“Here is a song from the wrong side of town Where I’m bound to the ground by the loneliest sound And it pounds from within and is pinning me down” (Home – Depeche Mode) At the beginning, there was only the Depeche Mode song “Home”. The store design was inspired by the dark style photos taken by Anton Corbijn who charcachterised the English group’s graphics. A place like home and, at the same time, a fantasy place that projects the client faraway.

It is conceived as a display cabinet that uses pure elements in order to emphasize each cloth by creating a contrast with the steel structure. This structure both gives light to the main room and folds against the walls becoming a clothes hanger. The black color underlines the lighting system and creates a balance with the resins that cover both floor and left wall. Each element is used in order to emphasize the objects shown in it. This makes “Home” a unique store of its kind.

Object: Store
Project: Luigi Valente
Design Team: Cristian Farinella, Lorena Greco
Photo: Stefano Pedretti
Site: Venafro, Italy
Date: 2011
Client: Salvatore Gaglione

source: luigivalente.com

A project for a renovation of a traditional town house built 200 years ago in Nara, Japan, comes from the works of Tadashi Yoshimura. The old house consists of several smaller structures interconnected by garden walkways and atriums. The repairs focused mostly on replacement of interior materials. The main construction and the facade remained without intervention. Materials such as japanese cedar, pine, mud plastering and traditional translucent paper screens were used for individual interior blocks.

The open walkways that connect these blocks promote ventilation and bring daylight into the interior space. Some of the blocks are equipped with sliding wall panels, which allow to reconfigure or extend the space.

photo: movementsandnonsense.com

High Line is a 2.4km long part of a former freight railroad stretching over Manhattan. It was built in 1930 as a part of West Side Improvement project for enhancing the infrastructure. It was elevated 9m in the air, therefore it elimininated dangerous trains off the streets of Manhattan. Due to the increase in interstate ground cargo transport in the fifties the train transportation came to a halt in 1980. In 1992 a court ordered demolishion of the railroad remnants. The sight of the rusty tracks covered with wildflowers, grass and even trees caught the attention of a group of local artists who sprung a campain against the destruction.

Joshua David and Robert Hammond founded a community Friends of the High Line (FHL) and started a New York City funded competition. Winning design came from the architects Diller Scofidio + Renfro and will be completed in this year but is open for public since 2009. The park is embodied by an integration of naturalistic landscape (in cooperation with landscape architect James Field) and meandering concrete pathways.

photos: architectuul.com

The library is intended to be a transformative environment that pulls visitors into a unique landscape. The building weaves into the ground creating a series of courtyards and topographic undulations- rooting itself, and then sweeping up into the air forming a bold urban landmark. The shifting of the mass creates spaces ranging from the intimate spaces for reflection in the courtyard to the dynamic and expansive views offered from the tower volume. The tower volume has a series of internal voids and terraced spaces to further enhance the variety of spatial conditions and to provide internal connectivity. A series of retail functions including cafes will help draw a larger audience to the library. A large media center that shares the central drop-off can be used after hours and function independently.

The mass responds and is shaped by views into the site and outward to the surrounding sea and mountains. A green hill over the media center forms an outdoor gathering space and amphitheater and will offer water views to the southern sea. A roof top café on the tower volume provides panoramic views of the mountains and sea.

The façade of the library is a dark grey brass that will develop a beautiful patina over time. The metal skin will have a natural resistance to the marine conditions and harsh weather. The smaller voids in the buildings mass will use an anodized aluminum brass alloy to remain vibrant and colorful as the rest of the building transforms with time.

Design team at 10: Ted Givens, Abraham Fung , Emre Icdem, Judy Chan, Mohamad Ghamlouch, Shane Dale
Landscape Design: Ewa Koter
Site area: 45,400 sq m
GFA: 55,400 sq m
Building Height &Nos of Floors: +39.00 m / 6F above ground, 2F below ground
Function: Library & Media Centre

source: 10design.co

A project by Jack Woolley rehabilitates a worn out carpenter workshop. The original workshop was hidden behind a typical London-esque brick wall which connected neighbouring terraces. This wall, defining the streetline, along with the landscape of tree canopies were preserved. The brick wall became a part of the facade of the house, with the entrance door, visible only as a rectangular cut, seamlessly integrated into the overall appearance.

