Le photographe Peter Clarke a capturé le MY80, un immeuble d’habitation à Melbourne, en Australie, conçu par le cabinet d’architecture Hayball. Ce bâtiment de 53 étages à l’allure striée voir gondolée semble gigoter frénétiquement sur place et offre une vue imprenable de la ville à ses habitants. A découvrir.
Movie: architect David Mikhail explains how he transformed a typical 19th-century London house into a “great family home” with all of its “original dignity” in this movie produced by Living Projects.
Mikhail, one of the two founders of London firm Mikhail Riches, was invited to rework the home of Lisa and Ash – a couple living in the city’s east end.
Related story: “It’s about trying to grab light and views where you can” – Riches and Mikhail on Church Walk
His solution, completed last year, involved adding a larch-framed glass box that stretches along the rear elevation to create a sunken kitchen and dining room that opens out to the garden.
“What I was thinking when I was walking around initially was we’ve got to do something that ticks the boxes of a great family home with a connection to the garden,” he explains in the film, “but at the same time to give back the house its original dignity.”
The architect used a simple palette of colours and materials throughout the interior – white brick, stone, Siberian larch and bronze – to tie together old and new elements. He describes the project as a “big house that has been knitted back together”.
Skylights were added, ensuring that new parts of the building receive plenty of natural light. “It’s a way of ensuring that whilst we’re extending the building we’re actually bringing light right down where otherwise it might end up being quite dark.”
The bronze detailing extends to a staircase that joins the kitchen and dining space with a gallery landing. Mikhail sourced the bronze from a company that makes ship propellers.
“There are no welds or anything, it’s just really finely laser cut,” he says.
The kitchen and dining space opens out to the garden, even though they are a storey lower than street level.
“With the brickwork walls, which wrap right from the inside to the outside, the garden really feels like it is just an extension of this kitchen dining room,” continues Mikhail.
Garden designer Jane Brockbank, who worked on the landscaping, adds: “Because this garden is so much part of the house, the same language has been used inside and out, and it’s a very fluid space inside and out”.
Read more about the project in the original story on Dezeen.
Photography is by Tim Crocker. Movie is by Living Projects.
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house that’s been knitted back together” appeared first on Dezeen.
The seventh entry in our A-Zdvent calendar is the Garden Egg chair by Hungarian designer Peter Ghyczy, which demonstrated new techniques for plastic production in the late 1960s.
The Garden Egg chair was designed by Peter Ghyczy in 1968 during his spell as chief designer at plastics manufacturer Elastogran GmbH in the German town of Lemförde, where he lived following his emigration to escape the revolution taking place in his homeland.
Ghyczy was tasked with developing products to showcase the creative potential of the company’s polyurethane plastic and designed the chair with a curvaceous shell that would be difficult to manufacture using other materials.
The plastic’s imperviousness to water makes it suitable for use outdoors and the chair also features a lid that can be closed when not in use to create a watertight seal.
A cushioned seat is positioned in the centre of the rounded plastic form, which curves upwards to form armrests on either side. When the lid is lifted up it supports a further cushion that acts as a backrest.
The chair’s smooth, glossy surfaces are typical of the space-age design that was prevalent at the time and made it an instant hit with the public, as well as a lasting icon of 1960s style.
Curator Jana Scholze, who acquired an original version of the chair for the Victoria and Albert Museum‘s 2008 exhibition Cold War Modern: Design 1945-1970, said: “Its UFO form, portability, and suitability for informal lounging make it very characteristic of the period, reflecting the progressive, Utopian visions prominent in contemporary designs.”
Elastogran GmbH only produced a handful of the chairs as prototypes in Lemförde before setting up production in more affordable East Germany. It was manufactured for two or three years before production was halted due to the complexity of the lacquering process.
Peter Ghyczy left Germany in 1972 and founded his own company in the Netherlands called Ghyczy Selection BV. The firm recommenced production of an improved version of the Garden Egg chair in 2001, which is available in a range of interchangeable colour options for the seat and shell.
