seCret Architecture ™

Auditorium and Congress Center in Morro Jable by Menis Arquitectos

2009-05-22T17:57:00.000+07:00

Fernando Menis of Spanish practice Menis Arquitectos have started work on their competition-winning design for an auditorium and congress centre in the Pájara municipality of Fuerteventura, the Canary Islands.

Located above the beaches on the south coast of the island, the building emerges from excavations in the rock.

Menis describes the design, which won a competition for the project last year, as “a piece which recalls a broken rock, coming away from earth.”

Here’s some text from Menis Arquitectos:

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Auditorium and Congress Center in Morro Jable
Pájara. Fuerteventura

Located in a privileged position, above the beaches at South Fuerteventura, the building emerges through the excavation and the mimesis with the site. Textures, colours and finishes answer to this aim, creating a piece which recalls a broken rock, coming away from earth.

It is a sponge building, able to adapt to different situations and events, flexible, equipped with well balanced acoustics also prepared for different types of events, designed for low energy and maintaining costs.

Grand Hyatt tower by UNStudio

2009-05-22T17:48:00.000+07:00

Dutch architect Ben van Berkel of UNStudio has won a competition to design a tower that will house the Grand Hyatt Hotel in Frankfurt, Germany.

The facade of the 110 metre tower will appear to change shape depending on the angle from which it is viewed.

“It appears needle-thin from one spot, strong and straight from another, and complex with a slight twist from yet another,” says van Berkel.

The following information is from UNStudio:

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UNStudio/ Ben van Berkel’s design selected for new hotel tower in Frankfurt

Yesterday, UNStudio was selected in the competition for a 110 meter tall hotel tower.

From the six projects presented, the jury, chaired by Prof. Johann Eisele, chose the designs by UNStudio - Ben van Berkel (Amsterdam), and Kohn, Pedersen, Fox (New York) and recommended proceeding with the UNStudio design for further development.

According to Ben van Berkel the design for the Grand Hyatt tower celebrates and highlights the cosmopolitan character and diversity of Frankfurt. ‘It has three different elevations that are linked to the different aspects of the city. The tower takes up the variation and diversity offered by the city of Frankfurt and reflects that multiplicity of experiences back to the city itself. The tower can be perceived differently from each perspective; it appears needle-thin from one spot, strong and straight from another, and complex with a slight twist from yet another.”

The new tower will house a 5-star-plus hotel with 405 rooms and suites, a ballroom, spa, various restaurants, a lobby bar and a public Sky Lounge on the top floor, and the possibility of an adjacent congress center. The hotel tower consists of 30 floors at a height of approximately 110 metres and an area of 54,562.70 m2 for hotel tower + plinth.

The new hotel will be located opposite the currently emerging high-rise office Tower 185. The first building to be realized in Frankfurt’s Europaviertel was the Mövenpick Hotel. Along with a number of apartments and office buildings a second hotel, the Meininger Hotel, is currently under construction.

As part of a multiple assignment, yesterday six architects presented their ideas for the approximately 110-meter-high hotel tower. Other offices which presented their designs were Ingenhoven Architects (Dusseldorf), JSK Architects (Frankfurt), Lederer, Ragnarsdottir, Oei (Stuttgart) and Reichel Stauth + Architects (Brunswick). The jury consisted of: Councillor Edwin Schwarz (City of Frankfurt), Bernhard H. Hansen (Vivico), Prof. Jochem Jourdan (Jourdan & Müller PAS), Prof. Uwe Frerichs (Bielefeld University), Anne Geier Mann (Hyatt) and Matthias Lowin (Viador).

All of the designs will be exhibited from the 20th until the 27th May 2009 in the foyer of the Technical Town Hall of the City of Frankfurt (Braubachstrasse 15, Monday to Friday, 08:00 to 18:00 clock).

The jury chairman Prof. Eisele pointed out: “All the proposals were of an exceptionally high standard. The award-winning designs by UNStudio and Kohn, Pedersen Fox are particularly outstanding as they present a type of high-rise which does not yet exist in this form in Frankfurt. The contribution by UNStudio demonstrates how harmony can be created between extensive functional demands and the high requirements of exterior and interior design.”

According to Mr. Schwarz the designs are very well integrated into the urban planning of the new neighborhood: “With this exceptional high-rise the new project will provide the entrance area of the Europe district with a very visible accent.”

Bernhard H. Hansen said: “An architectural language has been found that responds to the high demands of the Grand Hyatt account whilst simultaneously integrating perfectly into the neighborhood.”

The new Grand Hyatt, as part of the ensemble Skyline Plaza, marks the entrance of the Europe Allee, with its impact stretching along Oslo street in a North-South direction. With the new hotel tower, 1,000 beds of different categories will be available in the Europe District. The Europe District is growing rapidly: The first residential building will be completed in spring 2009, with two more to follow in 2010. Overall, in the first phase approximately 780 houses are planned. The construction of the first office building, headquarters of the Germany bank BNP Paribas, started in the autumn of 2008 and will be realized mid-2010. The four-star Mövenpick Hotel Frankfurt City was realized in 2006. In February 2008 Vivico closed a lease contract with the Berlin hotel group Meininger. The new hotel at the entrance of the Torhause is also already under construction and will be opened in 2010.

At the entrance of the European quarter, at the Friedrich-Ebert-Anlage, Vivico has been building the Tower 185 since September 2008; the first skyscraper at this location. Before construction began Vivico closed a contract for approximately 60,000 m_ of rental space with the accountancy firm PricewaterhouseCoopers (PwC).

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Posted by zefri

source : www.dezeen.com

Step Up on Fifth by Pugh + Scarpa Architects

2009-05-22T17:44:00.000+07:00

Santa Monica practice Pugh + Scarpa Architects have completed a building to provide homes, support services and rehabilitation for homeless and mentally disabled people in Santa Monica, California.

Called Step Up on Fifth, the facade is covered with water jet-cut, anodised-aluminium panels that provide shade and privacy.

