Synthetic biologist Alexandra Daisy Ginsberg to speak at Dezeen Day

Dezeen Day speaker: Alexandra Daisy Ginsberg

Alexandra Daisy Ginsberg will give a keynote lecture at Dezeen Day in London on 30 October.

The British multidisciplinary artist’s work explores how design can help create a better world by harnessing emerging technologies and science disciplines.

She is particularly known for her work in synthetic biology – a new branch of science that involves designing new life forms to solve problems and perform tasks for humans.

Ginsberg studied architecture at Cambridge University and interaction design at the Royal College of Art, followed by a PhD from the RCA.

Her first solo exhibition, Better Nature, is at the Vitra Design Museum Gallery until 24 November 2019. The show gathers together six of her key projects including an exploration of how Mars could be colonised by new species of plants; and Resurrecting the Sublime, which attempts to recreate the smell of long-extinct flowers.

Other key projects include Designing for the Sixth Extinction, which imagines a range of bio-engineered creatures that are released into the wild to help mitigate the damage humans are doing to planet Earth; and E. Chromi, which imagines new types of bacteria living inside the human gut that turn faeces bright colours that warn of impending disease.

In 2014 Ginsberg was one of six designers commissioned by Dezeen to explore the future of mobility for an exhibition staged during the London Design Festival. Part of the Dezeen and MINI Frontiers project, Ginsberg imagined a future where cars would be grown and repaired locally instead of being manufactured in centralised factories, leading to a wide variety of biologically diverse forms as vehicles mutated according to regional conditions.

Ginsberg joins Paola Antonelli, senior curator of architecture and design at The Museum of Modern Art, and Patrik Schumacher, principal at Zaha Hadid Architects, as a speaker at Dezeen Day, with many more speakers yet to be announced.

Click here to purchase tickets or use the form below:

Dezeen Day takes place on Wednesday 30 October at BFI Southbank, set on the Thames in central London. Part of the brutalist South Bank arts complex, BFI Southbank has recently been refurbished by architects Carmody Groarke.

Dezeen Day aims to set the global agenda for architecture and design and will address key topics including future cities, new materials, transforming design education and the circular economy.

Further speakers will be announced over the coming days or sign up to receive email updates.

Illustration is by Rima Sabina Aouf.

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Dream, Design, Deliver! RapidDirect launches its new online prototyping platform!

RapidDirect’s latest online tool is every designer’s dream come true. Upload your 3D model on the website, select the material and manufacturing procedure, and voila, you’ve got yourself a quotation for prototyping your part in less than 24 hours. It takes an industrial designer months to arrive at their masterpiece… prototyping shouldn’t add an extra month to that timeline. RapidDirect, China’s largest manufacturing network is taking their services to the cloud with their online manufacturing portal. Headquartered in the world’s biggest industrial hub, Shenzhen, RapidDirect aims to reach out to designers around the world looking to rapidly and accurately prototype their designs. The process is as simple as selecting your model, material, and manufacturing process. RapidDirect’s engineers review your model and generate a quotation tailored to your design. You can manage multiple quotations within the platform, while its interface simplifies the process, eliminating the long chain of email exchanges you’d otherwise end up having with your prototyping partner before approving a quotation.

The platform’s instant quotation system is its winning feature. Based on your material, finish, and the manufacturing process you choose, RapidDirect can generate a quote for you within 24 hours… that’s about the same time as it takes to generate a hi-res photorealistic render. RapidDirect’s manufacturing choices range from 3D printing and CNC machining to even injection molding and sheet metal fabrication. For added clarity, users can even provide the RapidDirect with technical drawings and design instructions. “Our digital online manufacturing platform provides users with up-front costs and detailed order information,” said Leon Huang, Managing Director, RapidDirect. The process makes creating real, usable prototypes as simple as clicking a button and having your product delivered to you via post. Now isn’t that every industrial designer’s dream!?

Click Here to Know More: RapidDirect

RapidDirect’s Online Manufacturing Platform with Instant Quotation Engine

The platform allows you to upload your parts, select a manufacturing process and choose from a wide selection of materials and finishing options. You can even get your project quotation within 24-hours!

The RapidDirect team has developed its new online manufacturing platform to simplify on-demand manufacturing. Eliminating the back-and-forth of email correspondence, the platform uses existing order data to build an accurate quotation for a project, based on factors like part size and material.

