Woods Bagot CEO's rugged beach house evolves again

St Andrews Beach Villa by Woods Bagot

Architecture studio Woods Bagot has completed the latest stage of a weathered seaside house in Australia that has been 20 years in the making.

Designed as a home for Woods Bagot CEO Nik Karalis, the St Andrews Beach Villa began in 1999 as a simple shack on Mornington Peninsula.

St Andrews Beach Villa by Woods Bagot

Over the years it has gradually evolved into what is now a five-bedroom villa with a pool, cabana, glasshouse and full-width deck.

“Longevity of design in historic houses is not unusual – many European villas took 10-30 years to build,” Karalis told Dezeen.

“In our case, it was a combination of increasing family needs and also a detailed understanding of place and context.”

St Andrews Beach Villa by Woods Bagot

Over time St Andrews Beach Villa has been adapted and altered to deal with its challenging site.

The peninsula is subject to intense winds, constantly shifting sand-dunes and a high concentration of salt in the atmosphere, which speeds up the corrosion of materials.

St Andrews Beach Villa by Woods Bagot

“The project could not be transported anywhere else in the world,” said Karalis.

“It is a building intensely sensitive to place, recognised most importantly by the locals and the surf community.”

St Andrews Beach Villa by Woods Bagot

St Andrews Beach Villa is a simple steel box raised on supports with a panoramic living space facing south-west towards the sea.

A 25 metre-wide stepped deck is cut through by a passage that leads into the undercroft, slotted below to provides a more intimate, sheltered space.

St Andrews Beach Villa by Woods Bagot

The villa’s entrance sits on its sheltered rear facade, where a steel ramp leads up to a reception area and also to the pool and cabana.

Bedrooms sit arranged along this more sheltered, northern side of the plan, while the glazed front provides far more exposure.

St Andrews Beach Villa by Woods Bagot

This theme of contrasts continues in the exterior finishes. The rear and sides of the villa have clad with a rainscreen of jarrah wood panels, through which north light can filter in.

Internal finishes have been created through a mixture newer elements and old, worn materials from St Andrews Beach Villa’s previous iterations

St Andrews Beach Villa by Woods Bagot

“The villa’s ongoing deterioration inspired the material selections, and the details celebrate the temporality of all things,” said Woods Bagot.

“A deliberate juxtaposition of eroded and resilient surfaces, of mundane and exquisite materials, reflect a sensitivity of a beguiling nature.”

St Andrews Beach Villa by Woods Bagot

Although the latest stage of expansion has been complete, the practice still view the villa as an ongoing design experiment that will continue to respond to its site over time.

“There are still more areas of development in response to both the personal, emotional journey but also further sensitivity to the site’s ecological potential,” said Karalis.

“It could go on for a whole life time and into the next generation. Design never rests.”

St Andrews Beach Villa by Woods Bagot

Woods Bagot has previously created several residential projects that respond to their environments through their form and materials.

On the coast of Victoria, the practice designed an arc-shaped stone house overlooking the sea, and in Melbourne, a block of zinc-clad apartments reference their industrial context.

Photography is by Trevor Mein.

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Daan Roosegaarde's Presence exhibition encourages visitors to make their mark

Daan Roosegaarde Presence exhibition

Dutch designer Daan Roosegaarde has opened his first major solo museum show — an interactive experience meant to awaken its audience to human impact on the environment.

Staged by the Groninger Museum in Groningen, the Netherlands, Roosegaarde’s Presence exhibition takes the form of a sprawling, 800-metre-square installation of darkened rooms and phosphorescent light.

Daan Roosegaarde Presence exhibition

At every turn, museum visitors are encouraged to touch, move, push and hug objects in the space, and in doing so leave an imprint for those who come after.

Roosegaarde, whose work often focuses on the environment and sustainability, created the exhibition to make visitors aware of the traces they leave behind on their surroundings, and to make them feel empowered to act differently.

Daan Roosegaarde Presence exhibition

“I wanted to create a place where you feel connected,” said Roosegaarde. “You make the artwork and the artwork makes you. Presence shows your relationship with the environment and how we can influence it.”

Presence opens with a dark room ordered around grid-like markings and large plinths.

A beam of blue light constantly scans the space, like a photocopier, leaving behind a ghostly imprint wherever a visitor blocks the light. Visitors often climb the plinths, so that shadows of bodies lie across them.

Daan Roosegaarde Presence exhibition

The same principle is at work in the next room, which is the most minimal space in Presence and was partly inspired by the work of light artist James Turrell.

