L’artiste anglais Chris LaBrooy, dont nous avons déjà parlé à maintes reprises, a créé une sorte de sculpture digitale très originale en retouchant un avion tout jaune qui aurait un très long intestin grêle étalé à l’arrière. Une exécution insolite et drôle à découvrir en images dans la suite de l’article.
Tuane Eggers est une photographe de talent en provenance du Brésil. L’artiste travaille les atmosphères douces et légères, aux couleurs vintages donnant un caractère profond à ses clichés. Plusieurs sujets sur l’homme et la femme, mais aussi la nature et les animaux. A découvrir dans la galerie.
Australian architecture office Iredale Pedersen Hook has renovated a 1930s property in Perth and added an angular rear extension that contrasts with the traditional street-facing facade (+ slideshow).
Architects Adrian Iredale and Caroline Di Costa of Iredale Pedersen Hook own the house and have been gradually conducting renovations over the past four years to adapt it to the changing needs of their young family.
Mindful of preserving the property’s historic aesthetic while updating its functionality, the architects retained the front facade and based the faceted shape of the extension on the multiple sloping surfaces of the original roof.
“Folding forms developed from the existing roof achieve a reinterpretation of the surrounding streetscape and roofscape, binding old and new [as well as] historic and contemporary,” said the architects. “A Jekyll and Hyde quality, the street appearance remains almost untouched; a silent figure, a backdrop, the rear is the extrovert, complex and challenging.”
When viewed from the adjacent street, the house appears to retain the appearance of the Queen Anne Federation-style properties typical in the city’s Vincent district, which feature details reminiscent of the Baroque style of architecture that gained popularity in England during the early eighteenth century.
A key feature of this style is a sheltered verandah next to the entrance, which was popular with the Italian and Greek immigrants who moved to the neighbourhood following the First World War. The architects reintroduced this element to the building to enhance the connection between the house, the garden and the street.
The faceted extension extends upwards and outwards from the existing sloping roof at the rear of the property, which prevents it from being seen from the street.
Folding doors on the ground floor can be pulled back to connect the dining room and kitchen with a terrace that projects into the garden.
Above the terrace, the upper storey leans forward to shield the interior from the low summer sun and to make the most of views across the surrounding rooftops.
The facade of the extension is covered with fabric panels, which allow light to permeate and display shadows from the branches of nearby trees. Some of the panels at eye level can be opened to provide views of the horizon.
A cooling system that drips water down the fabric panels to chill hot air before it reaches the interior was based on the principle of the Coolgardie Safe – a traditional refrigeration technique employed by Western Australian miners to cool food.
The angular interior of the study and living room on the upper floor is entirely clad in plywood panels. The sloping back wall replaces the tiles of the original roof and provides a surface that Iredale and Di Costa’s two-year-old daughter uses as a slide.
As well as the roofline, the architects retained features including the chimney, which has been converted into a water collector, and a 1950s sliding door with an amber glass panel at the top of the stairs.
A multipurpose pavilion constructed in the garden features a pyramidal polycarbonate roof, culminating in a transparent panel that allows daylight to reach the interior and provides views of the sky.
Photography is by Peter Bennetts.
Here’s a project description from Iredale Pedersen Hook:
CASA31_4 Room House
Conceptual Framework
CASA31_4 Room House re-interprets the role of memory, tradition and social and cultural value in a rich spatial experience that is simultaneous familiar yet unfamiliar. Our architecture preserves and reinterprets the past. History is layered but never erased. Fragments of the past continually remind us that we are only another layer in the rich and unfolding history of this place.
All spaces contain elements of the past, often manifest as objects of intrigue, the sloping floor (the former roof), the barge scrolls on the front fence, the roof tiles creating a musical score along the boundary, the chimney as water collector and the up-cycling of former building elements as decks, gates, architraves and furniture.
A front deck engages with the street, re-introducing the role and value of the front garden as social setting and meeting place, a past tradition by the immigrant Italians and Greeks that has almost disappeared in societies obsession with privacy and security.
Over the last 3 years we have explored our 1936 Queen Anne Mount Hawthorn Federation house scraping, layering, and peeling with 4 primary spatial ideas; the room to the interior, the room to the garden, the room to the horizon, the room to the sky.
The room to the interior explores what existed, years of layering, the art of construction, knowing what to keep, what to reveal and what to remove, knowledge gained from 13 years indulging in the past. Rooms become the embodiment of a city, a microcosm of the qualities that make a great city. The room to the garden focuses attention to the exterior at ground level, it is purposely heavy and grounded engaging with the earth, the section expands to the exterior, a series of folding screens layer the engagement.
A space of deep sensory delight, an architectural palette cleanser, transitions the ground and upper level, the eyes and nose are overpowered by the burnt and waxed plywood walls and the amber light cast by Nan’s 1950’s sliding door.