The building comprises 46 studio apartments offering permanent, affordable housing plus retail space at ground level.

Community rooms on alternate floors overlook two private courtyards on the first floor.

Photographs by John Linden; drawings by Pugh + Scarpa Architects.

Here’s some more information from Pugh + Scarpa Architects:

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Step Up on 5th is a bright new spot in downtown Santa Monica. The new building provides a home, support services and rehabilitation for the homeless and mentally disabled population. The new structure provides 46 studio apartments of permanent affordable housing. The project also includes ground level commercial/retail space and subterranean parking.

A striking yet light-hearted exterior makes the new building a welcome landmark in downtown Santa Monica. Custom water jet-anodized aluminum panels on the main façade creates a dramatic screen that sparkles in the sun and glows at night, while also acting as sun protection and privacy screens. The material reappears as a strategic arrangement of screens on east and south-facing walls, lending a subtle rhythm to the exterior circulation walkways and stairs.

South-facing walls filter direct sunlight with asymmetrical horizontal openings that lend unexpected visual depth while creating a sense of security for the emotionally sensitive occupants. Enhancing the structure’s geometric texture, the irregular array of openings variably extrudes from the building’s surface.

The small-scale elements on the façade enhance the existing streetscape and promote a lively pedestrian environment. By visually breaking up the façade into smaller articulated elements, the building appears to move with the passing cars and people.

At the second level above the retail space two private courtyards provide residents with a secure and welcoming surrounding while connecting directly to 5th street and downtown Santa Monica via a secured stairway integrated into the building storefront at street level.

Community rooms are located on every other floor of the project overlooking the private courtyards protected from the street. These community rooms along with the private courtyards serve as the principal social spaces for the tenants of the building.

Step Up on 5th distinguishes itself from most conventionally developed projects in that it incorporates energy efficient measures that exceed standard practice, optimize building performance, and ensure reduced energy use during all phases of construction and occupancy.

The planning and design of Step Up on 5th emerged from close consideration and employment of passive solar design strategies.

These strategies include: locating and orienting the building to control solar cooling loads; shaping and orienting the building for exposure to prevailing winds; shaping the building to induce buoyancy for natural ventilation; designing windows to maximize day lighting; shading south facing windows and minimizing west-facing glazing; designing windows to maximize natural ventilation; shaping and planning the interior to enhance daylight and natural air flow distribution.

These passive strategies alone make this building 50% more efficient than a conventionally designed structure.

The building is loaded with energy-saving and environmentally benign or “sustainable” devices. Materials conservation and recycling were employed during construction by requiring all waste to be hauled to a transfer station for recycling. The overall project achieved more than a 75% recycling rate.

Specifying carpet with a high-recycled content, and all-natural linoleum flooring also emphasized resource conservation. The project also uses compact fluorescent lighting throughout the building and double-pane windows.

Each apartment will be equipped with water-saving dual flush toilets and many other energy conserving devices. While California has the most stringent energy efficient requirements in the United States, Step Up incorporates numerous sustainable features that exceed state mandated Title 24 energy measures by more than 30%

Project’s Formal Name: Step Up on Fifth
Location of Project: 1548 5th Street, Downtown Santa Monica, California
Client/Owner: Step Up
Total Square Footage: 31,600 sq. ft.
Total Cost: $10.1 million
Architects: Pugh + Scarpa
Project Team: Lawrence Scarpa, AIA – Design Architect, Angela Brooks, AIA, Principal-in-Charge, Brad Buter, Silke Clemmens, Ching Luk, Matt Maijack, Luis Gomez, Omar Barcena, Dan Safarik, Gwynne Pugh – Project Team
Engineering: John Martin Associates, Jackie Vinkler – Structural IBE, Alan Locke – Mechanical, Electrical and Plumbing
Contractor: Ruiz Brothers
Photography: John Edward Linden

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Posted by zefri

source : www.dezeen.com

The Clock Clock by humans since 1982

2009-05-19T17:02:00.002+07:00

Swedish designers Humans since 1982 have created a digital clock made of 24 analogue clocks, which spell out the time with their hands.

The designers have also developed a typeface derived from letter forms created by banks of clocks.

See demonstrations of the Clock Clock on YouTube here and here.

The prototype Clock Clock will be exhibited at the Rhösska design museum in Göteborg from June till mid August 2009.

See our earlier story on Celebrating the Cross 1 by humans since 1982.

Here’s some text from humans since 1982:

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we are designstudents at HDK Göteborg in Sweden and gathered under the name “humans since 1982″.

After having successfully launched our “Surveillance Light” and our lounger “Celebrating the cross 1″ we now developed a prototype of a wall clock: we call it “The clock clock”. Hereby 24 manual alarm clocks show the time in a digital manner.

We also have developed a typefont on this basis. This prototype will be shown at Rhösska design-museum in Göteborg from june till mid of august 2009.

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Posted by zefri

source : www.dezeen.com

Hospital by Puresang

2009-05-19T17:00:00.001+07:00

Belgian designers Puresang have designed Hospital, a clothing store set in a former stable in Antwerp.

The Antwerp designers used patterned tiles and reclaimed, decorative, glass panels, and added new levels built from tropical timbers.

The store opened in December last year.

Photographs by Guy Obijn. See Puresang’s Grey Goose bar in our earlier story.

The text below is from Puresang:

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When Jeroen Smeekens started Clinic almost four years ago, he never thought it would be such an instant success. Thanks to our craftsmanship, Clinic has been published in important magazines and has been quoted as the “Best retail concept” from the last decennia by trendwatcher Malcolm Mclaren.

If Colette in Paris is known for high fashion and gifts, Clinic has become the blueprint for a new era in concept stores for casual and sportswear. In December 2008, J. Smeekens has opened a new challenge: Hospital. And again, we were the ones who did the beautiful design and concept.

Hospital will be a crossover between high fashion and casual couture with eccentric toys for him and her.

The shop is a Walhalla for new luxury, with a highlight on leading fashion trends and a diversity of accessories and one-off design pieces. It’s not Colette, nor Corso Como… it’s Hospital !