To use the online service, users simply upload a file and select various processing options — including manufacturing technology, material and finishing options — from drop-down menus.

The online platform also allows users to manage multiple quotations in one place and track the progress of orders.

How it works

RapidDirect’s new online manufacturing platform can be used for every manufacturing service offered by RapidDirect: CNC machining, injection molding, sheet metal fabrication and 3D printing.

Once a file has been uploaded and a manufacturing process has been chosen, users can select a material, finish and unit quantity, and are given the option to provide further remarks and manufacturing instructions. Technical drawings can also be uploaded to provide further instruction to RapidDirect’s engineering team.

When these elements have been specified, users can submit their request for quotation, upon which they will receive a confirmation email. A RapidDirect engineer will then review the specifications and provide a quotation within 24 hours.

Users will be notified by email when the quotation has been created, and can assess the quotation — which includes a proposed price and lead time — by logging into the RapidDirect platform directly. When logged into the platform, users can manage multiple quotations at once, confirm or reject a proposed quotation and view the status of pending orders. For added clarity, quotations are priced in terms of total cost and cost per unit.

Click Here to Know More: RapidDirect

Self-cleaning travel T-shirts with HercFibér, kicks the need for laundry and helps you travel light

The future of fashion is no laundry, and to help endorse this is the Apollo Self-Cleaning T-shirts. Made from fabric that has been created by material scientists – it is the first time we are see it being incorporated into a travel tee-shirt. With airlines getting stringent on baggage weight limits – even Emirates has cut down the limit – it only makes sense to change the way we pack our clothes, by eliminating unnecessary clothes.

We all know that bacteria, sweat and the elements cause us to go through several clothes during a trip – but if one element – like the tee that we carry, can be modified, we can end up saving a lot of space, as well as cut down our laundry pile.

HercFibér was created by material scientists and the team has worked over two years on this travel T-Shirt. This new material is able to fight bacteria and can destroy almost all smell causing bacteria within a 24-hour timeframe.

The Apollo T-shirt would probably get Steve Jobs’ approval, given that he made wearing Tees to work, the norm.

Designer: Wenizzy

Click Here to Buy Now: $59 $100 ($41 off). Hurry, only 12/90 left!

The Apollo – Self-cleaning Travel T-shirt with 25 Benefits

First of its kind that never has to be washed but instead just rinsed off to clean off the dirt and dead skin cells and hung up so you can re-wear it for as many days as you’d like.

Made specifically for ultra-light travelers, you’re free to travel the world with just 1 shirt for 1 week, 1 month, 1 year, or even 1 lifetime.

Made with HercFibér

HercFibér is a unique material they created that blends together three different fibers to get the exact features they desired. These materials are put together in a unique combination to create a material that is perfect for travel.

The self-cleaning works thanks to biology. Read below.

Most materials act as a petri dish for bacteria; helping smell-causing bacterias to grow in the fiber while they feed on your sweat. The more time and sweat, the more bacteria grow on the material and releases increasingly worse odor.

HercFibér’s unique blend of fibers grows bacteria very slowly while you’re wearing it, but once you take it off, it starts cleaning itself by killing the smell-causing bacteria and so by the morning, it smells clean again.

Unlike cotton and other materials that keep on growing bacteria until it turns to mold/mildew, Apollo’s material does the opposite, by actively getting rid of the bacteria.

Color Options

Click Here to Buy Now: $59 $100 ($41 off). Hurry, only 12/90 left!

How GMC's Combination of Design, Technology and Engineering Makes Trailering Safer and Easier

We recently covered an event in Jackson Hole, Wyoming, to evaluate the trailering capabilities of GMC’s new light- and heavy-duty Sierra pickups.

The event started with an accident.

GMC’s designers and engineers have developed a clever, comprehensive camera system to help avoid accidents–but they can only help if you’re using them. Prior to the group briefing on how to use these features, one of the automotive journalists wanted to try towing a massive camper trailer that was already hooked up to one of the trucks. He misjudged his spacing and made contact with a building, damaging an awning.

This didn’t bode well for me. As we lined up to be assigned a truck, a GMC coordinator asked me “How much trailering experience do you have?”

“Zero,” I said. Meanwhile, the journalist who had had the accident was a truck owner who did have trailering experience. What hope would I have of safely trailering the multi-ton loads on hand, up and down the narrow mountain roads around Jackson Hole? I was pretty damn nervous.