The residential space was expanded by an additional underground level, which was offset horizontally to allow daylight to penetrate through walk on roof lights running along its length. Materials salvaged from the original abandoned structure were used in rennovation. Pinewood boards from the roof were thoroughly dried, processed and used in construction of the new kitchen cabinets. The new building offers a variety of uses, ranging from residential to work-focused.

photo: archetcetera.blogspot.com

Starlight Place, the latest shopping mall designed by Aedas, officially opened its doors to its customers in Chongqing, PRC last month. With its unusual and dynamic angular forms, the iconic mall has become one of the few landmarks in the city since completion that is picking up speed in its development. Chairman Keith Griffiths, General Manager in Greater China Ken Wai, Executive Director Ping Xu and others were in this booming city to join the grand opening ceremony graced by government officials and celebrities.

Leveraging on the prominent site location adjacent to the newly built metro monorail line, Starlight Place on Jiang Nan Avenue was designed to become a landmark building that celebrates Nanping district as the southern gateway to the city centre and enhance its status as a commercial and business hub within Chongqing.

The design of the shopping mall uses dynamic lines and stretched forms to create a powerful and iconic architectural statement which dominates the length of Jiang Nan Avenue. The external forms were inspired by the undulating mountainous topography of Chongqing and the dynamic, enthusiastic energy so evident in its residents. The eye-catching forms are accentuated by the bold contrast of materials – polished black granite, grey aluminium and copper-toned cladding. The fenestration and cladding patterns are not applied in the conventional vertical / horizontal manner, but rather in a clashing manner of angles that further compliment the dynamism of the forms.

The architectural design also responds to the distinct climatic conditions of Chongqing which were thoroughly analysed and considered. For example, unlike other Chinese cities, Chongqing has very little direct sunlight and so Starlight Place is able to have a generous glass atrium skylight to bring natural daylight deep into the shopping mall public spaces.

The landscape design is strongly influenced by the shopping mall architecture and thereby takes on many of the same inspired angular forms and patterns. Paving patterns, signage and sculptural works of art all display the theme.

As an interesting contrast, the Interior design concept by Aedas Interiors is a reaction to the angular boldness of the external architecture. The concept is ‘opposites’ – the mall interior compliments the strong angular design of the exterior by choosing soft and curvaceous forms, deliberately avoiding sharp edge. It also represents the softer, tender side of Chongqing people’s personality and nature. The colour palette is also softer and less striking than the exterior.

The quality of design is complimented by the list of tenants at Starlight Place which has established it as the premier interior shoppers’ destination in the south western district of Chongqing, and together with the 4000sq m glass skylight and nearly 3000 parking spaces, Starlight Place has been hailed as the most anticipated mall in Chongqing. The landmark mall has already attracted nearly 250 renowned local and international brands. Notable tenants include CRC Vanguard, H&M, Max & Co., DKNY, Juicy Couture, Armani Jeans, Miss Sixty, Adidas Originals, MUJI, Jinyi IMAX cinema, and many distinguished restaurants such as South Beauty. Of particular accomplishment is that Starlight Place has the largest Apple Retailer and flagship Zara store in Chongqing, the very first Costa Coffee in Chongqing and has the very first GAP store in the whole of southwest China.

Aedas was responsible for the architecture, interiors, landscape and graphics and branding strategy of the project.

source: aedas.com

Changes such as the relocation to new premises always have the potential for the establishment of the working environment with the effective and quality use of space that promotes communication, enhances productivity and enables the well-being of employees and thus ensures long-term growth.

The building’s architectural design, the division of the premises to open space alongside the facade and closed space alongside the building’s central part, thereby dividing them to bright and dark spaces, has ensured that the organisation of the space by concentrating communications along the central part preserves quality open workspace alongside the facade.