The empty room, bathed in alternating blue-green and red-orange phosphorescent light, “takes pictures” of its inhabitants as the colour transitions.

Daan Roosegaarde Presence exhibition

Roosegaarde restricted himself to a minimal visual language for the exhibition — “light, dark, big, small, hard, soft, square and round” — with the following three sections of the exhibition built around spheres.

One is a dark room filled with millions of tiny balls, like grains of sand making up a dune or, in the words of Presence co-curator Sue-an van der Zijpp, “a kind of universe made of luminous stardust”.

“It’s like walking through the stars,” says Roosegaarde in an exhibition video. “It’s very fairy-like but also tangible.”

Daan Roosegaarde Presence exhibition

There’s also a room combining large spheres with the photo-taking light effects found elsewhere in the exhibition, and finally, a room of jellyfish-like balls, called Lolas after the intern who helped design them.

When pushed around, the Lolas leave tentacles of green light on the dark ground, inviting visitors to draw patterns or write words.

Daan Roosegaarde Presence exhibition

Roosegaarde is best known for environmentally orientated projects, such as the air-cleaning Smog Free Tower and the energy-generating Windvogel kites.

The designer wanted Presence to explore the same themes but connect with audiences on a more emotional level.

“One of the problems around sustainability these days is that we have a rising sea level, carbon dioxide, smog, light pollution,” said Roosegarde. “We blame politicians, talk about numbers, we tighten up, get angry. That doesn’t work. So we’ve lost the connection.”

Daan Roosegaarde Presence exhibition

Roosegarde believes that one way to grow those societal and environmental bonds is through touch.

“If you’re too far removed, it’s too abstract and academic,” he said. “I think that’s one of today’s problems — we’ve created too much distance. We’re all a part of this network. The more we forget this, the harder it will be to keep it inhabitable and humane.”

The exhibition ends with a quote by philosopher and media theorist Marshall Macluhan: “On spaceship Earth there are no passengers. We are all crew.”

Presence opened at the Groninger Museum on 22 June 2019 and runs until 12 January 2020.

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Marvelous Architecture of Gaudí’s Casa Vicens

Le photographe d’architecture David Cardelús a récemment effectué une mission pour la Casa Vicens de Antoni Gaudí. Considéré comme un bijou architecturale barcelonais, le bâtiment est inscrit au patrimoine mondial de l’UNESCO.

La maison est considérée comme la première œuvre architecturale remarquable de l’architecte espagnol. Il s’agit d’un bâtiment grandiose, orné de motifs orientaux et de garnitures aux couleurs vives, typique du style Gaudí. Si les pièces n’ont pas été modifiées, la maison a désormais une dimension culturelle et une fonction de musée. L’idée est de présenter cette œuvre incontournable, de décrypter son langage architectural et le développement du Modernisme à Barcelone.

David Cardelús, est né et a grandi à Barcelone. Après avoir étudié la photographie, le cinéma et la vidéo, il est aujourd’hui maître de conférence en photographie d’architecture à l’Université Pompeu Fabra ELISAVA. Ayant réalisé d’autres série photo comme à la Crypte Gaudí ou encore le Palau Güell, David Cardelús espère un jour avoir photographié tous les bâtiments du célèbre architecte catalan.









Explore concrete, coloured glass and polycarbonate via our Pinterest boards

This week we’re showcasing a range of materials on our Pinterest account, including concrete, coloured glass and polycarbonate plastic. Follow Dezeen on Pinterest ›

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Grey tones pervade interiors of Zhengzhou's JHW store

JHW store by Atelier Tao+C

Plaster, concrete and shiny steel merge to form the greyscale interiors of this menswear store in Zhengzhou, China, which has been designed by Atelier Tao+C.

Set inside what Atelier Tao+C describe as a “banal” shopping centre, the JHW store has been designed to be an “austere, monochrome” space.

JHW store by Atelier Tao+C

To achieve an all-grey aesthetic, the studio has covered surfaces throughout the two-storey boutique in Shanghai plaster – a finely-ground mixture of granite stone and cement.

Shanghai plaster was typically applied to the facade of art deco-style buildings in Shanghai during the 1920s.

JHW store by Atelier Tao+C

“Reusing this once-popular yet forgotten material, we seek to evoke memories of the most dynamic and creative era and city to convey a more ‘local’ sense of the street,” explained the studio.

The studio is also hoping that the use of a material distinctive to China will subtly reflect the ethics of the brand, which aims to promote domestic fashion brands and emerging local designers.