They paired me with David Ames, the Assistant Chief Engineer for the ten-speed Allison transmission in the Heavy Duty Sierra AT4 we hopped into. (Allison makes well-regarded medium- and heavy-duty transmissions that you’ll find in buses, fire engines, construction vehicles, military vehicles, et cetera.) While I’d be the one driving, David would walk me through using the camera system.

For this first drive, I was trailering this thing:

That’s a 14,000-pound camper, and the first thing I had to do was get out of the campgrounds we were in, down a narrow, unpaved road lined by landscaping features and rental cabins. As luck would have it, another pickup truck was coming down the road towards us. This was going to be a very tight fit.

Ames hit a button on the screen in the center of the dash, pulling up the cameras. (Because I could not take photos and drive at the same time, I’ll use stock photos here to illustrate how I was able to use the system.)

First off, when sitting in the driver’s seat of a vehicle with such a large hood, it can be difficult to judge exactly where the nose and sides are. The “overhead” view–which software cleverly stitches together from footage shot by multiple cameras located in the nose and side mirrors–made it easy to guide the truck within tight confines. As the approaching vehicle nosed towards me, I could see it in the overhead view, too, and thread the needle with confidence.

For terrain features that don’t show up well in overhead view–for instance, a shallow ditch that would be a big problem to drive into with a trailer attached–Ames showed me this split-screen side view, which provides a more detailed angle.

As the oncoming truck and I began to pass each other, I realized the trailer we were towing was a bit wider than the truck, presenting a potential problem. Ames showed me the following camera view, which allowed me to see backwards down both sides, so I could course-correct:

You can even choose to see two views at once:

Finally we reached the T-intersection to pull onto the main road. Ames explained that with a trailer this long, I wanted to pull straight forward until the truck touched the double-yellow line (which was perpendicular to us), then turn the wheel sharply to enact a 90-degree turn. This would give the trailer enough clearance to make the corner. For safety, I could check using this camera view:

There really is no substitute for being able to see things clearly from all angles, and I was grateful for the technology.

Once on the road, the truck’s DuraMax diesel engine had no problem getting up to speed. In fact after we’d cruised for ten or fifteen minutes, uphill most of the way, you could even forget there was a trailer back there–which Ames warned me was, of course, dangerous. The irony of producing a truck powerful enough to pull something that heavy, without struggling, is that it can lead to complacency, so the driver must remain vigilant.

From a sensorial perspective, there were only two things that made me aware we were hauling this 14,000-pound thing. The first is that, since we were using what’s called a gooseneck or “fifth-wheel” trailer, it’s attached to a connection point anchored in the center of the pickup bed itself, not the ball hitch. So when you go over bumps at speed, the truck’s suspension absorbs it for the truck, but the trailer bounces up and down a bit. That transmits a temporary, residual juddering into the bed of the truck, which reminds you that you’re attached to something.

The second thing is that whenever you come to a complete stop, or take off from a stop, you feel a definitive “CLUNK” as there’s a little bit of play in the hitch connection. I found it initially jarring, but Ames assured me it’s normal, and after a while I simply welcomed it as a haptic reminder of our load’s presence.

The 10-speed transmission was remarkable, and I’m not just writing that because the guy who helped develop it was in the truck with me. The shifting is smooth and practically imperceptible. It never struggled or shifted abruptly, but always seemed able to find the correct gear, even uphill or when I gave the accelerator a little extra, and it never wanted for power.

Then we got to the downhill part. Ames pressed a button on the dash marked “Exhaust Brake.” As we cruised downhill, he asked me “Do you feel that?”

Planted firmly in the driver’s seat, I tried to detect whatever sensorial anomaly he was referring to. But I didn’t feel anything different in the road feel, steering, braking, et cetera. “No,” I said.

“Exactly,” he said. “In a truck without Exhaust Brake, going downhill like this, you’d really feel like this 14,000-pound trailer is pushing the truck downhill, and you’d be riding the brakes pretty heavily.”

I could imagine that, but had no such sensation; the braking didn’t appear particularly challenging. “What does Exhaust Brake do?” I asked. Ames explained how the feature forces exhaust gases back into the engine, and followed with a detailed engineering explanation, but: Long story short, it uses the power of the engine, rather than the brakes, to slow the vehicle down. The result for the end user is that it doesn’t put a greater load on the driver or the brakes when going downhill.