By requiring the organisation of work in open space, there was no tendency towards a physical division of the space. Based on the decision to design a unified and open space, the functional requirement for dividing the communication part from the workspace was met by the visual division (the colour of the ceiling and walls of the central part).

In places where it was necessary to physically close the space due to the nature of the work, the glass spatial element was introduced at the point of the visual division, thereby creating the necessary link and continuity of open space. By blurring the clear boundary between communication and the physically confined workspace, an illusion of open space is created and the communication part is expanded.

The graphics in the space is added to evoke an association. Letters are used to create news. Newspapers Večernji list, Poslovni dnevnik and 24sata have something to say and they say that in big letters.Graphics, designed in levels, act as an emphasis which determines public spaces and as a visual barrier which enables privacy inside physically confined workspaces.

Architecture, graphic design and furniture design by: IDFL d.o.o, Ljubljana, Slovenija,
Designers: SANDRA BANFI ŠKRBEC, IZTOK LEMAJIČ
Client: Večernji list d.d. & Dnevnik d.o.o., Zagreb, Croatia
Project and implementation: 2011
Location: Zagreb, Croatia
Surface: 3556 m2
Photography: Iztok Lemajič

source: idfl.si

Carbon was approached to design Bloomsbury’s, the first international branch for Bea’s of Bloomsbury, a London based fresh food cafe. The offer was to be a cupcake kiosk in a mall that also had a fully functioning production baking kitchen that was on full display.

With a logo, a basic material palette and the general site identified, Carbon was asked to translate and elevate the UK brand into a Luxury Cupcake offer that translated the Victorian Charm and Sophistication into a modern and sleek international brand that was scalable and affordable and instantly recognizable in the crowded UAE cupcake market. Sited within Al Wahda Mall in Abu Dhabi, the site location was within a triple height mall atrium with shops and kiosks on all sides. The site conditions had restrictions on circulation space, unobstructed views from existing shops, maximum heights, safety and security (day and night), and limited construction hours (non mall operation hours).

Carbon approached the design knowing that a great customer experience starts with the right Customer Journey and an immersive customer experience… “We knew it had to be more than a simple servery counter with stools.”

Carbon’s solution was to enclose the kiosk in order to focus the attention to the branded area. A tall simple portal that allowed for framed experiences, framed views and framed functions allowed Carbon to create a simple yet rich architectural language in the middle of a busy mall. This would allow customers to experience the Bloomsbury’s cupcakes in a true retail lead built environment. To future proof the concept, the portal established a modular ‘Kit of Parts’ for Bloomsbury’s to adapt per site for future Roll-Outs across the Middle East. All sub-components were designed as secondary modular units to be configurable based upon the site constraint, user requirements and conditions.

Carbon, when designing the Bloomsbury’s ‘Kit of Parts’, pitched to the client that the ‘Bloomsbury’s Experience’ would be one of ‘Theater’.

“We see the built environment of Bloomsbury’s to be The Stage in which the Baking and Icing of the Cupcakes will be the Performance. The Display of the Cupcakes will be the Main Feature and the coming and going of your customers will add to the drama and spectacle. To be seen buying, to be seen eating, to be seen carrying a bag or box of Bloomsbury’s will be what creates buzz and word of mouth, but when your customers sit and enjoy a Bloomsbury’s Cupcake in your built environment, we believe they will have had and experience that they will repeat and enjoy time and time again.”

The construction process was engineered with modular portal elements that link together with integrated services, creating the stage. The supporting counter, display, storage and kitchen components get dropped in place and sprinkled with the cast of cupcakes. Whilst maintaining a sense of transparency with existing site-lines across adjacent shops and avenues in the mall. It was crucial to maintain a tight palette of materials and colours that related closely to the offer of Bloomsbury’s; but also not detract from the colourful cupcakes. Lighting, be it natural or artificial was also carefully considered in order to enhance the sense of space, atmosphere and views through.

