Anderson Paak: Bubblin
With a little extra drama than his usual offerings, Anderson Paak’s new track “Bubblin” features some sweeping violins over a trap beat—creating a little contrast and cinematic flair. The rapper/singer/songwriter/producer’s……
Continue Reading…
Groupe3Architectes has completed an airport for the city of Guelmim, in Morocco, featuring a light-filtering facade made up of panels of multicoloured metal-mesh.
The airport designed by the Rabat-based architecture office, is located on the site of an existing military base around three kilometres north of Guelmim, in southwest Morocco.
The city is often referred to as the gateway to the desert, due to its position in the southern Anti-Atlas Mountains near the northwestern edge of the Sahara.
The key criteria for the airport’s design were simplicity, efficiency, environmental control and longevity, which was achieved by developing a proposal that can expand if required.
“The main issue of the project was providing the maximum amount of natural light and ventilation to avoid expensive technical equipments,” the architects explained, “while optimising the view of the surrounding landscape, which facilitates movement and flow of the building’s users.”
The airport is arranged in a line that extends parallel to the runways and was constructed in two phases.
The terminal was completed first and was later joined by a pair of lower structures at either end accommodating a free-trade zone and duty-free area.
The terminal building comprises two double-height halls containing the check-in areas, departure lounges, customs and baggage reclaim.
The airport’s public areas look out through large windows towards the landscape on one side and the runways on the other.
The expansive glazed surfaces are shielded from the harsh desert sun by a screen made from coloured metal panels that are suspended around the perimeter of the building.
The metal surfaces are finished in a range of complementary colours to create a patchwork effect that is intended to recall the region’s traditional decorative styles.
The panels are offset across the length of the facades, which helps to break up the visual mass of the structure by introducing a dynamic pattern of light and shadow.
A section of the roof running along the spine of the terminal was removed to create a large patio topped with tensile sun shades, which enables daylight to flood into the building’s central areas.
Photography is by Fernando Guerra.
Project credits:
Architecture firm: Groupe3Architectes
Lead architects: Omar Tijani and Skander Amine
Project manager: Vincent Missemer
Landscape: Atelier Bertand Houin
The post Groupe3Architectes wraps Guelmim Airport in a skin of multihued perforated panels appeared first on Dezeen.
This minimalist residence outside São Paulo by Studio MK27 offers residents a variety of enclosed and open spaces underneath an imposing concrete roof covered in grass.
Completed in February 2018, the longitudinal residence is named Planar House after the expansive surface that defines the roof.
“Planar House is a radical exercise in horizontality, an aspect commonly explored in the projects of the studio,” said locally based Studio MK27 in a project description.
In some areas, the thick slab rests directly on a grid of cruciform columns, while in others it sits on bearing walls. However, there are no visible supporting beams throughout the house.
“This type of insertion on the plot demanded care and attention with the design of the rooftop, which is the fifth facade of the building,” said the architects.
Aerial photographs of the project show vegetation, skylights, and solar panels covering the roof.
The main entrance to the home from the north, on the narrow side of the long rectangular plan. An opening in a curved, made from spaced-apart bricks, leads to an entrance garden.
Inside, two volumes make up the programmed spaces of the 1,000-square-metre residence. Both are oriented north-south and run parallel to one another.
The first contains service spaces such as a playroom for children, the kitchen, and a home gym. The other is made up of five bedroom suites, laid out in a single row facing the sloped landscape.
“The living rooms are located at the extremities and can be completely opened or closed by sliding glass doors, transforming the entire house into a terrace,” said Studio MK27.
A brick wall, which is sometimes concave and sometimes convex, snakes through the building and contrasts with the otherwise orthogonal layout.
“Surrounding the rigid formal distribution, there is a vertical winding wall made of bricks arranged in solids and voids,” the studio said. “Paradoxically, it defines the different relationships between the internal and external spaces.”
At the southern end of the residence, a few steps lead from the living room down to a pool. The interiors feature a limited material palette that includes wood and concrete.