Next we come to my almost-accident, which was entirely my fault.

The mountain roads we were driving up and down were two-lane, meaning one lane running in each direction. A fair amount of the traffic is large tractor-trailers or trucks towing stuff. Because of the weight and the road curves, these heavy vehicles are often driving at or below the speed limit. To allow zippier cars to pass them, the road periodically sprouts a short-run second lane on the right. Heavy vehicles are supposed to pull into this right lane, so that cars can pass on the left.

Ames had pointed this convention out to me, but at one point I became so engrossed in our conversation that I failed to notice one of these extra lanes had appeared. By the time I realized it, and turned my blinker on to get over to the right, an apparently impatient driver–whom I had not seen behind me–had unwisely decided to try passing on the right. Completely in my blind spot.

So here’s what happened: I turned the right blinker on; the camera view–which is linked to the turn signals–automatically switched to the right rear camera view, presenting a clear view of the blind spot. Where I was alarmed to see that a Subaru wagon was about to accelerate around the right rear of the trailer just as I was drifting into that lane.

The Subaru driver backed off and leaned on the horn angrily. As I completed the transition into the right lane, the Subaru whipped around on the left, accelerating quickly to draw even with my window. The woman driving the Subaru rolled the windows down and spent, I’d say, ten seconds yelling some unprintable things at me. I tried to apologize but she wasn’t having it. She zoomed off.

The woman was furious, and I get it. She was angry because she’d been frightened, my fault for not remaining vigilant that I’m towing around a potentially deadly amount of weight that could knock a car right off of the road. I told Ames I’d pay better attention and that I hadn’t even realized the car was behind me. While there was a camera mounted to the back of the trailer, which gives you the option to drive with this view on screen…

I had been driving instead with the side-rear view on-screen…

…so that I could ensure the trailer wasn’t wiggling outside the road lines.

Ames pressed another magic button, showing me this view:

That’s called “Invisible Trailer,” and as you can see, it renders the trailer functionally transparent. Pretty darn brilliant.

I made it back to base camp without further incident. Overall I was impressed at how manageable this combination of design and engineering elements–the truck’s power and transmission, the camera array, and the all-important UX that tied it all together–had made this daunting task so manageable for a first-timer like me. Having no prior experience with trailering, I cannot imagine how people do it without the situational awareness conferred by GMC’s system.

Interior shortlisted for Dezeen Awards disqualified after commenter spots "subtle cues" that images are fake

Interior shortlisted for Dezeen Awards disqualified: Nassim Mansion by 0932 Design Consultants

An apartment shortlisted for Dezeen Awards has been disqualified after an eagle-eyed commenter noticed that the images submitted were computer renders rather than photos.

Nassim Mansion, a three-bedroom residence designed by Singapore studio 0932 Design Consultants, was shortlisted for Apartment interior of the year at this year’s awards.

But when the shortlist was announced last week, a regular commenter called Spadestick cast doubt on the project’s images.

“Careful Dezeen, some projects you listed are unbuilt,” Spadestick commented. “Just renders, very very good ones no doubt. Please question the submitting parties carefully.”

Interior shortlisted for Dezeen Awards disqualified: Nassim Mansion by 0932 Design Consultants
Spadestick noticed that a round table in the apartment has a faceted edge rather than a smoothy curved one

Dezeen contacted 0932 Design Consultants, which admitted that it had submitted computer-generated imagery (CGI) instead of photographs. The studio said it had completed the design work in 2018 but had not been involved in the delivery of the project. The client had instead worked with a different supplier.

Dezeen Awards rules state that entries “must include at least one photograph of the completed project”. Photographs “must be unadulterated and genuine, although minor retouching is permitted”. Renders are allowed to be submitted to support entries, but these must be clearly labelled as such.

The project has now been disqualified, reducing the shortlist for the award to the remaining five projects.

Interior shortlisted for Dezeen Awards disqualified: Nassim Mansion by 0932 Design Consultants
Identical wood grain appears in different parts of this image

In an email Spadestick, who works in the computer-visualisation field but asked to remain anonymous, pointed out several clues in the images that suggested they were not real photos.