To see Bloomsbury in the mall has established the brand overnight in Abu Dhabi. The success of the design lies in having created a free standing object that demands presences from the approach, but has intimate, controlled spaces within an open mall environment. Overall, the kiosk stands as a dramatic theatre set for the colourful cupcakes which are the star of the show. After launching in May 2011, cupcakes are still selling out. Daily, customers can be seen socializing intimately within seating niches of the portals, gathering in groups in larger sofa areas and enjoying a brief moment within at the touch down counter spaces.

Project : Bloomsbury’s
Location : Al Wahda Mall, Abu Dhabi, UAE
Number of floors : one
Total floor area : 93 sq m
Timescale : 5 months
Budget : undisclosed
Client : Tablez Food Company
Designers : Carbon
Photographer : Issa Saleh AlKindy
AWARDS
2011 Commercial Interior Design Awards – Retail of the Year

source: carbon-creative.com

Construction of a family house in Králův Dvůr, Czech republic, belongs to a series of great architectural feats of our western neighbors. Author of this modern house is the architectonic studio OV-A. Finalization of this ground house went underway in 2009. It is situated on a sloping parcel that is located at the edge of the city. This simple house with a square layout and a flat roof has something that makes it really special.

Or it doesn’t? It has no fence, because none is necessary. This role is already fulfilled by a foldable wooden facade. Dispositional solution is really interesting, because basically, it’s three solid boxes, which are functionally connected by a hallway that falls into a huge living room. Load-bearing construction is made out of wooden I-beams. Facade system consists of a polished wall in aluminium frames and tropical wood.

photo: homedsgn.com

Located in Perth, Western Australia, the Aldrich Residence was derived as an extension of the landscape; a landscape that opens onto the waterfront. Evoked by this view, the residence is shaped out of the supple form of the natural terrain to embrace the water. It nestles itself between the landscape and under the fluidity of a single gesture, the roof.

Utilizing computer-aided terrain modeling, the roof is a non-parallel extension of the landscape below. It has been digitally enhanced to provide a unique porous stratum in which the volume of the house exists. These volumes, in turn, act as extensions of the ground which gracefully float out across the site. The digitally conceived roof above allows space within the house to compress and expand as it collects light and exposes views. The light is encouraged to wash over the concrete surface exposing the subtlety, elegance and delicate nature of the curves.Like a jigsaw, the roof and landscape interlock so as one moves through the house there is an ever-shifting viewpoint between solid and void. It is the juxtaposition between natural and digital through which patterns and rhythm’s become activated by the property’s natural setting.

The three bedroom, two bathroom, two living room house branches out across the site as if the residence was a swathe of earth in the site from which it emerged. Two separate interior living areas inhabit the extremities of the residence’s arms and are united only by the fluid concrete roof above. Toward the west side of the house are the bedrooms and bathrooms. Here, the private program is implanted onto the ground, acting less as a spectacle, establishing the residence’s primary attachment to its site. As one moves through the space they encounter the continuous concrete roof, offering a lens through which you can read the volumes as they unfold across the land. On top of the roof is a viewing deck. An expansive view is framed and complimented by the graceful undulation of the roof’s surface, simulating the surroundings in which it resides.

The Aldrich residence exposes the beauty and lyrical nature of its context. The elegance of one fluid gesture, the roof, animates the inhabitable volumes below. Light collects between the graceful branching extensions of the residence creating a symbiotic dance between the interior and exterior. It is the roof that guides the project; it provides volume, movement, and continuity throughout. It is the roof that unifies the Aldrich Residence to the earth.

