Dear Ginza Building by Amano Design Office

This towering commercial block in Ginza, Tokyo, by Amano Design Office features a faceted aluminium facade reminiscent of a crumpled-up sweet wrapper (+ slideshow).

Dear Ginza by Amano Design Office

Tokyo-based Amano Design Office was asked to design an eye-catching building that would entice shoppers from Ginza’s Central Street to a second shopping street just beyond.

Dear Ginza by Amano Design Office

The nine-storey tower accommodates small units that can be used as either offices or shops. Apart from the glazed ground floor, each storey is concealed behind a double-layer facade that comprises a perforated metal exterior and a clear glass interior.

Dear Ginza by Amano Design Office

The architects used computers to generate the faceted aluminium form, then added a floral pattern to soften the appearance.

Dear Ginza by Amano Design Office

“In the neighbourhood of mostly modernist architecture with horizontal and vertical or geometric shapes, the building has a proper feeling of strangeness, attracts special attention and has an appeal as a commercial building,” they explained.

Dear Ginza by Amano Design Office

Lighting installed behind the metal panels is programmed to change colour depending on the season, switching between shades of red, blue and green.

Dear Ginza by Amano Design Office

“The facade becomes a part of the interior decoration and obviates the need for window treatments such as blinds or curtains,” added the architects.

Dear Ginza by Amano Design Office

Other commercial buildings from Japan with unusual facades include a herringbone-patterned boutique designed by OMA and a Tokyo bookstore covered in hundreds of interlocking T-shapes. See more architecture in Tokyo »

Dear Ginza by Amano Design Office

Photography is by Nacasa & Partners.

Here’s the project description from the architects:


Dear Ginza Building

The client is a developer company. It purchased a long-sought after lot in Ginza, and planned to build a commercial/office building. The building site is on the Ginza 1-chome Gaslight Street, which is one street behind the Ginza Central Street. It is on the back side of the Mizuho Bank and Pola Ginza buildings on the Central Street. The atmosphere is quite different from the gorgeous Central Street, and the site is on an empty street which is often seen behind the street with large-sized buildings. Attracting as many people as possible into such a street is our task. The client desired the building to be a gorgeous existence. In addition, the designer desired to provide a “slight feeling of strangeness” to the passersby that would attract them to the building.

Dear Ginza by Amano Design Office

Considering the views from the inside, simply obtaining openness with glass seems futile, since the outside scenery is hopeless. Therefore, a double skin structure is employed, which consists of glass curtain walls and graphically treated aluminium punched metal. The facade becomes a part of the interior decoration and obviates the need for window treatments such as blinds or curtains. By using a double skin, reduction of the air conditioning load and the glass cleaning burden was also intended.

Dear Ginza by Amano Design Office

The irregular facade design was determined by computing a design to avoid arbitrary forms and to approximate forms in nature. We thought that a well-made incidental form would likely be a less-disagreeable design. In the neighbourhood of mostly modernist architecture with horizontal and vertical or geometric shapes, the building has a proper feeling of strangeness, attracts special attention, and has an appeal as a commercial building. The abstract flower graphic is used to balance the impression of the facade, i.e., to free it up from becoming too edgy.

Dear Ginza by Amano Design Office

By computing the design, individual aluminium punched panels are irregular with different angles and shapes, yet all fit into a standard size, resulting in excellent material yield. To avoid being clunky, an extremely lightweight structure is required. Therefore, much caution was taken in its details. The coloured LED upper lighting, which is installed inside the double skin, entertains the passersby with different programs depending on the season. Expected tenants included a beauty salon and aesthetic salon, and the expectations are materialising.

Dear Ginza by Amano Design Office

Building location: Ginza-1-chome, Chuo-ku, Tokyo, Japan
Completion year: March 2013
Designer: amano design office
Collaborators: Atorie Oica, Azzurro Architects
Construction firm: Kumagai Gumi Co.,Ltd.

Dear Ginza by Amano Design Office

Main use: store building and office building
Lot size: 187.20 sqm
Building area: 155.55 sqm
Total floor space: 1300.02 sqm
Maximum height above rail level: 31.955 m
Structure: steel frame
Number of stairs or stories: nine storeys above ground and one underground story
Main material: aluminium graphic punching metal, extruded cement panel

Dear Ginza by Amano Design Office
Ground floor plan – click for larger image
Dear Ginza by Amano Design Office
Upper floor plans – click for larger image
Dear Ginza by Amano Design Office
Sections – click for larger image
Dear Ginza by Amano Design Office
Elevations – click for larger image

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Creative Cloud tops 1 million: what do you think of it?

Adobe has announced its 1 millionth Creative Cloud subscriber in the year since launch. Are you signed up?

Goodby Silverstein’s I Am The New Creative spot for Adobe

 

In May, Adobe announced that it was ending so-called ‘perpetual licence’ sales of its Creative Suite software in favour of the Creative Cloud subscription model. CS6 would be the last version of its creative programmes to be available for purchase outright, with all new releases distributed via the Creative Cloud to subscribers only.

