Architecture studio BCW Collective designed an aluminum-clad hikers’ cabin overlooking the Italian Alpine Valley. Called Bivacco Brédy, the bivouac shelter is located in the Aosta Valley and was conceptualized by the family of Claudio Brédy, a local politician and Alpinist who died in 2017 during a mountain excursion.
The minimal cabin is perched on a rock slab, 2528 meters above sea level. It has a massive window that provides views of the Grivola and Gran Paradiso mountains and the Gran Paradiso – which Claudio Brédy climbed.
“The architecture interprets both openness of spirit and introspective nature through a minimalist approach; it offers protection yet is open to the horizon, as if springing free. Beyond the symbolism, the orientation is an environmental strategy, maximizing solar gain to warm the bivouac in the cold winter months. Thus the Vertosan Valley has a new memorial icon, solid in form yet light in touch, protective yet ephemeral,” said the studio.
The interiors of the cabin are marked with pale timber and feature two large windows which create the sensation of being at one with the surroundings. The windows provide an immersive experience. It also contains three bunk beds, a window seat, a desk bookshelf, and an entrance area with built-in storage space to hold hiking equipment. The space has been optimized for maximum functionality -“focusing on the view and sensorial experience as users immersed in the surrounding mountain context”.
The cantilevered form of the cabin was adopted to evoke the absence of an important member of a family and community. The cabin was also prefabricated in an attempt to minimize the impact it would have on the natural landscape. The components were delivered by helicopter and assembled efficiently within a few days. The cabin is secured onto the rocky site with the help of a metal-frame foundation. This foundation ensures that minimal disturbance is caused to the site, and allows the shelter to be easily moved to another location in the future if need be.
An oasis in the sky, designed by the internationally acclaimed Japanese architect Kengo Kuma
Even before guests arrive to the check-in desk on the verdant 31st floor lobby of The Tokyo EDITION, Toranomon, they pass through several sensory indicators that they’ve entered an EDITION hotel. On the ground floor of the 38-story tower—of which the EDITION populates floors 31 to 36—there’s a dedicated pedestrian entrance dressed in pristine black marble. Then, of course, there’s the signature Le Labo scent suffusing the air. By the time guests have ascended the heart of the hotel, designed by the internationally acclaimed Japanese architect Kengo Kuma, the world below—the Toranomon business district, a vehicle ride through Tokyo, or a transoceanic flight—all seems so far away.
On the calming 31st floor, Kuma’s signature Yamato-bari cladding (of oscillating wooden levels that lend texture to a space) couples with more than 500 plants that Ian Schrager, the legendary hotelier and former Studio 54 founder, helped to place via Zoom while at home in NYC. From the glass walls, uninterrupted views of Tokyo Tower, Shiba Park and the nearby Roppongi neighborhood often command moments of quiet observation. And yet, by night, the Lobby Bar and its constellation of low-lying tables are energized social epicenters set against the glowing Japanese capital city.
The Tokyo EDITION, Toranomon features 206 guest rooms; 22 of which are suites, 15 of which have their own private terrace. Kuma designed these minimal escapes, though anyone who has stayed in an EDITION (or seen a photo of one) will recognize the simple, luxurious design language, the soothing color palette, the luscious faux fur throw (arranged with carefully considered disorder on the bed) and the Le Labo amenities. The view is the most pronounced indicator that this isn’t any other EDITION location.
The Tokyo EDITION, Toranomon—the first EDITION to open in Tokyo, with a second coming to Ginza in 2023—began welcoming guests in October 2020. It was only this October, however, that it has been able to embrace an abundance of global travelers thanks to an ease on regulations for entering Japan. Corresponding with this influx, the Toranomon EDITION’s exhilarating food and beverage outlets are now all fully operational.
Michelin-star chef Tom Aikens—who’s also the partner restaurateur for the EDITION Abu Dhabi—guides the multi-outlet operation, from the luxe specialty restaurant, the Jade Room (with its sprawling outdoor terrace) to the all-day dining venue known as The Blue Room. On the ground floor, the EDITION even has a nightlife venue called Gold Bar. Though an exquisite Japanese menu can be ordered, Aikens developed an innovative international menu for guests.
The pandemic presented its challenges, beginning with a hindrance to early research and development, and yet Aikens knew that he needed to imagine multiple venues for various types of people. “You’re looking at serving local markets and guests, and they’re a mix of business travelers, families, foodies and the cool kids who want to go to the cool place. They all want to eat. Some are less bothered, but others come because they’re seeking out good food.”
Though there is a unifying factor to EDITION design at all 15 properties (with 17 more on the way), food is unique to each location. “The food side is very specific to each hotel,” Aikens says. “You have your own cards to play. The brand will help you in terms of nurturing your concept, but it’s really down to you.” Aikens describes his modern cuisine and his values as a chef as authentic, with integrity. “It’s about being honest and truthful to who you are,” he says.