The room to the horizon filters the suburban roof tops, the screen abstracts the exterior world, the interior is one folded space formed through a play on the one point perspective that intensifies the horizon. Openable screens create a direct view framing the horizon, releasing the interior volume. The space is cooled with an interpretation of the old Coolgardie safe, water is dripped down the fabric cooling the outside air. The newly restored, 1956 Iwan Iwanoff Guthrie residence cabinet finds a new home after 15 years of storage in numerous architect’s garages. The roughly painted ‘I love Linda’ remains on the chimney, a rear window frames the distant Saint Mary’s Church.
The room to the sky creates a vertical spatial experience, a halo of love poems embraces us (former wedding installation) and at night a cross of light abstracted by polycarbonate awakens but unlike St Mary’s Church our little spire opens up to the heavens.
Contribution to lives of inhabitants
After 4 years of renovating it is now time to enjoy the richness and intensity of experience that this renovation has created. Every day is a different experience, one that is tender, unexpected, personal and embedded with history. The design enables our children and us to grow and evolve in a sequence of spaces that encourage engagement with each other and the dwelling and offers new ways of understanding and exploring family relationships and an understanding of space. Our house is simultaneous a memorial, playground, place of celebration, stage set, place of community interaction and most importantly ‘home’.
Program Resolution
The design exploits all areas of the site with an inherent flexibility for not only day to day use but the long term capacity to adapt to evolving and changing requirements as the family grows and ages.
It re-engages with the street and community allowing our children to play in safe environment connected to the street and house. Spaces are specific and flexible, while offering sufficient capacity for personal interpretation and use.
Sustainable Architecture Category
This project includes both a macro and micro approach to sustainability. It also extends the meaning of sustainability beyond environmental to include contextual, social, cultural and economic concerns.
This house will be a case example for the City of Vincent demonstrating the importance of preserving the 1935 Queen Anne Federation home with the capacity to embrace contemporary expectations of living, without comprising the street context or privacy of adjoining properties. The neighbouring house completes the street sequence of ‘twins’ and twins should never be separated.
The removal of material from site is minimised, an attitude of ‘upgrading’ ensures that materials once concealed for structural purposes are now used for furniture, decks, doorframes and architraves.
The upper and lower level spaces are protected from the low, intense summer sun with timber framed fixed and operable screens, the upper level is cooled with a manually operated reticulation system that drip feeds water on to the fabric, hot moving air is rapidly chilled, this is Perth’s largest ‘Coolgardie Safe’, a 19th century low-tech refrigeration system used by the Coolgardie WA gold miners to cool edible goods. Windows are strategically located to maximise cross ventilation or for winter heat gain (north facing highlight window with a deep reveal for shading).
All interior spaces preserve elements of the past, history is layered but never erased. Low energy light fittings, recycled light fittings, low water use and storage, pv cells and solar hot water systems all form part of the sustainable equation but is the focus.
Economy is achieved through re-cycling, restoring, re-interpreting building materials and historic traditions and minimising waste. This project represents a holistic approach to design and dwelling, where memories are preserved, carbon footprint minimised and the concerns of the broader community celebrated.
Context
Folding forms developed from the existing roof achieve a re-interpretation of the surrounding streetscape and roof-scape, binding old and new/ historic and contemporary. A Jekyll and Hyde quality, the street appearance remains almost untouched, a silent figure, a backdrop, the rear is the extrovert, complex and challenging.
A front deck engages with the street, re-introducing the value of the front garden as social setting, a past tradition by the immigrant Italians and Greeks. A mosaic tiled seat offers a place to rest for neighbours. All exterior spaces contain elements of the past, often manifest as objects of intrigue.
Integration of Allied Disciplines
As architect owners we were keen to maintain an open line of discussion that enabled details to be developed and refined as the project evolved. This often involved the capacity to re-use building waste. Our structural engineer and builder eagerly entered in to this arrangement in particular the role of the builder extended beyond the traditional role.
Architects: Caroline Di Costa Architect and iredale pedersen hook architects
Architectural Project Team: Caroline Di Costa, Adrian Iredale, Finn Pedersen, Martyn Hook, Brett Mitchell, Sinan Pirie, Matthew Fletcher.
Structural Engineer: Terpkos Engineering
Builder: Hugo Homes
Completion: December 2013
The post Iredale Pedersen Hook updates a traditional
Perth house with a faceted extension appeared first on Dezeen.
Timers might not sound like an organizing product—but as a professional organizer, I recommend them to my clients all the time. They’re great for overcoming procrastination; end-users can set the timer for 15 minutes and do some dreaded task for just that amount of time. Or they might set the timer for 20 minutes and make sure, when it goes off, that they are still on task. And, of course, timers are useful when cooking and baking, or performing any task where keeping track of time is critical.
Yes, many of us carry timers around with us on our smartphones—but not all end-users have smart phones. And for some, the timer on a smartphone is harder to use than a physical timer. And do we want our smartphones exposed to liquids, grease and chemicals?