JHW store by Atelier Tao+C

Perforated sheets of steel have then been erected in a continuous line around the store’s periphery, forming a “lightweight inner shell”. As sunshine seeps through from the windows directly behind, the floor is dappled with spots of light.

Steel has also been used to craft blocky display plinths and thin rails from which clothing items are hung.

Decor has been restricted to simple strip lights, which are suspended horizontally and vertically in a grid-like arrangement.

JHW store by Atelier Tao+C

A part of the existing ceiling has been cut away to form a double-height void in the store. It’s interrupted by a couple of concrete structural beams and a transparent walkway that diagonally crosses the second floor.

JHW store by Atelier Tao+C

A glass box that the brand can use as a display or installation space appears downstairs, where it appears to burst through the store’s front elevation.

The floor directly in front of the service counter has also been recessed to form a small, stage-like area where talks can be held.

JHW store by Atelier Tao+C

This is one of the few projects that Atelier Tao+C has completed outside of Shanghai, where its office is based. The studio has previously overhauled one of the city’s traditional lane houses, inserting a lightwell at its centre to brighten the interiors.

It has also renovated a Shanghai apartment to feature floor-to-ceiling bookshelves, turning the space into one huge library.

Photography by Tian Fang Fang.

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Vaste celebrates Canadian heritage with new furniture collection

Atelier Vaste

Stools with “wild simplicity” and colourful storage boxes feature in the debut series of a new Montreal furniture brand.

Called Vaste, the company launched last year as the furniture arm of Montreal design studio F & Y, established by woodworkers Frederique Beaubien and Yannic Ryan in 2009.

Atelier Vaste
Items in the range include the Olmsted chair and the Cache storage boxes

The two and their team, which comprises three designers and five woodworkers, make the furniture in their workshop in the city. They specialise in using wood that is indigenous to Canada – particularly white oak, walnut and blackened ash.

“Designed and manufactured locally, the collection shows a consideration for Canada’s nordicity to offer elegant, adapted and timeless pieces,” said the studio in a project description. “Vaste is a selection of durable furniture that fits naturally in everyday life.”

Atelier Vaste
The semi-circular storage boxes come in different woods and finishes

Among the collection is Nord, a dark wooden table that the team describes as a “sturdy table” with a “graceful look”.

“It is by deconstructing the table and ridding it of all superfluous components that they manage to leave full place for clear and honest lines with harmonious curves,” said Vaste in a project description. “The result is a minimal, classic and elegant piece of furniture.”

Atelier Vaste
The Olmsted collection is intended to bring elements of the outside indoors

The Nord table is accompanied by the chairs of the same name, which feature an oiled walnut frame and dark leather upholstery. The Nord chair was first produced by F & Y in 2012 as part of its design of a local Montreal restaurant.

The Olmsted series, meanwhile, comprises a chair with an upholstered back, as well as a stool and a dining table with a solid structure and central crossbar. The studio said it designed this collection to integrate the outdoor environment into the inside.

Atelier Vaste
Vaste describes the Olmsted chairs as featuring a look of “wild simplicity”

“The influence of nature is reflected in the organic fluidity of the joinery and lends the Olmsted stool a look of wild simplicity,” it said.

For the stool, two different portions below the seat are formed by rods, creating places for the user to grip with their hands and feet.

Atelier Vaste
The studio’s Tame stool comes in a longer version ideal for storing shoes

Vaste’s collection also includes the Sted chair, featuring a rounded back and “playful and attractive” proportions. The structure is made solid ash, while the seat is formed of moulded plywood covered with ash veneer.

Rounding out the designs are Tame side tables and benches with slatted rods underneath to provide storage and the Cache storage boxes and chests, which are designed to save space and minimise furniture.

The storage volumes are available in oval or half-oval shapes, and are made of veneered plywood and covered inside and out with white oak or walnut veneer.

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Here’s how NASA’s astronauts exercise in outer space

How do you jog on a treadmill in space? How do you lift weights in a zero-gravity atmosphere? Exercising in outer space sounds like a rather strange problem because there isn’t much you can do that’s effort intensive, only because things are rather effortless in a situation without gravity!

The answer to how astronauts exercise in space is ‘friction training’. An astronaut’s physical fitness is paramount to the success of a space mission, and exercise equipment can often be bulky, occupying precious space in a rocket pod. Gyms built for space are often incredibly compact, multi-purpose pieces of equipment that use inertial technology to work your muscles, giving you the perfect workout with a decreased chance of injury. Friction training can be used down here on earth too. It’s efficient, and allows you to perform concentric and eccentric workouts with minimal risk of strain… and it has the ability to be compact enough to carry around in your hand.