The firm, led by Brazilian architect Marcio Kogan, has completed a multitude of projects around the world. They include a lush property in Miami with its own lagoon and a residence in Brasília that draws inspiration from the city’s modernist heritage.
Photography is by Fernando Guerra.
Project credits:
Architecture: Studio MK27
Architect: Marcio Kogan
Project lead: Lair Reis
Interior design: Diana Radomysler
Project team: Carlos Costa, Carolina Castroviejo, Laura Guedes, Mariana Simas, Oswaldo Pessano, Pedro Ribeiro, Raquel Reznicek, Renato Périgo, Ricardo Ariza Miyabara Suzana Glogowski, Tamara Lichtenstein, Thauan Miquelin
The post Monumental grassy roof covers Planar House in Brazil by Studio MK27 appeared first on Dezeen.
Elizaveta Porodina, psychologue de formation et photographe de passion, dévoile sa dernière série Road Movie. Des photographies qui jouent avec notre perception, passant d’un format cinématographique à un format mode voir documentaire. Elle est totalement maître de la photo romantique et mélancolique qui transporte le spectateur dans une autre dimension.
We’ve updated our Pinterest board that showcases buildings with moving elements adding a house in India with marble walls that spin at the touch of a button and a RIBA award-winning house in Edinburgh with secret hatches. Follow Dezeen on Pinterest ›
The post Explore the best moving buildings via our new Pinterest board appeared first on Dezeen.
London-based designer Kris Lamba has created a collection of bronze vases from casts made by dissolving discarded polystyrene packaging.
Called Fragments, the vessels are cast from bronze in shape of partially melted polystyrene forms created by Lamba.
He came up with the idea for the vases after observing the “endless stacks” of polystyrene outside of his studio in Brighton.
“It is almost never recycled, as its low density makes it a very costly process,” said Lamba.
Keen to recycle the material himself, he made a concentrated solution from orange rinds, which worked to dissolve the polystyrene, allowing for safe disposal.
Lamba found that the dissolving process left “unreal” cavities in the plastic. He experimented with melting the polystyrene and forming vase shapes, which he then coated in wax before they disappeared.
The wax forms, which took on the imprint of the dissolving polystyrene, were then covered in clay. This was fired in a kiln to create a cast for the bronze.
“Each piece is completely unique and is impossible to replicate due to the necessary destruction of the polystyrene in order to retrieve the wax form,” said Lamba.
The cast forms were then worked by hand and coated with pure silver nitrate to create the finished vases.
The Fragments collection will be on show at Artpassions La Galerie in Geneva, and at the Urs Von Unger Gallery in Gstaad in the coming months.
An increasing number of designers and artists are turning to using recycled plastic as a raw material as concern over pollution increases.
During Milan design week last month, Milanese design gallerist Rossana Orlandi launched the “guiltless plastic” initiative, while brands like Parley are turning discarded plastic into consumer products.
“Just like we observe in nature, what may at first seem entirely destructive and devastating can ultimately lead to the creation of new forms and life,” said Lamba.
“These vessels are a man-made example of the ‘accidental beauty’ nature gives us each day,” he continued.
The post Kris Lamba casts bronze vessels in the form of dissolved polystyrene appeared first on Dezeen.
Orange lockers open to reveal secret rooms, windows, videos and images inside The Netherlands’ Venice Biennale Pavilion, in an exhibition that explores the future of physical labour.
Called Work, Body, Leisure, the exhibition in the Dutch Pavilion appears to comprise a single room lined on all sides by lockers.
But as visitors pull open the doors, they discover a range of projects presented in different mediums, from simple photographs to installations that fill entire rooms.
The projects were selected by curator Marina Otero Verzier, director of research at Het Nieuwe Instituut, to show how humanity will be transformed in an age when robots are able to take on many jobs traditionally carried out by humans.