Both this timer and the one above come from Zone Denmark. The spinning top timers catch your eye, but the other timer has the advantage of being magnetic, so you can stick it on a refrigerator door (unless the fridge is stainless steel). However, the websites for these timers leave me wondering about many crucial design issues, such as these: How long can the timer be set for? What does the timer sound like when it goes off? Does it tick as it counts down?
This basic egg timer comes from Kuchenprofi, and a number of other companies have products that look similar. This one’s an hour-long timer, which is pretty common. The company says it has a long, loud ring, which is important. With the simple design, wiping it clean would be a snap. And it uses a mechanical movement, so no batteries are required.
Here’s another mechanical timer with a simple design: the minitimer, designed by Richard Sapper for Terraillon. You’ll find this one in MoMA’s collection; it’s at the Brooklyn Museum, too. With this design, the remaining time is visible both from the side and the top.
Matthaeus Krenn had a red one, and he explained how to set the timer: “Twist the two red halves in oposite directions to load a spring on the inside. Then twist back to set the timer to the desired duration.” Sounds easy, right? But I wondered how this would work for someone with arthritis.
A travers sa série « Passersby », le peintre coréen Jaeyeol Han peint des portraits abstraits et violents. Avec des sujets aux visages parfois dévastés par les mouvements du pinceau, l’artiste livre des portraits qui ont une dominante de jaune et de rouge. Une sélection de sa série est disponible dans la suite de l’article.
On 8 October 2004, “Tarnation”—a film with a $218.32 budget—was released to American audiences. The documentary was unlike anything anyone had seen before. It was 88 minutes of emotional, kinetic storytelling culled from 20 years worth of…
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Milan 2014: delicate patterns on this furniture and accessories collection have been created by sandblasting away the soft rings of timber lengths from a single fir tree (+ slideshow).
Dutch designer Lex Pott and online platform and design label New Window have collaborated to produce the wooden Diptych series. To create the patterns on each piece, the team removed the lighter softer rings created while the tree grows during summer by sandblasting and blowing away the material to leave thin gaps.
“In this way this project represents the DNA of a tree,” New Window founder Woes van Haaften told Dezeen. “You can read the climate in the tree because if the gap is big, it was a rich summer because the tree could grow. If it is small then it was a rough winter because it needed all the energy to stay alive.”
The designers used a particular Douglas Fir tree planted in the Dutch Veluwe forest around 1960 and cut down in 2013. Rubber stickers were added to the wood to act as guides during the sandblasting process.
The collection includes a room divider and totem, which both feature vertical patterns.
Cabinets feature a mix of vertical and horizontal patterns in either circular or rectangular shapes on the front of sliding panels. Diptych also includes smaller objects including a set of combs and matches.
“The title Diptych refers to the juxtaposition within each object of geometric and organic shapes, open and closed parts, control and freedom,” said New Window.
To accentuate the grain, the objects are finished using a combination of oil and wax.
Woes van Haaften started New Window in 2013 as an online blog that aims to give an insight into the specialist knowledge of various designers by inviting them to document the process of their work online for public consumption.
The collection was presented in the Ventura Lambrate district at Milan last week and has been collected in a book published by Frame Publishers.
Here is some more information from the designers:
Diptych – New Window × Lex Pott
Every object from the Diptych series comes from the same Douglas fir, therefore carrying the “1”, branded on each product.
This particular tree was planted on the Dutch grounds of the Veluwe around 1960 and cut down in 2013. All the processing of the material took place in the Netherlands, making this a project deserving of the title Made in the Netherlands.
The title Diptych refers to the juxtaposition within each object of geometric and organic shapes, open and closed parts, control and freedom. The patterns are created by covering parts of the objects with rubber stickers during the sandblasting process.
You can see the life of the tree in the wood: good summers give a wide annual ring, harsh winters a thin one. By sandblasting you blow away the soft rings of summer, leaving a wide gap.
Within the wood there are different colours: heartwood has a reddish hue, sap-wood is more yellow. To accentuate the wood markings, the objects are finished with a combination of oil and wax.
The post Lex Pott and New Window sandblast tree rings
to pattern furniture collection appeared first on Dezeen.
by Cajsa Lykke Carlson East London’s craft beer scene continues to evolve; constantly bringing new, interesting concepts to an area that’s already home to a number of microbreweries. The latest addition is Clapton Craft, a beer…
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Whether you’re sporting loafers or a worn-out pair of Chuck Taylors, in the heat of the summer, there are one too many sacrifices that come with the appealing sockless look—blisters, sweat and stink, just to name a few. While no-show socks have been…
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L’artiste Miguel Chevalier a récemment installé à l’occasion des Journées du Patrimoine de Casablanca cette œuvre « Tapis Magiques ». Rendue possible grâce à l’Institut Français et de Voxels Productions dans l’Eglise du Sacré Coeur, cette installation propose une projection de couleurs vives et diverses en mouvement sur le sol de la nef centrale.
This is site is run by Sascha Endlicher, M.A., during ungodly late night hours. Wanna know more about him? Connect via Social Media by jumping to about.me/sascha.endlicher.