The location is in the trendy South of Antwerp, across the well-known Clinic. The space is situated in a former stables complex from the old and already destroyed Hippodrome of Antwerp.

It’s a space of approximately 1000 square meters with a ceiling of seven meters high.

In front of the store you have a listed building where a small resto-coffee bar will be installed and on the three levels a new luxury Bed and Breakfast will be designed.

We wanted to add more drama to the design and did this by using materials such as old decorative glass panels and colorful, exotic tiles combined with highly polished metals and tropical woods mixed with exposed brick walls.

The open space is split up and divided into levels which increases the retail space up to 1200 square meters. Dramatic lighting is one of the features used to illuminate the space whilst multi media effects bring more dynamism to the building. Hospital, a new challenge for new luxury!

Hospital fashion shop

De Burburestraat 4-5
Antwerp
Belgium

Design for a Living World at the Cooper-Hewitt

2009-05-19T16:56:00.001+07:00

Ten designers including Ted Muehling (above), Yves Béhar (below), Stephen Burks and Maya Lin have created objects for Design for a Living World, an exhibition of products using sustainable materials from around the world that opened at the Cooper-Hewitt National Design Museum in New York this week.

The designers were commissioned by The Nature Conservancy to “tell a unique story about the life-cycle of materials and the power of conservation and design”. Top image: Dutch jewellery designer Ted Muehling used palm nuts from the Micronesian island of Pohnpei to create a “lei” by stringing flowers made from vegetable ivory on a black silk cord.

Second image, above and below: Yves Béhar worked with a a women’s organic chocolate cooperative in Costa Rica to design a grating tool and packaging for raw cocoa.

Below: American designer Stephen Burks worked with the Noogar people of Australia to create a tool carved from native raspberry jamwood that allows for collection and processing of plant-based materials for use in skincare products.

Below: Burks’ tool, called Totem, is designed to help the Noongar to proces herb- and sandalwood-based products into natural cosmetics for export.

Below: American artist and architect Maya Lin used FSC-certified wood from a Nature Conservancy forest in Maine to produce a bench.

Below: Dutch designer Christien Meindertsma created a knitted rug using wool sourced from a sustainable sheep ranch in Idaho, USA.

Below: each hexagonal component of Meindertsma’s rug equates to the yield of a single sheep.

Below: American fashion designer Isaac Mizrahi designed a dress using Alaskan salmon skin.

Below: a waste product of the salmon industry, salmon skin is increasingly being used in fashion as a alternative, sustainable material.

Below: Dutch jewellery designer Ted Muehling created a series of bracelets, necklaces and other items from Micronesian vegetable ivory and pearls.

Below: Paulina Reyes designed a series of cotton handbags for accessory brand Kate Spade New York with FSC-certified morado (Bolivian rosewood) handles. Some of the bags feature hand-carved wooden tiles from Bolivia.

Below: Reyes’ bags are made of sustainable wood, cotton and jipijapa (a fiber made of palm leaves) sourced from Bolivian forests.

Below: Israeli industrial designer Ezri Tarazi designed a chaise longue using bamboo from China.

Below: Tarazi also proposed a series of components that allow domestic objects to be displayed on bamboo stalks.

Below: Dutch designer Hella Jongerius created a series of vases and bowls using chicle latex from Mexico.

See our earlier story for more details of Jongerius’ project.

Above and below: Abbott Miller has designed a chair using FSC-certified plywood from Bolivia, whose components can be shipped flat and dry-assembled with a rubber mallet.

Design for a Living World is at the Cooper-Hewitt, New York until 4th January 2010.

Here’s further details from the Cooper-Hewitt:

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The Nature Conservancy and the Smithsonian’s Cooper-Hewitt, National Design Museum Present “Design for a Living World”

This spring, The Nature Conservancy and the Smithsonian’s Cooper-Hewitt, National Design Museum will present “Design for a Living World,” a traveling exhibition featuring objects created by leading designers and made from sustainable, natural materials. The exhibition will premiere at Cooper-Hewitt, National Design Museum on May 14 and continue through Jan. 4, 2010.

The Nature Conservancy collaborated with prominent designers from the worlds of fashion, industrial and furniture design, and each designer focused on a natural material from a specific place where the Conservancy works. The locations ranged from iconic American landscapes, such as the sweeping grasslands of Idaho, to such exotic places as the southwest coast of Australia and the forests of China’s Yunnan Province. The designs explore the transformation of organic items—wood, plants, wool—into beautiful and useful objects. By choosing sustainable materials that support, rather than deplete, endangered places, designers can help reshape our materials economy and advance a global conservation ethic. Through this process, the exhibition reveals fascinating stories about regeneration, natural places and the human connection to the Earth’s lands and waters.

The exhibition features designs by Yves Béhar, Stephen Burks, Hella Jongerius, Maya Lin, Christien Meindertsma, Isaac Mizrahi, Ted Muehling, Paulina Reyes and Ezri Tarazi.

Béhar worked with a women’s chocolate cooperative in Costa Rica to develop packaging for the raw cocoa they use to make a traditional hot drink and a grating tool that evokes the sensual nature of chocolate, delivering an intense experience through taste, form and narrative.

Burks traveled to Australia’s Gondwana Link to design the “Totem”—a tool made from reclaimed native jamwood that the local Noongar people can use to make and package a line of organic herb- and sandalwood-based cosmetics that they are developing for export.

Dutch designer Jongerius traveled to the Yucatan Peninsula to observe traditional chicle latex harvesting and explore the possibilities of chicle beyond its use in chewing gum production, resulting in more than 20 embellished vessels and plates.

Using wood harvested from a Forest Stewardship Council-certified Nature Conservancy property in Maine, Lin crafted a striking piece of furniture that highlights the beauty of an individual tree.

Meindertsma used wool sourced from a sustainable sheep ranch in Idaho to create a large-scale knit rug—a “flock” of smaller components, each one made from 3.5 pounds of wool, the yield of a single sheep.