“We’re fascinated by these transformations of labour in the future, and also the transformations of architecture and the bodies that live in that architecture,” explained Otero Verzier, who also features in Dezeen’s new documentary film about drones, Elevation.
“The pavilion charts a journey through these different spaces. On one hand they seem familiar and even banal, yet we think they are the core spaces to look at when we think about the future of labour and what our cities could be,” she told Dezeen.
Otero Verzier chose to create a locker room, as these spaces – found in most factories, offices and gyms – are places where people’s bodies are changed, ready for physical activity.
They are coloured orange, as this is the shade often used to symbolise the Netherlands.
“The locker is the interface between this moment and these other different architectures,” said Otero Verzier. “It’s a space that is completely organised and compartmentalised. You have an egalitarian society but in some sense it is very constrained.”
Projects contained within the lockers cover a range of architectural typologies, encompassing offices, playgrounds, farms and factories, windows, beds, doors and virtual spaces. Some open up in clusters, creating enough space for doorways leading through to the hidden rooms beyond.
In one of these hidden spaces, inflatable humanoid shapes in primary colours cavort on a bouncy chequerboard platform. The installation, by Simone C Niquille, looks at how digital avatars are used to measure safety for workers.
Elewhere, Princeton University professor Beatriz Colomina has created an installation called Bed-In, which recreates the “fucktory” of John Lennon and Yoko Ono’s bed in Room 902 of the Amsterdam Hilton Hotel. Her aim was to show how the bed is now a place of work as well as sleep.
Another project sees Columbia University dean of architecture Mark Wigley revisit New Babylon, an artwork by Constant Nieuwenhuys, to reflect on the violence of robotised labour.
There is also a room full of models, put together by Liam Young, which looks at how factory workers in India are sometimes behind the visions of future architecture released by western architecture studios.
According to Otero Verzier, it is particularly important for architecture to engage with these issues at a “time when architecture itself is becoming automated”.
“What interests me is that most of the spaces we are analysing,” she said. “Architects are mostly not present in the design, so somehow it seems that technology is faster than architecture.”
“So if we want to continue being a profession that is relevant in the transformation of cities, and be an active agent in making those decisions, we have to start being a part of the conversations.”
Also at this year’s biennale, the Nordic Pavilion has been filled with inflatable blobs that inflate and deflate in response to fluctuations in their surrounding environment, to symbolise how humans can create architecture in symbiosis with the environment.
The Golden Lion for best pavilion went to the Swiss Pavilion, offers visitors an Alice in Wonderland-style experience as they venture through a replica show flat filled with both giant and tiny fixtures and fittings.
The Venice Architecture Biennale 2018 opened to the public yesterday and continues until 25 November 2018.
The post Dutch Pavilion invites you to explore a Narnia-like locker room appeared first on Dezeen.
Penny rounds cover surfaces and perforated metal forms partitions at this pizzeria in New York’s Lower East Side, designed by Jordana Maisie.
Una Pizza Napolitana opened last month on Orchard Street, amid the throngs of eateries and bars found in the Manhattan neighbourhood.
Restauranteurs Jeremiah Stone and Fabian Von Hauske teamed up with Neapolitan pizza specialist Anthony Mangieri for the venture, and asked designer Maisie to create an interior that would complement the cuisine.
“The primary design challenge for Una Pizza Napoletana, was to create a singular cohesive space that represented two distinct identities: both culinary and aesthetic,” said a statement from the team.
The 1,667-square-foot (155-square-metre) space is divided into two sides, with dark tones used on one and a lighter palette across the other.
Both are created with penny rounds – circular tiles that look like coins, tessellated together in rows to create larger surfaces.
Matte-black penny rounds run from the door along one wall and a section of the floor, almost the full length of the space.
Built-in seating with matching wooden backs follows the dark strip all the way down, with small wooden tables and chairs lined up in front.
On the other side, pale-toned penny rounds offer a contrast. A bar wrapped in the tiles occupies the area closest to the street frontage, while more tables and seating are available beyond.