The news provoked an enormous outcry in the creative community. Four months on, in its Q3 results, Adobe has released figures which appear to show a significant uptake of its offer. Creative Cloud now has over a million subscribers and Adobe is claiming to be adding over 20,000 subscribers per week currently, compared to 8,000 per week last summer.

But just how impressive is that figure? It is almost impossible to know how many Creative Suite users there are worldwide. In 2010, on its 20th anniversary, Adobe claimed that Photoshop alone had 10 million users. (Presumably, many more use pirated copies). In that context, 1 million CC subscribers is impressive, although we don’t know how many of those are taking up the full version, how many are on special offers or education users etc. Nevertheless, opposition has been vehement – both through Adobe’s own forums and via community efforts such as this anti-CC Facebook page.

Initial criticism of the switch to CC-only appeared to centre around chiefly financial and technical issues. On the financial side, many users complained that the CC model would cost them more and would price sole traders out of the market. Not everyone upgrades to every new version, they argued, so the comparisons which had subscriptions matching up favourably with the cost of buying new software every 18 months were not relevant in many cases. Others feared that, once it had users signed up, Adobe would be free to ratchet up prices, tying subscribers into paying ever higher costs, the lack of alternative programmes creating a virtual monopoly.

On the technical side, there were concerns that creators would be unable to access their files if they were no longer a CC subscriber (Adobe recommended saving down to earlier versions owned by the user), concerns over having to sign-in to validate subscriptions if internet access was interrupted and worries over service interruptions which might make accessing vital files impossible (some of the concerns are addressed here and by Adobe here).

So we’d like to know how readers feel now about Creative Cloud. Have you signed up? If so, how do you find it? What problems have you had? What advantage does this system have over CS?

What do people feel now about the subscription model? Have Adobe made a massive mistake here or will we all get used to paying monthly for software just as we do for broadband or Netflix? Are you exploring alternatives such as Corel (BTW, there’s still a lot of love for Freehand, Illustrator users…)?

Let us know in the comments below

 

Call for entries to A’ Design Award and Competition 2014

Call for entries to A' Design Award and Competition 2014

Dezeen promotion: entries from architects and designers are now being accepted for this year’s A’ Design Award and Competition.

Call for entries to A' Design Award and Competition 2014
Casa Cubo by Studio MK27. Main image: Osaka Restaurant by Ariel Chemi

The annual A’ Design Award and Competition honours exemplary concepts, prototypes or finished projects in all design fields.

Call for entries to A' Design Award and Competition 2014
Opx2 by Jonathon Anderson

A panel of 50 academics, design professionals and press members will judge the submitted designs and winners will be announced in April 2014.

Call for entries to A' Design Award and Competition 2014
Catino by Emanuele Pangrazi

Winners will receive extensive PR coverage of their work, an invitation to a gala night, plus an A’Design Awards trophy.

Call for entries to A' Design Award and Competition 2014
Shoe Class by Ruud Belmans

A selection of projects will be displayed in a physical exhibition and all winning designs will be compiled into a yearbook.

Call for entries to A' Design Award and Competition 2014
Nissan Calendar 2013 by E-Graphics Communications

Images show a selection of winners from last year’s awards, including a Brazilian house with walls that open up to the garden and graphics for the 2013 Nissan calendar.

For more information and to enter your project before 30 September 2013 visit the A’ Design Awards website.

More information from the organisers follows:


The A’ Design Award and Competition is one of the worlds’ most prestigious and inclusive design accolades that brings together architects, designers, companies and media members under the same roof. The design competition highlights best architects and designers worldwide to provide them publicity, fame and recognition through international press coverage and exhibitions. Entries to the competition are judged by an expert 50-person jury panel composed of academics, press members and professionals from the fields of architecture and design.

Awarded entries are provided a rich winners’ kit that includes the annual yearbook, the award trophy, press release preparation and distribution, winners’ logo, PR tools, winners’ exhibition and gala-night participation. Last year, the A’ Design Award & Competition has attracted over three thousand entries from seven continents and projects from sixty-seven countries were highlighted as winners.

The A’ Design Award & Competition logo reaches over nine hundred million impressions each year through traditional media, television channels and online publications. Entries to the competition can be made under: Architecture, Interior Design, Furniture Design, Building Materials & Components Design and Exhibition Design categories among others. The standard deadline for entering your works to the competition is on 30 September 2013.

www.adesignaward.com

The post Call for entries to A’ Design Award
and Competition 2014
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Absence of Water

Avec sa série « Absence of Water », le photographe Luigi Cifali s’intéresse aux différents bains construits à l’époque victorienne en Angleterre et aujourd’hui fermés au public. Déjà passionné par ces lieux lorsqu’il était typographe à Naples, le photographe italien nous propose des clichés d’une grande beauté dans la suite.

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Absence of water

London Design Festival 2013: Designersblock

LDF13_designersblock2.jpg

As one of the few London Design Festival destinations to make a home south of the Thames, Designersblock sets itself apart as something as an alternative to the more establishedt goings-on further North.

With plenty of young and exciting design talent on show, we went along to the opening to bring you some of the best bits.

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Design to-go: Some of the wares on show were display in intriguing piles of pizzaboxes

“Klokhuis’ silver necklace and apple transporter by Jelka Quintelier

(more…)