the typological language. Some contemporary architectural language inserted here for instance are to make slits in the wall. The building was made slightly porous with random dots on the walls and ceilings, presenting an avenue for the light and shadow to speak, giving texture to the room interiors by creating patterns on the reflected surfaces.. In the evening prayers, that space becomes a language to deliver the intervention of indoor to outdoor so that the congregations are able to watch the stars from the porous space of the “perforated/holed” roof.

In finishing, this mosque are using two texture language, clean white colour and wood texture, this mosque is finished with this colour to express purification sense, so that there is only small amount of texture language, in order to liberate the expression space for the shadows and ray give their intervention from the porous to frame this tiny little mosque texture story, where ray and shadows language simply giving a dynamic space experience as the sun falls and the stars that can be seen from the porous space.

Baitul A’laa means a high place, this project is located in unique and difficult site which is a triangle site, because a mosque need a shape of square or rectangle. According to this, the finishing of the humble landscape is made as giving an “elevated” building effect. Finally this mosque were done and able to be used in Ramadhan 2011, further developments are still being planned,in several areas, for instance the toilet, parking, multifunction and administrator room.

This mosque’s design is basically expected to record the simplicity and beautifulness of human being in remembering God captured in texture, ray and shadow language within the present spirit.

Project: Baitul A’laa Mosque / P[RAY]HOUSE
Architect: Julian Palapa
Location: Raffles Hills Blok Q-R, Cibubur, Indonesia
Design Principal: Julian Palapa and Bayu Rismabuana (as Associates Designer)
Design Team: Nurul Andini (Architect Embassy )
Project Manager: Wira Farrel
Project Team: Eri Eko, Arief Hakim, Aris Fanany, Arief Adiharsa, Indrajati
Project Area: Gross Floor area: 180 sqm
Project Year: 2011
Photographs: Ardha Dian Rizki ( www.ardha-photography.com ) / Julian Palapa

Suspended Night Club in Hong Kong

Idea:
According to existing situation with extremely compact planning we have got an idea of pendant architecture. We elevated our object over the ground stripped the cover “rind” down and leant it on the nearest buildings creating the load-bearing frames. This spatial structure like the jet wings let the whole building soar in space.
Due to such design we created a green square under the building and increased the territory of existed recreation zone.

Visual perception:
Visually and functionally our building consists of three parts:
– Nightclubs. The lowest part of the building.
– Public multi leveled lobby with security access to hotel. Spa center with semi-Olympic swimming pool, business center , store, restaurant and etc. The central part of the building horizontally developed.
-Hotel. The upper part of the building. All slabs have regular outline with declining edge of filler structure towards the upper stores. This create an opportunity to make balconies in single and double rooms and terraces in suites, aerial villas and in presidential suite.

Communication scheme:
The building communicated with the ground by lifts that go up to the lobby through the nightclubs zone open for all. From the lobby you should use another lifts to get to zones with registered access: hotel, spa centre and etc. Our construction is an architectural parasite that leans on nearest buildings and uses their communication infrastructure. Evacuation is organized through the three bearing “wings” towards the nearest buildings.

Construction:
The whole load from our building is delivered to the buildings it leans through the load-bearing frames “wings”. Therefore the vertical and horizontal structures are made from the light and strong composite materials.

Project team: Tatsiana Keskevich , Alexander Kuzmianchuk, Eugene Liashuk.
location: Hong Kong, China
project: Adult night club hotel
type: International competition
status: 3 rd prize
year: 2011

source: urbanplunger.com

Smarties, Uithof by Architectenbureau Marlies Rohmer









The building of student dwellings in the complex of buildings belonging to Utrecht University has transformed the Uithof site into a full-fledged campus. It will also help relieve the chronic housing shortage for young people in the city of Utrecht. Within the line of freestanding buildings (‘Objectenstrook’) the master plan designed by OMA, our block of 380 independent and clustered rooms presents itself as a solitary mass with a 20 metre cantilever.