Famed fashion designer Mizrahi turned Alaskan salmon skin—typically a waste product of the salmon industry—into a dress that references the scales of the fish from which it was made.

Acclaimed jewelry designer Muehling transformed Micronesian vegetable ivory and ocean-harvested black and keishi pearls into a series of bracelets, necklaces and other items, spotlighting the beauty of these natural materials.

Reyes, for Kate Spade new york, traveled to Bolivia’s forests to work with local craftspeople to design a series of handbags made of sustainable wood, cotton and jipijapa, a fiber made of palm leaves.

Industrial designer Tarazi designed a series of adjustable components that connect to mature bamboo stalks from China’s Yunnan Province, creating a domestic forest that supports a range of living arrangements.

“Our goal with the exhibition is to connect audiences to the natural world by exploring the story of place through innovative design,” said Mark Tercek, president and chief executive of The Nature Conservancy. “‘Design for a Living World’ challenges us to think about the products we use—where they come from, how they are made and what the impacts are on our planet and on local communities.”

“‘Design for a Living World’ offers a captivating look into the life cycle of materials and the power of conservation and design,” said Paul Warwick Thompson, director of Cooper-Hewitt. “Cooper-Hewitt is delighted to partner with The Nature Conservancy in raising awareness about material conservation and sustainable design solutions.”

“This exhibition opens an important conversation between conservationists and designers about the potential and legacy of natural materials,” said Abbott Miller, co-curator of the exhibition. “By choosing sustainable materials, designers contribute to the advancement of a global conservation ethic that can foster consumer awareness.”

“Design for a Living World” is co-curated by Miller and Ellen Lupton. Miller, a partner in the New York office of Pentagram, is recognized for his innovative installations for the National Building Museum, the Rock and Roll Hall of Fame, the Freud Museum in Vienna, Austria and the permanent exhibitions at the Harley-Davidson Museum. Lupton is curator of contemporary design at Cooper-Hewitt and is the author of many books on design.

The exhibition and book will also feature specially commissioned photographs from award-winning photojournalist Ami Vitale, whose work has appeared in The New York Times, Newsweek and National Geographic. The structures used to display the exhibition will include Forest Stewardship Council-certified plywood from community forests in Bolivia.

“Design for a Living World” will remain on view at Cooper-Hewitt through Jan. 4, 2010, and then will begin a three-year tour to venues across the United States. The catalog, published by Cooper-Hewitt, will be released in conjunction with the exhibition.

About The Nature Conservancy

The Nature Conservancy is a leading conservation organization working around the world to protect ecologically important lands and waters for nature and people. To date, the Conservancy and its more than 1 million members have been responsible for the protection of more than 18 million acres in the United States and have helped preserve more than 117 million acres in Latin America, the Caribbean, Asia and the Pacific.

About Cooper-Hewitt, National Design Museum, Smithsonian Institution

Cooper-Hewitt, National Design Museum is the only museum in the nation devoted exclusively to historic and contemporary design. Founded in 1897 by Amy, Eleanor, and Sarah Hewitt—granddaughters of industrialist Peter Cooper—as part of the Cooper Union for the Advancement of Science and Art, the museum has been a branch of the Smithsonian since 1967. The museum presents compelling perspectives on the impact of design on daily life through active educational programs, exhibitions and publications.

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Posted by zefri

source : www.dezeen.com

Melted Collection by Pieke Bergmans

2009-05-19T16:50:00.002+07:00

Milan 08: Dutch designer Pieke Bergmans presented Melted, a collection of shelves and chairs designed with Peter van der Jagt.

The pieces are made of baked blue polystyrene.

See our story on Bergmans’ Light Blubs, which she also presented in Milan last month.

More info from Bergmans:

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Melted Collection

Series of polystyrene furniture

This completely blue collection is as extraordinary at first sight as it is after close inspection. From afar, the forms look strong, fluid and natural. Even though their bright blue skin is deeply contrasting, the objects are by form connected to whichever surface they rest on. This makes the alienating Blue Baked collection adapt and become part of their environment. From up close, we notice that the edges of these objects are deformed and melted. The slight gradient of colour that follows the natural curves of the material indicates that these objects were in fact baked to achieve their final forms.

“Design can be a tedious activity. It also can be fun. In this project we wanted to design products and build them on the spot. The process had to be fast, spontaneous and have instant result, so it was imperative to use materials that are very easy to work with. There is however a contradiction in such materials: the easier to work with, the less suitable they are to create end products. Like the polystyrene foam that we use. It is extremely easy to work with -in fact the material is widely used in model and prototyping industry- but completely unsuitable as material for furniture. We discovered however, that by treating it with heat, the soft skin turns into a rigid, durable surface.

This ignited the project. Heating the foam is a tricky process; a few seconds too long and all that remains is a puddle of blue goo. But with careful timing, each object finds its own way in the oven and comes out slightly different from all the others. That is exactly what we were looking for: It is much more interesting to design the making-process of a product then just to design its final form. It allows us to invent ways in which unique pieces with an individual character can be mass-produced.”

Both Dutch designers, Pieke Bergmans and Peter van der Jagt are connected in a sense of simplicity, in the insatiable need to disrupt the ordinary, and in taking fun very seriously. By slightly changing common objects that we are very familiar with, such as furniture, kitchen tiles, vases, lights et cetera, users are suddenly put off balance.

Creating such moments of surprise and re-interpretation into the daily habits can be seen as art, rather than common product design. No wonder that these products are noticed around the globe and are having great impact on the culture and the definition of design.

With the Melted Collection, Bergmans and van der Jagt have once again managed to add new dimensions to art and design: Dimensions in which material is put to new use and new form. In which furniture is baked like bread, and in which mass products are created equally, but the outcome is ever different.