Dezeen is publishing an A to Z of iconic chairs to count down the days until Christmas. Catch up with the list so far »
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Garden Egg chair by Peter Ghyczy appeared first on Dezeen.
We’ve collected all kinds of residential conversions from the pages of Dezeen, from former warehouses and stables, to a transformed shophouse in Singapore and an old London post office, and added them to a new Pinterest board.
Follow Dezeen on Pinterest | See our new Pinterest board
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residential conversions appeared first on Dezeen.
I’m working on the 24th issue of UPPERCASE magazine. TWO DOZEN ISSUES! That’s over 2700 pages of content that I have designed over the years. This next issue will be released early in the new year and it felt like it was time to do a bit of a design revamp. It’s easy to keep doing the exact same thing over and over, but I’m a graphic designer by training and getting to design my own magazine is the fun part of independent publishing. The underlying grid and basic typography is staying pretty much the same, but I’m introducing a new font family to keep myself challenged and to see each layout with fresh eyes.
In previous issues, I was using Bodoni Poster Italic for some of the headlines, but overall I was tiring of how bold it was. The new selection really isn’t all that different—it is the Bauer Bodoni family. It’s kind of funny that I’ve selected a typeface design from 1791, but it’s a style I’ve always loved. My design intention with this revamp is to make the spreads feel a little bit lighter overall, a bit more sophisticated but still playful. More places to breathe, little typographic details to delight the eye, some fun typographic touches… all the things that I love about design.
I agonized over which font to purchase (there are so many permutations of Bodoni and of Didone-style typefaces), but now that I’ve had a few days to get to know it, I am happy with the decision. It works really well with all the existing fonts I use (Sentinel, Tungsten, Neutraface) and with various weights plus roman and italic, there is a lot of possible variation. Certainly room to grow!
Throughout my career as a graphic designer, the typography has always been front and centre to my design process and inspiration. I posted the image above of a page in progress on Instagram and viewer Samantha Epstein commented, “everything about this makes my heart sing”. Her comment made me so happy! Yes — beautiful typography does make the heart sing!
And not only is the typography beautiful, the content in this issue is overwhelmingly so! I can’t wait to show more as I progress through the design.
It goes to the printer on the 15th of December, so it is going to be one marathon effort over here to get through the design while filling orders and managing customer service. But I’m energized by the new design direction and look forward to each new page.
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Voici le nouveau clip du morceau « Master of the Gentlemanly Art » du groupe Compassion Crew signé sur le label Major Problems Records. Réalisé par l’artiste illustrateur français Simon Landrein, cette vidéo d’animation de 6 minutes conte l’histoire d’un voyage en train en compagnie de curieux personnages dont seul lui a le secret. A découvrir.
This house in the English countryside by London firm Wilkinson King Architects features red cedar cladding and a folded roof designed to evoke the line of hills on the horizon (+ slideshow).
The property provides its London-based owners with a retreat in the rural South Downs region of Sussex county and was designed by Wilkinson King Architects to reference the shapes and materials of its natural setting.
“The clients were passionate about creating a contemporary building that truly engages with and responds to the rural landscape using materials that are natural and sit well in this context,” architect Julian King told Dezeen.
The house replaces a 1950s cottage on the 12-hectare site. It is flanked by a formal garden on one side and a wild flower meadow on the other.
The ridged roof is made from cross-laminated timber panels that were fabricated using a computer-controlled laser cutter to ensure accuracy and help reduce costs.
A total of 147 individual sections were cut and delivered to the site, where they were assembled in just ten days.
“From the outside the roof form is inspired by and responds to the distant hills of the South Downs,” explained King. “The light grey tone of the single ply membrane was chosen to respond to the greyish colour of the hills and be deferential to the sky.”
Western red cedar clads the upper storey. It was chosen as it will gradually weather to match colours found in the meadow and the surrounding trees.