In advance of the Tornomon EDITION, “We found that restaurants in Tokyo hotels did one of two things: menus that are 100% Japanese and others that are 100% French European,” he explains. “There hasn’t been an amalgamation of the two. So I thought, ‘What if we tie the two together in a way that is respectful of Japanese produce and cooking style?’ It’s not a fusion. I am a European-trained chef. It’s predominantly drawn from that but with Japanese influence. It’s a nice way to show my style of food with Japanese flavoring.”
Tokyo is one of the cities, as a chef, that you dream of going to
To further prepare, Aikens did his own research and cultural immersion. “I am always learning new things, whether that’s working with locals chefs or going out to eat,” he says. “I always make a huge effort to learn about the culture, the city and the country even before I put a foot into it. You need to do your homework—and Tokyo is one of the cities, as a chef, that you dream of going to.”
It’s worth mentioning that not only does Aikens excel at menu development, he also exceeds expectation with regard to desserts. Imagined in partnership with chef Richard McLellan, all desserts we tried were utterly astounding. “With dessert more than any other course, you can play on flavor, texture and temperature,” Aikens tells us. “You can do sweet, salty and sour. You can do freezing or tepid or warm. You can do soft, crumbly, crispy or squiggly.” We tried them all.
Japan is in no short supply of world-class hotels with larger-than-life reputations. And yet the EDITION delivers something unique. Though the high level of hospitality is exactly what visitors will expect, there’s a sophisticated exuberance that comes from setting the latest entry of a chic hotel group among the skyscrapers of Toranomon, Tokyo.
Polish-American architect Daniel Libeskind‘s studio has designed a contemporary extension to the iconic Boerentoren tower in Antwerp, Belgium, which was once Europe’s tallest high-rise.
Studio Libeskind plans to introduce cultural facilities and a rooftop viewpoint to the iconic, 90-year-old high-rise, designed in the art deco style by Belgian architect Jan Van Hoenacker.
The proposal is being developed with local architecture studio ELD and was the winning entry in a design competition held by its current owner, the port operator Katoen Natie.
Tower will become “public space for art”
Katoen Natie’s goal is to transform the building, which was one of Europe’s very first tall buildings and was the tallest high-rise in the continent when it completed, into a cultural institution for the public while preserving its architectural heritage.
“In its day the Boerentoren was an unprecedented art deco design, just like the Empire State Building in New York, where I live,” said Libeskind following the announcement, reported Flemish broadcaster VRT.
“It was a private building with flats and offices. Today we are transforming the entire complex into a public space for art.”
Studio Libeskind has designed an extension for the Boerentoren tower in Antwerp
Restoration work on the Boerentoren has already begun, with its interiors gutted due to the presence of asbestos. However, works on Studio Libeskind’s design are still yet to be approved by authorities, so the final design may change, reported VRT.
If approved, Studio Libeskind’s extension will sit over the top of the tower like a crown, juxtaposing the tower’s art deco style that will be preserved.
Extension will not exceed cathedral height
The visuals also indicate the studio plans to add a glass tower to the rear elevation, containing areas for an abundance of plants that will be visible from the outside.
Both additions are depicted with angular glass forms in the images – a typical feature in much of Libeskind’s work.
While the extension’s exact height has not been disclosed, it will not exceed the height of Antwerp’s cathedral, which is 123-metres high.
It will feature Daniel Libeskind’s signature angular forms
If built, the Boerentoren’s extension will be opened to the public and used as a space from which to admire Antwerp’s skyline and drink and dine.
As part of the project, Studio Libeskind plans to transform existing parts of the tower into various cultural and educational facilities, including three floors of exhibition spaces.
An existing basement level and two levels of parking will also be converted into galleries dedicated to the history of Antwerp.
Renovation not the first at Boerentoren
The Boerentoren, which translates as the Farmer’s Tower, was originally built as a residential tower before the bank KBC transformed it into an office tower.
KBC commissioned a renovation and extension of the building in the late 1960s, after being forced to either demolish or revamp it.
Studio Libeskind was founded in Berlin in 1989 by Libeskind with his partner Nina Libeskind.
The studio is best known for creating poignant monuments and museums for tragic events, with the most famous examples being the Ground Zero masterplan in New York and the Jewish Museum in Berlin, which also made use of his trademark style of sharp angles and slanted surfaces.
Swedish practice Johan Sundberg Arkitektur has completed a cluster of timber-clad housing blocks in Ystad, Sweden, with facades of folding glass screens that allow their balconies to be turned into sheltered winter gardens.
Called Hygrometern, the cluster of four blocks provides a mixture of 20 two and three-bedroom mid-budget apartments on a sloping site overlooking the Baltic Sea.