“I was also taken in at first, but upon very close inspection, and directing CG work a lot, we tend to pick up the subtle cues that give things away,” Spadestick wrote, attaching a series of annotated images highlighting discrepancies in the images of the interior.

Interior shortlisted for Dezeen Awards disqualified: Nassim Mansion by 0932 Design Consultants
Repeated surfaces and strange textures show that the images are not photographs

These include the same wood grain appearing in different parts of the project, a circular table that has a faceted edge and a curtain being blown in the wind in exactly the same way in two different images.

Other clues include stone texture that continues across joins, suspect colours in parts of a carpet that lie in shadow and an “impossibly long” solid stone step with “weird granite texturing”.

One image features “an extremely sharp top step edge that is normally bevelled in real life so people don’t cut themselves”.

“Honestly speaking, I like their work, but I also find falsifying documents unacceptable,” Spadestick added.

Interior shortlisted for Dezeen Awards disqualified: Nassim Mansion by 0932 Design Consultants
Spadestick also spotted an “impossible curtain” that billows in the same way in two different images

Nassim Mansion is a 1,060-square-metre dwelling in a mansion block in Singapore’s District 10.

The project has been widely published and won the People’s Vote in the Large Apartment of the Year category at Frame Awards 2019 earlier this year.

Interior shortlisted for Dezeen Awards disqualified: Nassim Mansion by 0932 Design Consultants
In this image, the wind is blowing the curtain in exactly the same way as in the previous image

Rendering technology means that it is often difficult to distinguish real photos from computer-generated ones. Brands such as IKEA routinely use CGI rather than real photographs of their products, although many people remain unaware of this.

Speaking to Dezeen about the rise of hyper-realistic renders in 2013, Richard Benson, creative director at digital imagery studio Pikcells, said: “The technology can now make these wonderfully realistic images as good as photography, and in some cases better.”

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Intriguing Details in Agostina Schenone’s Pictures

Jeune et autodidacte, Agostina Schenone possède toutes les qualités d’un excellent photographe, dotée d’un sens aigu du détail et d’un instinct pour choisir et composer ses sujets dans un cadre. Originaire d’Argentine, elle produit un mélange de photographie de portrait, de paysage, de mode, d’architecture et de rue, évoluant et améliorant constamment ses compétences. C’est une photographe à surveiller. Visitez-la sur Behance et Instagram pour plus.













Governments threatens to "name and shame" owners that do not replace Grenfell-style cladding

Cladding removal UK government fund

The UK government says building owners will face “consequences” if they do not use a new £200 million fund to remove dangerous cladding, 26 months after the Grenfell Tower Fire.

UK secretary of state for housing Robert Jenrick said that building owners who do not remove unsafe aluminium composite material (ACM) from residential tower blocks will be punished.

“Let me be clear, inaction will have consequences and I will name and shame those who do not act during the course of the autumn,” said Jenrick.

“There is no excuse for further delay – and for building owners to fail to take action now would be frankly disgraceful.”

Grenfell Tower caught fire on 14 June 2017 and 72 people died after being trapped in the tower block after flames spread up and along its new cladding, triggering a countrywide government safety review.

Dangerous cladding must be replaced

In 2014 government promised £400 million to replace the cladding on council-owned buildings and asked private building owners not to pass on the costs to their tenants.

However, following several cases where individuals were asked to pay tens of thousands towards replacing the cladding on their homes, the government set up a fund for privately owned buildings clad in ACM. Applications for the £200 million open 12 September 2019.

The UK government has also released £4 million of funding for the collection of data on building cladding types by local authorities. It has been estimated that over 170 private housing blocks have ACM cladding that needs removing.

Building safety standards under review

Funding of £10 million has been earmarked for the a Protection Board, which will be a joint project between the Home Office and National Fire Chiefs Council.

This Protection Board will oversee interim safety measures in buildings clad with Grenfell-style aluminium composite material (ACM), updating residents and ensuring the owners of these buildings “are acting on the latest safety advice”.

“Our proposals are an important step forward in shaping the future building safety standards,” said Jenrick.

“The new Protection Board will make sure building owners don’t flout the rules, as well as ensuring fire safety risks in other buildings are being addressed,” he added.

Sprinkler minimum may be lowered to six floors

Changing the law when sprinklers will be required is also being considered.