Colour: Blue
Material: Polystyrene foam
Editions: 3 chairs, 30 ledges, 1 bookcase
Dimensions of chair: 80 x 50 x 60 cm
Dimensions of ledges: L 10 - 60 cm
Dimensions of bookcase: 110 x 50 x 50 cm
Exposition:
Gallery Design Virus
Via Tortona 12 / Milan
Melted Collection

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Posted by zefri

source : www.dezeen.com

Light Blubs by Pieke Bergmans

2009-05-19T16:48:00.001+07:00

Milan 08: Dutch designer Pieke Bergmans presented several new project in Milan earlier this month, including these Light Blubs.

Part of her on-going Design Virus series, Light Blubs are hand-blown crystal light bulbs containing LEDs.

See our stories on Bergmans’ Mirror Virus and Vitra Virus from Milan last year.

Here’s some info from Bergmans:

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You may wonder: What is a light blub?? The answer is simple: it is a light bulb that has gone way out of line. Infected by the dreaded Design Virus, these Blubs have taken on all kinds of forms and sizes you wouldn’t expect from such well behaving and reliable little products.

Nevertheless, they seem to be enjoying their new free existences. They can be found shining across Milan during the Salone Del Mobile
2008.

The Light Blubs are a series of crystal lamps, designed by Pieke Bergmans, in cooperation with Royal Crystal Leerdam. The lamps are all unique handcrafted crystal pieces, equipped with leds by Solid Lighting Design.

The focus of Pieke Bergmans latest projects lies on creating products which are all slightly different, though they were made in a set process. The term ‘Perfect Imperfection’ illustrates the qualities that such a product can attain.

Through being slightly deformed and different, products become unique pieces and gather a very personal and natural character. The Light Blub is one of quite a wide range of products that are based on this conceptual principle, released this year.

Light Blubs
Series of led lamps
Color: white
Edition: 18 unique pieces
Dimensions: 20-70 x 10-45 cm
Material: Royal Leerdam Crystal
Lights: 24V Osram Power Leds, 7,5 – 15W
Exposition:
Gallery Design Virus
Via Tortona 12 / Milan

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Posted by zefri

source : www.dezeen.com

Vitra Virus by Pieke Bergmans

2009-05-19T16:46:00.001+07:00

Milan update: in her show in Via Tortona, Pieke Bergmans presented a range of Vitra classics transmuted by her “virus” technique of blowing molten glass vases directly onto pieces of furniture.

Bergmans was one of the most ubiquitous names in Milan this year, with four shows. See also her Mirror Virus project at Dilmos Gallery, plus her biography, in our previous story here.

A project description from Bergmans follows:

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The Crystal Virus has entered yet another chapter. Where last year it infected old and plain wooden furniture, this time the Vitra collection hosts the disrupting virus at the Salone del Mobile. The contrast couldn’t be greater. Famous pieces by Charles & Ray Eames, Maarten van Severen, Sori Yanagi, Ronan & Erwan Bouroullec, Jean Prouvé and Jasper Morrison prove to be most interesting subjects.

Through form, colour, value and reputation, they claim a prominent role in the matter. The brutal invasion of the crystal onto these design icons creates a dramatic tension. It may well be this provocative drama that has caused the Crystal Virus to appear in bright red.

Pieke Bergmans creates her viruses in the Royal Leerdam Crystal, in close collaboration with their crystal blowing masters. Such a meeting between crystal and furniture is called ‘an Infection’ and is a spectacular sight.

The bubbles of hot and fluent crystal are pressed against the furniture. In bursts of fire and smoke they melt together. The black burned stain in the furniture is copied in the crystal like a fingerprint, and the objects belong together from then on.

The piece of furniture has become a pedestal for the crystal object. That, at least is one way of looking at it. Another, more appropriate to the title, is that the crystal object sits on the furniture like a parasite, a virus.

The products of Pieke Bergmans are called viruses due to their natural forms and the way they come to life. But eventually, the biggest virus of them all is the designer in person. Manipulating standard production processes is by all means viral behaviour. In general mass production, a single form is endlessly and perfectly multiplied like a healthy cell.

As she allows room for change and serendipity, Pieke aims to create processes in which products are never completely the same. Like a virus, her products change and adapt to various conditions, disrupting common ideas and the predictable evolution of form and design.

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See all dezeen’s coverage of Milan 2007 here

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Posted by zefri

source : www.dezeen.com

Mirror Virus by Pieke Bergmans

2009-05-19T16:44:00.001+07:00

Milan update: young Dutch designer Pieke Bergmans showed elements of her Design Virus project across Milan this year, including these mirrors at the prestigious Dilmos Gallery.

Mirror Virus - Utopia Infected presents a mirrored map of the world that has been distorted by viruses.

Bergmans also showed variations on the original Design Virus concept she presented last year - crystal vases that are blown directly onto existing items of furniture to become part of, while partially destroying their host - their host - at other venues in Milan.

Below is Bergmans’ explanation of the virus concept, plus a biography:

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The Mirror Virus resembles the world map. Its countries and continents have been thoroughly deformed and re-arranged, infected by a virus. With its countries combined in new ways and borders neglected, could this be a better world? Looking at the work, you find yourself reflected in all parts of the planet.

And a mirror of course works two ways; it is not just the planet that is distorted, but also your reflection. “Beware, you are infected!” It makes sense; when you look in one of these mirrors, you see a distorted, infected image of yourself.

Reflection = Infection.

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Pieke Bergmans is a young industrial designer from Holland. She has studied at the Academy of Arts, St. Joost Breda (graphic design). HKA-Art-School Arnhem (3D-Design). Design Academy Eindhoven (Industrial Design). Royal College of Art, London (MA, Design Products). She worked around Europe doing a large variety of projects. Her favourite modus operandi is to alter existing production processes to come to new forms and functions.

Pieke’s work is spontaneous, playful and fresh. She aims to combine function, form and message in a single elegant gesture. Whether working with porcelain, plastic or glass, she always creates objects that are of a pure and natural beauty.

Diversity is one of her significant trademarks. She finds inspiration and opportunity in each industry and in every different material. In cooperation with companies such as Rosenthal and Swarovski, Pieke explores the possibilities of their production facilities, and manipulates them. The goal is to make ‘personalized mass production’ where irregularities are ruled in.