The spectacular main concrete supporting structure consists of four slabs that together form a theatrical single table leg. The ‘leg’ and its rocking bench dramatize the main entrance and create an urban rendezvous which distills the encounters and the to-and- from of all those students. The colossal mass which rests on the main supporting structure consists of upright slabs penetrated by longitudinal tunnels, producing a building with high flexibility which will be a long-lasting addition to the Uithof.

The facade is made up of a grid of multicoloured aluminium panels with omissions for the windows. Seen from a distance, the colours coalesce
into grey, scaly skin, but on closer viewing they turn into a colourful hive for young eggheads. The lively facade reflects the wide diversity of tenants from all corners of the world. The building provides for encounter and communication at all scales. With its festive rooms, staircases and corridors with alcoves, the building forms a social microcosm in which youthful love may blossom and lasting friendships may develop.

Utrecht, NL, 2003-2009, housing
Nomination Dutch Concrete Award 2009
Nomination Rietveld Award 2009

source rohmer.nl

When architecture meets fashion

This urban residence, set in the heart of Tel Aviv was designed for a fashion designer and owner of a boutique and brand bearing her name – JERRY. The building was designed as tribute to and a reflection of Jerry’s precise and meticulous design language. The dialogue, both the verbal and the design, between the designer and the architect developed into an architectural project that broke through the accepted boundaries for the design of a residential apartment. The space and the quality of the details and the materials used by the architect created a reflection, a tribute, to the designers collection and style.

One of the collections which influenced the design more than any other was the “Geometric Collection” which clearly shows Jerry’s education as an architect. The designs present a play of shapes, three dimensions and volume whilst preserving principals of clean design and a precise and meticulous language. The range of colors used runs from blacks to urban grays.

The space designed by the architect invites its user inside, into a restrained design world, almost as if entering a bubble of purity sitting in the midst of the chaos, the intensively and the noise of the city outside of the building.

The formal, final touches, the precision and accuracy of even the smallest details and the points where material meets material, the monastic language expressed meticulously and with great care, provide, if only for a moment, that we are looking at something picturesque, if you like, a work of art. The different, continual levels of different hues of black, coupled with the geometric performances of both the natural and the artificial light against the vertical and horizontal planes and surfaces (especially on the wall covered with wooden, black painted strips) provides this restrained picture with the experience of movement in space, dynamism and depth.

The boundaries between Jerry the fashion designer and her collection and those of the architect and his mark are almost completely eradicated with the world of design mixing together to create a result that together create a garment and a space that have been tailor made to fit the occupant.

Design: Pitsou Kedem
Design team architects: Pitsou Kedem, Nurit Ben Yosef, Ran M. Broides
Project: 240 sqm flat in the Antokolsky Project, Tel Aviv
Photography: Amit Geron

Danish architects inaugurate visionary science centre

Inspiria Science Centre (Norway), being the most innovative scientific centers of Northern Europe aims to make knowledge its crucial asset, has the trifold form and unites environment, energy and health in the communication platform.

It houses 70 interactive exhibitions, workshops and state-of-the-art planetarium. As it is expected the number of visitors will exceed 100,000 people annually including school children, families and tourists.

The communication platform
The Inspiria Science Centre interweaves communication and architecture into a single platform to promote the idea of harmony between humans and environment through learning. The Inspiria Science Centre building is a passive house with circular atrium and all-glass wings as a focal centre.

Inspiria Science Centre in its trifold form renders the idea of cyclic recurrence of nature and the helix that expresses universal power cycle. Architects tried to make a fascinating building with distinctive identity that would integrate all the activities of the Centre into a single whole.

Fundraising

Inspiria Science Centre can be the example of an extraordinary fund raising because the total project cost was €28.5million, the government subvention constituted €5 million and the business community subvention was €7 million, while the dominant subvention was made by the public sector driven by the desire to make young people more interested in science. As it was reported the project raised much more money than any other construction project.

Information:
Project: Science Centre in Graalum, Norway
Architect: AART architects A/S
Address: Bjørnstadveien 16, 1712 Grålum
Year: 2007 – 2011
Area: 6,500m2
Cost: €28.5 million

Photographer: Adam Mørk