A commission has been set up to review lowering the height of a building where sprinklers must be installed from 30 metres, or 10 storeys, to 18 metres or six storeys.

These rules would pertain only to new-build housing blocks built since 2007, and do not apply to retrofitting anything built before then. The BBC estimates that fewer than one per cent of council-owned tower blocks have sprinklers.

Grenfell Tower, a 24-storey-high council tower block, did not have a sprinkler system added during its £8.7 million pound refurbishment in 2016.

Prompted by the scale of the disaster, designer Rimal Bhatt has invented a universal face mask to help people breathe while being evacuated from tower block fires.

Main photos by David Jones.

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Studio Gang clads Chicago high-rise in energy-saving concrete panels

Rieder Group concrete cladding on Solstice on the Park by Studio Gang

Dezeen promotion: materials developer Rieder has clad the facades of Solstice on the Park, a residential tower in Chicago designed by Studio Gang, in modular concrete panels.

The tower, clad by Rieder, is named Solstice on the Park due to the distinctive angular forms cut from its south, park-facing facade.

The form of the building has been designed using sun diagrams. At the solstice, when the sun is at its highest point, it hits the building at 72 degrees – and the indents lean at the same angle.

Rieder Group concrete cladding on Solstice on the Park by Studio Gang

This angling is designed to prevent heat flooding into the apartments and therefore reduce the energy levels required to cool the space.

These angled panels also creates solar advantage during winter months, allowing the low-level sunlight to penetrate far into the space.

Rieder Group concrete cladding on Solstice on the Park by Studio Gang

In total the 26-storey building in Hyde Park is covered in over 4,000 square metres of dark grey and beige-coloured panelling, which has been placed to highlight the tower’s structure.

Dark grey panels reflect the internal “muscular” concrete structure, while the light-beige cladding mirrors the materials of the surrounding buildings. This beige colour is also designed to complement the wooden finishes inside the apartments.

Rieder Group concrete cladding on Solstice on the Park by Studio Gang

The concrete panels designed by Rieder aim to show how climate-friendly construction can be integrated into high-rise buildings. The tiles, each 13-millimetre thin, are made from non-combustible glass fibre reinforced concrete.

Rieder’s contribution to Solstice on the Park is an example of the brand’s company philosophy, which is to “consistently viewing innovation, sustainability and design as one entity”.

Rieder Group concrete cladding on Solstice on the Park by Studio Gang

Rieder hopes that with these colour variations and placements, the facade cladding will anchor the building in the surrounding municipal area.

“This concept of relationship creation as the moving force for design is not only true for Solstice on the Park with regard to solar energetic advantages,” explained the company.

Rieder Group concrete cladding on Solstice on the Park by Studio Gang

“The incline makes the tree crowns appear even closer and larger and provides a maximum view thanks to enlarged glass surfaces,” the brand continued.

In addition to feeling closer to the natural landscape of the city, residents living in south-facing apartments are able to enjoy views facing the Museum of Science, Jackson Park and the lake, all against the backdrop of the skyline.

Find out more about Rieder’s sun-oriented concrete panelling on the company’s website.

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Feldman Architecture integrates The Sanctuary house into lush Silicon Valley site

Sanctuary House by Feldman Architecture

Rooms are organised around gardens and courtyards in this northern California dwelling, which Feldman Architecture has lifted above the ground in order to protect tree roots.

Sanctuary House by Feldman Architecture

Located within walking distance of downtown Palo Alto, The Sanctuary house was designed for recent empty-nesters who are eyeing retirement.

When searching for a property on which to build their new home, the couple came upon a deep lot with ample vegetation, hidden behind an ageing fence.

Sanctuary House by Feldman Architecture

“The couple fell in love with the overgrown garden and its obvious potential,” said San Francisco-based Feldman Architecture in a project description.

“This sense of discovery served as the original inspiration for the design of the house.”

Sanctuary House by Feldman Architecture

The owners tasked the studio with creating a home that fit with the neighbourhood and made the most of the lush landscape.

In response, the team conceived a series of quiet, rectilinear volumes that are interspersed with gardens and courtyards.

Sanctuary House by Feldman Architecture

“Each interior space is paired with its own landscape moment, allowing the architecture and landscape to flow into each other,” the architects said.

Set back from the street, the two-storey home sits behind a heritage oak tree with a large canopy that stretches over the front yard. The home is lifted slightly above the landscape via concrete piers, ensuring the protection of tree roots.