“No two people are the same, and neither are two of the hairs that grow on your head. I wish our products were a bit more like this as well. The next step in mass production could be controlled imperfect production, for interesting, personal objects.”

Pieke Bergmans works with a wide range of materials and has no preference for the use of them. “I explore materials and I’m curious about what they can do. From that angle, a product comes to life. I take peeks in foreign kitchens and let myself be inspired by what I see and experience. I also take the time to research and experiment. My designs depend on what I find along the way. I have an unstoppable curiosity for new ways to find and create form.”

A central theme in Pieke’s work is the virus. It binds the many disciplines and materials with which she creates products and works of art.

‘I am a virus’

Pieke’s products are called viruses, due to their natural forms and the way they come to life. But eventually, the biggest virus of them all is the designer in person. Manipulating standard production processes is by all means viral behaviour. In general mass production, a single form is endlessly and perfectly multiplied like a healthy cell. As she allows room for change and serendipity, Pieke aims to create processes in which products are never completely the same. Like a virus, her products change and adapt to various conditions, disrupting common ideas and the predictable evolution of form and design.

The Design Virus will spread and become a global epidemic. Beware – You will be infected.
We find viruses in many different places. In fact, every specific subject with a true culture of its own is subdued to the forming of viruses sooner or later. It simply is the nature of nature. It seems that ‘design’ has finally become a virus victim as well. As is usual with viruses, when they strike, they strike hard and in many different ways. As we speak, a large variety of viruses attack all existing forms of design.

The weak spots of the victim quickly come to light: symmetry, monotony, repetition, mass production and mass distribution. Though most viruses have highly destructive capacities, they often seem to only parasite their subjects or disrupt their common features. Today, the appearance of these viruses seems to have triggered the admiration of many, but the fear of few. That could be the reason why a cure to any of these viruses has not yet been found.

–
See all dezeen’s coverage of Milan 2007 here

–

Posted by zefri

source : www.dezeen.com

Pieke Bergmans for Al Sabah Art & Design Collection

2009-05-19T16:42:00.001+07:00

Design Miami 08: Dutch designer Pieke Bergmans has presented the latest incarnation of her Design Virus project, for the Al Sabah Art & Design Collection.

This time Bergmans has applied her technique of blowing molten glass vases directly onto a range of traditional Middle Eastern furniture items.

The collection is on show in the Miami Design District during Design Miami this week.

The Al Sabah Art & Design Collection is a new project by Sheikh Majed Al-Sabah, founder of the Villa Moda chain of fashion stores.

See our earlier stories about Jaime Hayon’s design for the Villa Moda store in Dubai and Marcel Wanders’ design for the Bahrain store.

Crate Cabinets by Pieke Bergmans

2009-05-19T16:38:00.001+07:00

Milan 09: Dutch designer Pieke Bergmans launched a range of cabinets comprising antique items of furniture mounted inside rough wooden crates.

Crate Cabinets, shown in Zona Tortona in Milan last month, are based on the methods normally used to transport precious artworks.

The following is from Pieke Bergmans:

–

Crate Cabinets

‘handle with care’

A collection of cabinets designed by Pieke Bergmans

How do we look after our most precious belongings? Six months ago, Pieke Bergmans asked this question when she needed to transport her work to the other side of the world. At that moment in time she didn’t realize that it was the start of a fascination.

When precious objects are shipped across the world, Vermeers to Chicago, terracotta from Beijing or bulbs to Miami they are transported in museum crates. These crates are made to measure to ensure the maximum protection of their precious cargo. It’s not surprising that they are called museum crates, in protecting the most amazing artifacts known to man. Crates are built to be strong and robust for the ensuing journey, providing comfort to its contents, making sure that everything arrives in one piece.

The crate is an icon for safety and protection. We all relate to its function, able to read on the markings its origin, destination and the fragility of its content.

The crate creates a sense of curiosity. What makes a crates content so special that it needs to be packed so precise and to be sent across the globe? This curiosity and sense of expectation was the inspiration for Pieke Bergmans to design a collection of cabinets. Their external raw functionality hiding their fragile internal contents only experienced once the crate doors open.

Series of cabinets:
Edition: 4 unique pieces
Dimensions: 80 x 40 x 60 - 200 x 60 x 230
Material: wooden museum crates and antique furniture

Light Blubs Special Editions by Pieke Bergmans

2009-05-19T16:34:00.001+07:00

Milan 09: in Milan last month Dutch designer Pieke Bergmans presented a new collection of Light Blubs as part of her ongoing Design Virus project.

The lighting comprises hand-blown bulbs containing LEDs.

This year they were presented attached to pendant and desk lamps, and resting on old office furniture.

Bergmans also exhibited another project, called Crate Furniture, in Milan - see our previous story.

Here’s some more information from Bergmans:

–

Light Blubs

‘special editions’

A unique series of Light Blubs designed by Pieke Bergmans. Bergmans ‘infected’ some light bulbs last year, which means melted bulbs came dripping down from the ceiling…

This year the infection did not cure. It’s on the rampage with no cure in sight. Even the bulbs in the safe haven of their lamps are not spared. Their DNA has mutated, more grotesque, more mutilated than ever before.

Like with an infection, the older the product the more susceptible it is: old and tired lamps surrendering their bulbs to gravity. A desk lamp giving up on life, its last gasp forming the bulb. Office cupboards, made superfluous by digital databases, prop up Light Blubs with care and love. A lamp ejects her Light Blub in desperation.

These symptoms are unique, their phenomena unpredictable. The Light Blubs accepting their fate and the pull of gravity.

Series of led lamps:
Color: white
Edition: 12 unique pieces
Dimensions: 20-70 x 10-45 cm
Material: hand blown glass
Lights: 24V Osram Power Leds, 7,5 – 15W

Exhibition:
Galleria Design Virus
Via Tortona 12 / Milan / Italia

Steckelhoern 11 by J Mayer H Architects

2009-05-19T16:32:00.001+07:00

Architects J Mayer H have released details of Steckelhoern 11, an office development in the centre of Hamburg, Germany that will be built in the next two years.