A pathway through the landscaped garden leads to the house’s main entrance. It is positioned next to a glass box that frames a view through the house to the landscape beyond.
The entrance leads to a double-height reception area with glazed sliding walls that functions as a winter garden and connects with a covered deck outside.
This space provides a view of the underside of the roof structure. Formed of triangular panels and large shards of glazing, this roof create a dynamic pattern of light and shadow throughout the upper level.
“The wide first floor corridor is animated by the tilted ceiling planes which create a ripple effect and give a feeling of momentum towards views to the east and west through the large windows at either end,” said King.
Glazed surfaces at the edges of the ground floor provide vistas from the open living area and the enclosed master bedroom. These spaces are shaded by the timber-clad first floor, designed to seemingly hover above the glass surfaces.
A cantilevered wooden staircase connecting the entrance level with the basement and a study on the first floor creates a continuity of material across the various levels and is enclosed in a glass box.
The upper storey also accommodates three bedrooms beneath the faceted ceiling.
Each bedroom has an en-suite contained within wooden walls that don’t reach all the way to the ceiling, leaving a glazed gap that lets light creep through.
Horizontal louvered shutters set into wooden facades shade the set-back pocket windows from unwanted solar gain in the summer and allow the lower winter sun to warm the interior.
Photography is by Paul Riddle.
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boasts cedar-clad walls and a ridged roof appeared first on Dezeen.
„EDDA“ emits some kind of retro flair with a sensual charm. This fascinating light-object made out of powder coated steel is an extraordi..
Ces maisons de vacances asymétriques avec des murs jaune vif ont été imaginées par le studio d’architecture coréen Koossino comme une étape sur le chemin des visiteurs qui se rendent au jardin botanique Morning Calm à l’extérieur de Séoul. Les architectes disent qu’ils ont été influencés par les statues historiques Pierre Moai de l’île de Pâques au Chili lors de l’élaboration de la conception des six résidences.
The first collection from British designer Lee West’s new brand features cylindrical brass items for the home.
Lee West Objects‘ debut range includes a brass jewellery box, a table lamp, a watering can and a candlestick – the result of a collaboration between the Paris-based designer and fourth generation Austrian Modernist Carl Auböck.
The entire collection is based on a repeating cylindrical form and made of mirror-polished brass.
Intended for everyday use, the objects will develop a patina over time. A second collection will feature the same objects, ready-patinated.
“I thought about workshops and the raw materials used by the craftspeople,” Lee West told Dezeen.
“Tubes and cylinders seemed appropriate and matched the Modernist aesthetic I was searching for. The intention was then to underline functions in each object with a smaller cylindrical element.”
The low cylindrical jewellery box has a brushed interior. The circular lid with protruding tube-shaped handle doubles up as a hand mirror due to the highly reflective brass surface.
Using the same basic forms, the table lamp takes the form of a taller cylinder with an overhanging flat circular shade. A warm LED light source shines downwards and is bounced off the polished central column.
Another cylinder makes up the body of the watering can – the long thin spout is an elongated version of the handle on the jewellery box lid. An integrated funnel makes the can easy to fill and the long spout facilitates the watering of small indoor plants.
Taking the shape to a smaller scale, solid turned-brass forms function as candleholders when positioned one way up and incense burners when turned the other way.
The candleholders are available in four hand-finishes: mirror polished, heavily cross filed, lightly cross filed and dark patinated with a polished incense area.
“Brass is a great material because it becomes personalised with use and develops a patina. Like a pair of jeans or a leather jacket, it develops character with time,” said the designer.
“I hope people will appreciate the genuine craftsmanship and quality in these pieces. The intention is that the objects are used and last for a long time.”
Each object is hand made under the supervision of Carl Auböck IV at the Carl Auböck workshop in Vienna, founded in 1900.
Lee West has been working as a designer since 1999 creating objects, furniture and lighting for international clients such as Ligne Roset, Staub and Hermes. This is his first independent collection.
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Modernist-inspired brass objects appeared first on Dezeen.
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