Hygrometern is a collection of housing blocks that were designed by Johan Sundberg Arkitektur
The project marks a change in scale for Lund-based Johan Sundberg Arkitektur, which is better known for designing luxurious villas and holiday homes, often in close collaboration with their owners.
“We are proud and happy about the acknowledgment we receive for our luxury villas. But as we believe that good spaces can change people’s lives for the better, we’re expanding our practice to multi-family housing projects,” said founder Johan Sundberg.
“[Our] take on mid-budget, multi-family housing resulted in accessible yet exceptional dwellings proving that outstanding architecture can be achieved with modest means,” he continued.
The development is comprised of four blocks
Hygrometern is organised into two square blocks at the east of the site and two long, rectilinear blocks at its centre, with the space in between each used to create planting and shared outdoor spaces overlooked by the apartments.
Raised on a stepped concrete plinth, each two-storey block features a dedicated entrance into each apartment, with walled gardens for those on the ground floor and deeply recessed balconies for the first-floor dwellings.
The buildings are clad in wood
While the entrance to the ground-floor apartments is through their front gardens, the first-floor spaces are accessed via galvanised steel staircases at the rear, which lead to a small area of deck access with additional seating.
“The programme is spread across four distinct volumes, where the interstices form human-scaled outdoor spaces,” said the practice.
“A diverse range of sight lines, outdoor spaces and view contribute to the spatial qualities within the apartments,” it continued.
Simple floorplans organise the living, dining and kitchen area at the front of the apartments opening onto the front garden or balcony and bedrooms at the rear, minimising the need for corridors.
One elevation of each block is comprised of a folding glazed screen in front of the balconies or gardens, with the remaining elevations clad in thin, ribbed wooden panelling.
Shared living spaces are organised around balconies
“The folding glazed partitions, so crucial to the appearance of the facades, came as one of the many enhancements typical to projects where the architect plays an active role during the construction phase,” said the practice.
“Initially considered as an optional element to be installed with the buyer’s wish, the partitions were unanimously accepted, allowing the recessed balconies to become sheltered winter gardens,” it continued.
Folding glazed screens line the balconies
In Hyrgometern’s minimalist interiors, residents were free to customise fittings in the kitchens and bathrooms according to a pre-selected colour palette of pale and pastel tones.
Part of the official merch collection for the 2023 Sundance Film Festival, the Midnight Screening Tee celebrates the annual event’s beloved roster of late-night movies. On the front of the black T-shirt, a mesmerizing visual design emanates outward. It makes for an ideal article of clothing when attending a midnight screening during the festival—or at a theater closer to home.
Announced as the architect of the 22nd commission today, Ghotmeh‘s À table pavilion will be installed in London’s Kensington Gardens in June 2023.
“À table is an invitation to dwell together, in the same space and around the same table,” said Ghotmeh.
“It is an encouragement to enter into a dialogue, to convene and to think about how we could reinstate and re-establish our relationship to nature and the Earth.”
Lina Ghotmeh (above) will design next year’s Serpentine Pavilion (top)
Constructed with a timber frame, the pavilion will be topped with a roof with multiple gables that radiate out from its centre, which was described as “echoing the structures of tree leaves”.
A colonnade will surround the pavilion with translucent walls semi-enclosing a central space that will contain a low circular table.
“In today’s changing times, this pavilion offers a celebratory space,” Ghotmeh said. “It is endowed with a table, around which we will sit together in a modest, low structure and in an atmosphere reminiscent of toguna huts of the Dogon people in Mali, West Africa, designed to bring all members of a community together in discussion,” she continued.
“Here we can eat, work, play, meet, talk, rethink, and decide.”
The pavilion contains a low table
Ghotmeh hopes that the pavilion will focus visitors’ attention on sustenance and sustainable living.
“The Earth that embraces us is our first source of sustenance; without it, we living beings, could not survive,” she said.
“Rethinking what and how much we eat – how we ‘consume’ and how we weave our relationships to one another and the living world – moves us towards a more sustainable, eco-systemic communion with the Earth.”
The pavilion will be designed using a modular system and will be “disassembled and reassembled” after the summer installation.
Ghotmeh’s pavilion will follow last year’s Black Chapel, which was designed by artist and designer Theaster Gates. Previous Serpentine Pavilions have been built by architects such as Frida Escobedo, Bjarke Ingels and Sou Fujimoto.
Curator Kathryn Johnson explains the story behind surrealism and its impact on design in this video Dezeen produced for the Design Museum about its latest exhibition.
The exhibition, which was curated by Johnson, explores the conception of the surrealist movement in the 1920s and the impact it has had on the design world ever since.