Address: 25a Salter point Parade, Salter Point, Perth, Western Australia
Areas: lot 450sqm
House: 231sqm
Basement/Wine Cellar: 13sqm
First Floor: 192sqm
Deck: 26sqm

Enter Architecture Director: Patrick Keane
Design Manager: Henry Beresford
Project Team: Marta Satwin, Rosalba Pena, Pom Suban, Johanna Doerfel, Chris Timm, Lisa Fathalla
Engineer: Airey Taylor Consulting
Builder: Omega Homes, Tony Hollingsworth
Landscaping: In a Tree
Photography: Brett Boardman

source: enterprojects.net

The client, an expanding graphic design company owned two small adjacent buildings on the corner of Synge Street, a residential terrace, and Lennox Street, a mix of commercial and residential, in Dublin 8. The proposal was to demolish the badly constructed existing 1950s commercial premises, in order to extend the office space of the remaining building.

The site was narrow (20.5m x 3.5m) and was a left over space at the junction of the two streets with the commercial premises on Lennox Street once overlooking a canal basin. The redundant1950s building was an anomaly in the existing streetscape as it was in disrepair and subject to vandalism. The new proposal was intended to contribute to the urban fabric of this street and the new elevational treatment responds to both the neighbouring buildings and the urban context of the site.

- to provide a modern office building to meet current building standards and a creative working environment
- to increase the efficiency of the building and provide additional functional space for a growing company
- to create a hierarchy of private and public spaces, with designated private offices, open plan working spaces and a client meeting room

With the site being long and narrow the location of the entrance was key and a decision was made to move the entrance onto Lennox Street, being more appropriate to the residential nature of Synge Street. Moving the entrance also maximised the space available and created a double height, top lit space with the circulation is behind a wall concealing how one moves from the differing levels. The new elevation proclaims the extension to be a modern intervention through its contemporary style with original detailing of materials. The new facade interlocks three dimensionally with the façade of the retained building to create a coherent composition of new and old.

On an urban scale the new extension acknowledges its position as a building with a view to the canal. The line of the adjacent parapet level is broken as the new build steps up slightly repeating a condition, which occurs further along the street. Brick was selected to clad the extension, referencing the existing material of the retained building, with the new brickwork responding to the tones of the neighbouring brick buildings on Lennox Street. The new entrance is defined by a recessed large opal glass screen and adjacent timber door. The recess emphasises the sense of entrance and re-appropriates the language of the adjacent shop fronts on Lennox Street.

The brick skin is punctured by glazed openings informed by the interior spaces. The glazed band at street level provides clerestory natural lighting to the basement area. This glazed band wraps around the corner vertically to acknowledge the laneway and, in conjunction with a window above the side door, provides additional light to the basement area in the afternoon. At Ground floor level, a large picture window provides a view to the street from the meeting room (this is temporarily opal glazed). This window has timber ventilation panels to each side, and externally the brick skin is detailed to conceal this panel so the window appears as a simple glazed opening. Internal glazed screens are used to both ends of the meeting room and basement to provide views to the double height voids within the building.

This visual link between levels provides a sense of how this complex building works and orientates the occupant. At first floor level, rooflights above a light shelf provide reflected natural light to the open plan workspace, views are provided by a large corner window and three slit windows provide more focused intimate views and allow increased occupant control.

The combination of tall voids, carefully positioned rooflights and clear internal glazing screens ensures natural light enters all areas of the building from multiple sources and the occupants have a sense of openness and space within this relatively small building. The vertical glazing at the stairwell, defines the link between the old and new building, and provides a consistent visual reference to the external surroundings. Externally this glazing defines the break between the two buildings, enhancing the interplay between old and new.

Project name: Fuse
Location: Portobello, Dublin, Ireland
Program: Private office extension
Area: Site area: 20.5m2 x 3.5m2 • Built-up area: 117 m2
Architecture Study: 2006-2007
Construction Date: 2007-2008
Client: Fuse
Project by: Box Architecture
Principal designer: Gary Mongey (Project Architect)
Design team: Gary Mongey (Project architect), Ashlene Ross, Peter Gowran, Jonathon woods, Terry Murphy
Quantity Surveyor: Flynn McNally McKell Partnership
Structural Engineer: Lohan & Donnelly
Contractor: Irish Conservatories
Text: Courtesy of Box Architecture
Photographer: Paul Tierney

source: box.ie

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

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