Meet the Handy Gym. It isn’t a piece of equipment, it’s an entire gym that is capable of exercising every part of your body. Developed using NASA’s isoinertial technology, Handy Gym gives you access to one of the most scientifically backed workout methods of all time. After all, if it’s good enough for the international space station, it’s good enough for earth, right? The Handy Gym uses a pulley system and two solid steel inertial discs. Multiple accessories allow you to work different body parts, exercising your arms, legs, core, allowing you to stay fit, bulk up, lose weight, or even recover from injuries. Handy Gym is small enough to fit into a suitcase with the rest of your clothes, or in your dressing room drawer, to be used any time you want to work out. It weighs approximately 2 pounds too, so you can carry it anywhere you please. Designed for an effective, and more importantly safe workout, the Handy Gym packs a Bluetooth module too that lets you track your progress as you exercise, while the app even guides you through using the tiny multi-purpose device to work all parts of your body. Designed for three level of intensities, the Handy Gym comes with a choice of three steel discs ranging from low to medium and high power, while its set of accessories ensure that you get the entire gym experience in a deceptively small product that was designed to be quite literally out of this world!

Designer: Manuel Montes

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Handy Gym: Portable, Powerful & Effective Inertial Training

Perform strength training exercises anywhere, anytime with this conical pulley device with NASA-based inertial technology.

Handy Gym offers functionality and efficiency comparable to expensive inertial pulleys and superior to large gym machines. This kind of strength training method is independent of gravity and it allows for anywhere resistance training without lifting even one pound… while offering stronger and safer fitness results.

Save money with their portable device.

Did You Know?

Isoinertial technology was developed for NASA in the 1990s to solve the problem of loss of muscle mass suffered by astronauts after long periods in space where, for lack of gravity, they could not exercise their muscles through conventional weights.

How Does Handy Gym Work

Presented in the form of a compact accessory of a two-pound, contact accessory, Handy Gym contains two inertial discs capable of converting its turn in strength of resistance. It comes with the accessories necessary to make it portable – from your home to the outdoors, you can now workout at any time!

Handy Gym also comes with a wide variety of gripping elements that allow you to perform up to 200 different exercises and work any muscle group you want.

Benefits of the Handy Gym.

Below: How to Use the Handy Gym

Below: Product Description

Accessories.

Encoder data and power test.

Below: Handy Gym in Use

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The Menhaden hotel offers salute to maritime heritage of Long Island

The Menhaden boutique hotel in Long Island, New York by Kristen Pennessi

Attorney Kristen Pennessi has designed this boutique hotel in Greenport Village, Long Island, as a modern reference to the area’s fishing and whaling heritage.

The Menhaden boutique hotel in Long Island, New York by Kristen Pennessi

Pennessi and her husband Dan partnered up with Manhattan architect Tom Pedrazzi to design the 16-room property at the town entrance – formerly the site of a famous antique carousel that was moved to Mitchell Park in 2011.

The Menhaden boutique hotel in Long Island, New York by Kristen Pennessi

The interior public spaces of The Menhaden – named after a local fish – are flecked with nautical artifacts hidden in plain sight, including bottles, bricks, horseshoes and a mast from one of Greenport’s whaling ships. Many of these items were discovered during the hotel’s construction.

Clean lines, black lacquer and brass accents characterise the hotel’s ground floor, including the lobby, adjacent lounge area and grab-and-go cafe.

The Menhaden boutique hotel in Long Island, New York by Kristen Pennessi

“We chose something contemporary and bold for the lobby floor and softened it with shiplap walls and modern finishes,” Pennessi told Dezeen.

The Menhaden boutique hotel in Long Island, New York by Kristen Pennessi

Guestrooms are designed to “evoke a feeling of home that varies from room to room”.

White walls establish a setting that is “light and airy”, complemented by whitewashed furniture and a neutral colour palette that leverages green accents and salvaged driftwood. Furniture is almost exclusively sourced from Restoration Hardware.

The Menhaden boutique hotel in Long Island, New York by Kristen Pennessi

Abstract photography by Long Island artist Scott Farrell showcase maritime subjects like boat hulls.

Bathrooms are intended to be ”spa-like”, featuring a soaking tub or walk-in shower with amenities from Roam, a female-owned enterprise that makes American-made vegan, gluten and cruelty-free items.