More Dezeen stories about J Mayer H:
Danfoss Universe Extension
Home.Haus
Chit.Chat and Positive.Negative
Lo Glo (part of Vitra Edition 2007)

Details of Steckelhoern 11 from the architects:

–

Press Release

The project “Steckelhoern 11” is located in the old centre of Hamburg, in between the cities main commercial areas and the new, highly noticed “Hafen City” development. It replaces a ruinous building formerly used as a storage facility and fills in the gap between two historic premises.

The triangular shaped lot stretches across the city block, thus allowing for a narrow facade of about 1.3m width facing the harbor and a main facade of about 26.4m oriented towards Steckhoern street. The vertical design of the latter references the architectural composition of the neighboring historic facades while the soft setbacks pay tribute to the existing volumes as well as to height regulations. Cantilevered elements in the main facade create a series of specific spatial qualities on the inside and outside.

The height development strengthens the appearance of the building towards the “Speicherstadt” and articulates a special moment in the skyline of the historic city centre. The particular geometry of the floor plan is the basis for the organization of the building, which architecturally and programmatically presents itself openly to Steckelhoern street while at the same time forming a characteristic landmark when perceived from the historic “Speicherstadt” and new “Hafen City”.

As the ground level is conceived either as a spacious lobby for the main tenant or a public cafe, the upper floors provide for generous, flexible office space, most of it allowing a view of the “Katharinenkirche” and/or the “Hafen City”. The top floors provide additional outside space on balconies/loggias and a roof terrace, offering a spectacular panoramic view over the old and new city of Hamburg.

J. MAYER H. Architects
project team: Juergen Mayer H., Hans Schneider, Wilko Hoffmann, Marcus Blum

Project: 2007-2009
Completion: 2009
Client: Cogiton Projekt Altstadt GmbH, Hamburg

Architect on Site: Imhotep, Donachie und Blomeyer
Sturctural Engineers: Lydia Thiesemann, WTM
Building Services: Energiehaus, Sineplan
Model: Werk5

–

Posted by zefri

source : www.dezeen.com

An der Alster 1 by J Mayer H Architects

2009-05-19T16:29:00.001+07:00

An der Alster 1 is a newly completed office complex in Hamburg, Germany, designed by J. Mayer H Architects.

This set of photos has been kindly supplied by photographer Hiepler Brunier. The images are under copyright and used with permission.

The text below comes from the architect:

–

At the end of August 2007, J. MAYER H. Architects completed the project An der Alster 1. The design for the office building is the result of a limited competition by the investor Cogiton in 2006. The building site is situated at the intersection between the Hamburg’s lively downtown and its urban landscape rich in water and mature trees.

It is at the transition from city to nature, and the gateway building to the bustling metropolitan core. The horizontal striped facade with its floating ‘eyes’ celebrates the view onto this unique context.

A public park in front of the building continues the design strategy of the facade into the landscape. The ‘eyes’ in the façade and the platforms in the park form places to meet and contemplate.

The office spaces serve both a generic spatial layout and specific moments related to the ‘eyes’. Large spans provide for various office layout configurations in combination with balconies and climatically tempered outdoor spaces of the ‘eyes’.

The office building An der Alster 1 links interior and exterior spaces to the public park in front of the building and to the city context of Hamburg, becoming a new anchor at the prestigious Aussenalster waterfront.

Large spans provide for various office configurations.

–

Posted by zefri

source : www.dezeen.com

Home.Haus by J. Mayer H. Architects and Sebastian Finckh

2009-05-19T16:27:00.001+07:00

German architects J. Mayer H. and Sebastian Finckh have completed Home.Haus, a foster home for children and adolescents in Hamburg, Germany.

The building is located next to a forest and has facilities for twelve girls in a mixture of single and shared rooms.

The home includes a sports and music room. There is also a toddlers’ room, kitchen and living room.

Photographs by Dirk Fellenberg.

The following information is from J. Mayer H. Architects:

–

Home.Haus - Home for Children and Adolescent

Located near the edge of the forest in Hamburg, a new residential building is now finished as a home for children and adolescents. The characteristics of the building are based on a two colour relief facade embracing a compact house volume. A central staircase penetrates the division between floors in favour of communication to create a central open space for the community.

J. MAYER H. Architects with Sebastian Finckh
Project Team: Juergen Mayer H. , Sebastian Finckh (Project-Architect), Marcus Blum.

Location: Hamburg-Bergedorf, Germany
Project: 2007-2008
Completion: October 2008
Client: Stiftung “Unternehmer Helfen Kindern”, Vorstand: Andreas Barke
User: Städtischer “Landesbetrieb Erziehung und Berufsbildung” (LEB), Hamburg

Architect on Site: Arch 3, Dirk Reinisch, Berlin
Structural Engineers: WTM Engineers, Hamburg
Fire Protection: HAHN Consult, Hamburg
Building Services: Energiehaus Ingenieure, Hamburg
Landscape Architects: Breimann & Bruun, Hamburg

homehaus - layout key

01 - room
02 - bathroom
03 - technical service
04 - hallway
05 - eat-in kitchen
06 - washing and drying room
07 - sports and music room
08 - storage room
09 - basement staircase and hallway
10 - infant room
11 - attendance room
12 - larder
13 - office
14 - vestibule
15 - living zone
16 - kitchen and dining zone
17 - staircase ground floor
18 - emergency accomodation
19 - play and study room
20 - staircase upper floor
21 - staircase attic floor

–

Posted by zefri

source : www.dezeen.com

Competition: five copies of J. MAYER H. to be won

2009-05-19T16:25:00.001+07:00

Dezeen have teamed up with Berlin architects J. MAYER H. to give away five copies of their new monograph, published by Hatje Cantz.

The hardback, 238-page book documents the entire body of work of J. MAYER H. Architects.