Sanctuary House by Feldman Architecture

“The floor plate projects beyond the building envelope and dissolves into balconies to blur the sense of indoor/outdoor while at the same time lifting the building up from the ground,” the studio said.

Exterior walls are composed of board-formed concrete, golden-hued cedar and large expanses of glass. On the ground level, concrete walls serve as an organising device, separating the public and private areas.

Sanctuary House by Feldman Architecture

The front portion of the home contains an office, two bedrooms and a garage, while the central volume encompasses an open kitchen, dining area and living room. A master suite occupies the rear of the plan.

In the public zone, rectractable glass walls help dematerialise the boundary between inside and out, while also providing “ample room for the clients to entertain their ever-expanding family”.

Sanctuary House by Feldman Architecture

On the second level, the team placed an apartment that is designed to be leased. The clients are supporters of higher density in urban settings, prompting them to include the rentable unit in their scheme.

Throughout the home, earthy materials, neutral colours and unfussy decor create a feeling of calm. Generous windows bring in soft daylight that adds to the serene atmosphere.

Sanctuary House by Feldman Architecture

“Diffused natural streams into the space throughout the day, working gently with the clean material palette of concrete and Alaskan yellow cedar,” the studio said.

The landscape design was overseen by California-based Ground Studio, which used boulders, large pavers and a rich variety of plants to create a natural look. For the clients, the outdoor areas are meant to be the focal point of the home.

Sanctuary House by Feldman Architecture

“The Sanctuary was constructed as a modern house that allows the landscape to speak first,” the studio said. “The design features its many hidden courtyards, inviting guests to experience the same sense of wonder that first drew the clients to this urban oasis.”

Founded in 2003, Feldman Architecture has designed numerous residential projects in California and beyond. Others include the Meadow Home, a cedar-clad residence that is tucked into a hilly meadow, and The Shack, a nature retreat on a wooded property that was designed for a creative couple.

Photography is by Joe Fletcher.


Project credits:

Architect: Feldman Architecture
Landscape architect: Ground Studio

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Discovering the Parisian Creative Scene by Chanel

BLEU de CHANEL a choisi de mettre en avant les esprits créatifs qui font le Paris artistique et culturel d’aujourd’hui. Fubiz a sélectionné des talents et des lieux qui symbolisent la nouvelle scène créative de la capitale.

Pas moins de quinze talents et lieux ont été sélectionnés et regroupés sur la plateforme “Paris à part”. Parmi ces profils vous pouvez découvrir par quartier, le portrait du free-runner Simon Nogueira, du collectif d’illustrateurs The Parisianer, et Fluctuart, le musée de Street-Art flottant.

Simon Nogueira est l’un de ces esprits libres qui nous font découvrir Paris autrement. En pratiquant l’art du freerun, il parcourt les toits de la capitale pour nous en offrir des points de vues uniques. Du toit de l’Opéra à celui de Notre-Dame, il nous invite à chacune de ses courses folles, à le suivre pour une découverte hors du commun de Paris, que l’on observe trop souvent d’en bas.

Le collectif d’illustrateurs The Parisianer fédère plus de deux-cents artistes avec un objectif : imaginer les couvertures du magazine fictif “The Parisianer”. Chacun raconte à sa manière et dans son univers une histoire de la capitale pour en dresser le portrait inédit. Au travers de ces visions cosmopolites sur Paris, l’œil de l’observateur découvre différents regards sur la “Ville Lumière”.

Fluctuart, situé sur les quais de Seine, non loin de la Tour Eiffel, est devenu le premier centre d’art flottant de Paris. Il valorise toutes les tendances de l’art urbain, des pionniers du genres aux tendances émergentes. L’objectif est de proposer une vitrine culturelle offerte à tous grâce à sa structure et à sa modularité. Ce lieux unique “Réinvente le Seine” pour le plus grand plaisir des amateurs d’art urbain et amoureux de Paris.

BLEU de CHANEL donne ainsi l’occasion de découvrir une nouvelle vision de la vie culturelle et artistique Parisienne. Nous vous invitons à découvrir les autres portraits sur le site dédié.


L’artiste Thomas Dartigues, aka Decktwo.


Le danseur et chorégraphe Ablaye Diop


Le skater et mannequin Antoine Elroy.