The Menhaden boutique hotel in Long Island, New York by Kristen Pennessi

Pennessi also created “galleys” on each floor with gloss black Smeg refrigerators filled with complimentary snacks and beverages.

The Menhaden also boasts Greenport’s first-ever rooftop restaurant, The Merchant’s Wife.

The Menhaden boutique hotel in Long Island, New York by Kristen Pennessi

For lounge-style dining, Pennessi custom designed two raw oak banquettes finished with caning and black mohair, and accompanied them with Fyrn Bartlett and De Haro stools. Marble table tops were included for a more formal dining experience.

The black shuttered bar is topped with a poured concrete counter, and overhung by spherical black wicker pendant lamps and tea lights. Floor-to-ceiling botanical murals were hand painted in greyscale by local artist Kara Hoblen.

The Menhaden boutique hotel in Long Island, New York by Kristen Pennessi

An outdoor terrace overlooking Greenport Harbor serves as a private event space, complete with a bar, firepits and lounge seating.

The greater area of Long Island is a thriving holiday spot for those working in New York City. Other recently completed accommodation in the area includes A Room at the Beach, a boutique hotel once owned by American fashion designer Donna Karan, and a Hamptons wellness retreat.

Photography by Read McKendree.

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When Number Typography Meets Insects

Pour la sixième édition des 36 Days of Type de 2019, Alex Palazzi, graphiste, artiste de mouvement et créateur de jouets d’art basé à Barcelone, s’inspire d’une source inattendue : les insectes. Intitulé Insects vs. Numbers, Palazzi utilise ses talents d’artiste pour créer de superbes visuels sur le thème des insectes. Il recrée le numéro 5 qui ressemble à une peau parsemée de moustiques, un numéro fantomatique 3 façonné par des toiles d’araignées ou un nid d’abeille numéro 6 grouillant d’abeilles. Certaines images peuvent ne pas être désagréables, mais – fan d’insectes ou non – vous ne pouvez pas nier que les résultats sont fantastiques. Voir plus de travail de Palazzi sur son site Web et Instagram.









Revery Architecture designs snaking glass campus on Hong Kong hillside

University of Chicago campus by Revery Architecture

University of Chicago Centre Hong Kong by Revery Architecture is a glazed curvilinear building perched on slim concrete stilts on a steep, wooded hillside.

Standing above Mount Davis and facing dramatic views out to the sea, the campus has been conceived of as a “treehouse of knowledge” by Revery Architecture – formerly Bing Thom Architects.

University of Chicago Centre Hong Kong by Revery Architecture

University of Chicago Centre Hong Kong is located on a heritage-protected site formerly occupied by a military facility and a detention centre. Some heritage listed structures from this era still remain on the site.

The three-storey glass clad form runs along the contours of its hillside site, enveloping three of these heritage buildings.

University of Chicago Centre Hong Kong by Revery Architecture

“The design mandate was to respect both the existing heritage buildings and the complex natural landscape, including the site’s public hiking trails,” said the studio

“This led to the decision to ‘float’ the project above the historic remnants and lush trees, mitigating disruption of the ecological landscape.”

University of Chicago Centre Hong Kong by Revery Architecture

These listed buildings have been restored and retrofitted into a student’s lounge and classroom space.

A glass volume houses further classrooms, offices, an exhibition space and a canteen, and sits on non-percussive piles that were custom engineered by Arup to ensure minimal impact to the ground.

University of Chicago Centre Hong Kong by Revery Architecture

A focal point of this natural landscape was a 75-year-old flame tree, around which the building’s deck curves to create a public space for exercise and tai chi.

“A curvilinear form that gently weaves the academic programme into the contours of the site’s difficult terrain, touching down only at points of least intrusion,” they added.

University of Chicago campus by Revery Architecture

At second floor level this glass form has been pulled back at its centre to make way for the heritage structures and to create a large, planted terrace space overlooking the landscape.

The glass facade is covered with a rhythmic pattern of sun-shading to prevent overheating.

University of Chicago Centre Hong Kong by Revery Architecture

The interiors have been kept minimal, with exposed concrete walls and timber floors creating a simple backdrop for the panoramic views.

The project was one of the last on which the late Chinese-Canadian architect Bing Thom worked before his death in 2016. The now-renamed studio recently completed the aluminium-clad Xiqu Centre in Hong Kong’s West Kowloon District, in collaboration with Ronald Lu & Partners.

Photography is by Ema Peter.

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