Each project is presented through research, design development and photographs of the completed building.

This competition has now closed.

The five winners will be selected at random and notified by email. Winners’ names will be published on this page and in a future edition of our Dezeenmail newsletter.

The following information is from J. MAYER H.:

–

Edited by Henry Urbach and Cristina Steingräber, this is the first book to present the entire oeuvre of J. MAYER H., starting with research and moving through design to project development, and culminating in the actual building itself. A number of renowned authors, such as Rolf Fehlbaum, Andres Lepik, John Paul Ricco, Ilka und Andreas Ruby, Felicity D. Scott, Henry Urbach, und Philip Ursprung take a variety of approaches toward positioning the office’s work in today’s international architecture scene.

J. MAYER H.
Ed. Henry Urbach, Cristina Steingräber, texts by Stephen Hartman, Andres Lepik, John Paul Ricco, Ilka und Andreas Ruby, Felicity D. Scott, Henry Urbach, Philip Ursprung, interview with the architect by Rolf Fehlbaum.

J. MAYER H. Edited by Henry Urbach and Cristina Steingräber
Hatje Cantz Verlag, Ostfildern, 2009.
Essays by Stephen Hartman, John Paul Ricco, Ilka & Andreas Ruby, Felicity D. Scott, Henry Urbach and Philip Ursprung.
Selected texts by Andres Lepik.
Interview by Rolf Fehlbaum with J. MAYER H.
240 pages, 258 coloured illustrations, 133 technical drawings.
ISBN 978-3-7757-2222-3 (German)
ISBN 978-3-7757-2223-0 (English)

Congratulations to the winners! Sam Hodgkinson in Australia, Luciano Morina in Italy, Ado Urban Valdez in Mexico, and Mengyi Li and Julian Ramirez Rentero in the UK all won copies.

Didn’t win? Buy this book and others at the Dezeenbooks store
(in association with amazon.co.uk)

Chit.Chat and Positive.Negative by J Mayer H Architects

2009-05-19T16:22:00.002+07:00

J Mayer H Architects present two projects during the Art Forum Berlin art fair, which starts on 29 September.

Chit.Chat (above) is a seating sculpture that will be presented by Magnus Muller Gallery at the fair, while Positive.Negative (below and top image) is an intervention at Kicken Gallery in the city. Photo is by Ludger Paffrath.

Here is a bit of text about Positive.Negative:

–

positive.negative is a strategic intervention into the existing gallery space. A dynamic object in two parts consisting of frame and infill, remakes the space into various scenarios for possible exhibitions.

The mutability of the gallery opens up unexpected possibilities to rethink conventions of white-cube-art-spaces as a static framework. Positive.negative densely probes new forms of presenting photography.

–

Posted by zefry

source : www.dezeen.com

Danfoss Universe extension by J Mayer H

2009-05-19T16:17:00.002+07:00

J Mayer H architects have completed an extension to the Danfoss Universe science park in Nordburg, Denmark.

The extension consists of two new buildings: a Curiosity Center (top two images) and a cafe (below, foreground).

Below are an explanation, credits and data from the architects:

–

The new buildings rise up from the ground and provide spaces which articulate the fusion of outdoor landscape and indoor exhibition. This active ground modulates according to program and location in the park.

The endpoints of the buildings blur the line between building and park by offering inside-out spaces as display areas and projection surfaces related to the temporary exhibitions inside.

Silhouettes, as groups of land formations, define the unique newly programmed horizon line of Danfoss Universe.

Danfoss Universe is a science park in Denmark, embedded in the agricultural landscape of Nordborg next to the founder’s home and the Danfoss HQ.

It opened in May 2005 and is already enlarging due to its considerable success. The masterplan for Danfoss Universe Phase 2 includes an exhibition building (Curiosity.Center) and a restaurant (Food.Factory) which extends the summer based outdoor park into the winter months by enclosing spaces for exhibitions and scientific experiments.

Credits and Data

Name of the project: Danfoss Universe

Location: Nordborg, Denmark
Client: Danfoss Universe, Nordborg, Denmark
J. MAYER H. Architects
Project Team: Juergen Mayer H., Marcus Blum, Thorsten Blatter, Andre Santer, Alessandra Raponi

Architect on Site: Hallen & Nordby
Technical consultants: Carl Bro

Function: Extension of Danfoss Universe Science Park,
Additional buildings: Curiosity Center and Cafeteria

Building area: Cafeteria. 500 qm, Curiosity Center: 1200 qm
Number of floors: Cafeteria: 1, Curiosity Center: 2

Size of the buildings (Length/Heights/Width): Cafeteria 46/10/11m, Curiosity Center 72/17,5/16m
Structure: Steel construciton covered with corrugated sheetmatel
Principal Exterior: Alucobond, colours: Champagne metallic and bronze metallic
Principal interior material: Dry Walls, Curiosity Center: Ceiling: black painted corrugated sheetmatel, Cafeteria: Ceiling: Silver painted corrugated sheetmatel
Roof: Corrugated sheetmatel coverd with tar-bitumen roof sheeting
Exhibition: „Bitland“, Science Exhibition for kids

Designing period: 2005-2006
Construction period: 2006-2007
Completion: May 2007
Photographer: J. MAYER H.
Cost: 3 Mio Euro

Model: Werk5, Berlin

–

Posted by zefri

source : www.dezeen.com

Download How Buildings Work The Natural Order of Architecture

2009-05-19T16:15:00.002+07:00

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Publication Date: 2005-07-13 * ISBN / ASIN: 019516198X

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2009-05-19T16:13:00.001+07:00

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Download Google Sketchup Pro 6

2009-05-19T16:12:00.001+07:00

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2009-05-19T16:09:00.001+07:00

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Download Autodesk Maya 2009 Full

2009-05-19T16:07:00.001+07:00

Autodesk Maya 2009 Full
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Download AutoCAD Mechanical 2010

2009-05-19T16:02:00.002+07:00

Autodesk AutoCAD Mechanical 2010
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