Further back still, a partition made from perforated metal cuts the room in half. While a gap allows the dark-section seating to continue back, the other side of the screen demarcates the kitchen area, and wraps around its side.
A white-tiled pizza oven and other food preparation areas are visible through a window, as is a separate enclosed, temperature-controlled room for making the dough.
“Site-lines are curated to frame activity and emphasise the artisanal quality driving the culinary experience,” the team said.
Materials used across the space are predominantly monochromatic, like the marble bar counter, and steel shelving behind that was built in Memphis.
Custom seats and stools have a “deco meets industrial” look, with metal stands and green leather upholstery, and were made in Pittsburg.
“All furniture has been custom designed as an aggregate of deco elegance and raw robust industrialism,” said the team. “The resulting design is one focused on craft, depth, vibrancy and material play.”
New York has a constantly evolving dining scene, with new spots opening up all the time. Other recent additions with notable interiors include Italian-American restaurant Don Angie in the West Village and a ramen spot called Tonchin in Midtown.
Photography is by Nicholas Calcott.
The post Jordana Maisie designs “deco meets industrial” interior for Una Pizza Napoletana in New York appeared first on Dezeen.
New York firm Neil Logan Architect has retrofitted a warehouse in the city for streetwear brand Supreme, and put a free-standing skate bowl in the back.
Supreme Store Brooklyn is located in the Williamsburg neighbourhood, inside a former storage building for delivery trucks.
Local studio Neil Logan Architect led the interior design, leaving the brick walls exposed and including series of large skylights to bring light into the industrial-style space.
The store-cum-skatepark spans 2,938 square feet (square metres), with an open-plan retail area at the front, and a section for storage and skateboarding towards the rear.
The free-standing skate bowl was designed by Steven Bladgett of American art collective Simparch and custom-built with Baltic birch plywood. The structure is supported by a series of red poles around its perimeter, providing enough height for skateboarders to drop into the bowl and for fitting rooms to be housed underneath.
A popular piece of apparatus for performing tricks on a skateboard, the skate bowl was accidentally invented by architect Alvar Aalto in the 1930s with a swimming pool design, according to a US skateboarding magazine and a Finnish newspaper.
Last year, Supreme also updated some of Aalto’s classic modernist furniture – including the Stool 60 and the 400 Tank armchair – with new patterns and upholstery.
At the Brooklyn store, Logan replaced existing garage doors with a large piece of glass to create the new storefront. “Overt design features were suppressed in favour of the ‘almost nothing’ approach,” said the studio.
Brick walls inside were cleaned off, but the decades of paint layers were largely left intact. Other additions include concrete flooring and white concrete walls in the front retail area.
Translucent fabric conceals the stockroom in the far back corner, while metal-reinforced fabric forms the dressing rooms.
Supreme was founded in New York City in 1994 as a skate, fashion and apparel brand, and has since gained a dedicated cult following. Its store on Los Angeles’ Fairfax Avenue has a similar skate bowl to the Brooklyn location, while the Paris outpost is located in an old building with white surfaces and skylights overhauled by Brinkworth.
Other projects designed around skateboarding include the Vans headquarters in California by Rapt Studio, a narrow wooden skateboard ramp that floats on Lake Tahoe and designed for pro-skater Bob Burnquistand, and a skatepark made of red concrete in Belgium by B-ILD and Constructo.
Photography is by Dean Kaufman.
Project credits:
Builder: John Petrocelli Construction
Concrete consultant: Studio Christian Wassmann
Mechanical engineer: Rosini Engineering
Structural engineer: Eipel Engineering Group
The post Supreme store in Brooklyn by Neil Logan features an elevated skate bowl appeared first on Dezeen.
Somehow, beginning her TED Talk “How I Made Friends With Reality” by announcing she has stage four cancer, yet making the entire crowd laugh, the inimitable and charming Emily Levine immediately hooks her audience. The writer/philosopher/comedian……
Continue Reading…
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.