The exhibition features nearly 350 pieces of art, design, photography, fashion and film
It features some of the most recognised surrealist paintings and sculptures, including pieces by Salvador Dalí, Man Ray and Leonora Carrington, as well as work from contemporary artists and designers such as Dior and Björk.
“Surrealism was born out of the horrors of the first world war, in a period of conflict and uncertainty, and it was a creative response to that chaos,” Johnson said in the video.
“It saw in the fracturing of the world an opportunity to shake things up, to do things differently, to think differently, and to acknowledge the subconscious and its importance for our everyday lives.”
The exhibition explores the beginnings of the surrealist movement in the 1920s
The exhibition explores surrealism’s impact on contemporary design, with nearly a third of the objects on show dating from the past 50 years.
“We want to start a conversation about what surrealism is and why it matters now,” Johnson said.
The name of the exhibition references the importance of the concept of desire within the movement. In the video, Johnson explained that the surrealist movement began with poetry, with French poet and author André Breton penning the first surrealist manifesto.
Breton described desire as “being the sole motivating force in the world” and “the only master humans should recognise.”
The exhibition’s name refers to the importance of the concept of desire within the movement
The exhibition is segmented into four themes. It begins with an introduction to surrealism from the 1920s and explores the influence of the movement on everyday objects, as well as its pivotal role in the evolution of design throughout the twentieth century.
Another part of the exhibition explores surrealism and interior design, since early protagonists of the movement were interested in capturing the aura or mystery of everyday household objects.
Objects on display include Marcel Duchamp’s Porte-Bouteilles, a sculpture made from bottle racks, and Man Ray’s Cadeau/Audace, a traditional flat iron with a single row of 14 nails.
Early surrealists were interested in capturing the mystery of ordinary household objects
The exhibition moves along to the 1940s, where designers started using surrealist art for ideas to create surprising and humorous objects. Items borne from this include Sella by Achille and Pier Giacomo Castiglioni and Jasper Morrison‘s Handlebar Table.
A key section of the exhibition includes a spotlight on surrealism’s significance in the UK, documenting the partnership between Salvador Dalí and the British poet and art patron Edward James, whose collaboration resulted in some of the most notable works of surrealism such as the Mae West Lips sofas and the Lobster Telephone.
The exhibition features a number of pieces by Dalí including the Lobster Telephone
Another section of the exhibition examines surrealism and the body in relation to the human form, sexuality and desire.
Included in this section are Sarah Lucas’ Cigarette Tits, in which the language of tabloids is used to expose stereotypes of female sexuality, and Najla el Zein’s Hay, which highlights the sensory pleasures provided by everyday materials.
Photographs, vintage magazine covers and fashion items are on display to show the impact of surrealism on the fashion industry starting from the 1930s.
The exhibition features fashion and objects exploring the human form, sexuality and desire
According to Johnson, “surrealism attracted more women than any other movement since romanticism.” As a result, she wanted to ensure there was a wide representation of female artists and designers in the exhibition.
“I think that was partly because of concerns about the body, about sexuality, and how the domestic were key themes of surrealism from the beginning,” she said.
“But those themes were approached in a very original and critical way by the women associated with the movement – some of whom would not have considered themselves surrealists but were in dialogue with those ideas.”
Surrealism attracted more woman than any other movement since romanticism, according to Johnson
The final section of the exhibition looks at the surrealist preoccupation with challenging the creative process itself and how this resulted in original works of art and design.
According to Johnson, contemporary designers are still using ideas from early surrealism, such as welcoming chance into the creative process, or using techniques like automatism.
“The surrealists try to write and draw without thinking, and we see in the exhibitions and studies where they are drawing in an automatic way. But now, of course, contemporary designers have other tools to use to try and bypass the known and the conventional,” Johnson said.
The exhibition is on show at the Design Museum until 19 February 2023
An example of this in the exhibition is Sketch Chair by design studio Front, which was produced using motion capture technology to translate the movement of drawing in mid-air into a 3D-printed form.
“The surrealists knew that changing the mind would change the material world and we’re now at this frightening but thrilling juncture where we’re creating a computerised intelligence that can be creative,” Johnson said.
Dezeen Showroom: Versus wall tapestries by designer Margrethe Odgaard aim to capture the colours of Kathmandu, Nepal, and were created with Himalayan craftspeople for Danish brand Ca’lyah.
The Versus Edition One tapestries are handwoven from natural wool and silk by traditional artisans in Nepal using the Tibetan Knot technique.
Margrethe Odgaard paired two colours to make each of the Versus Edition One rugs
Himalayan wool is characterised by its naturally oily texture that gives it a visible lustre, and Odgaard aimed to harness this quality in the tapestries, which reflect and absorb the light so they have an evolving character throughout the day.
She based her design on research into architectural surfaces around the world, choosing colours fom the landscapes and cityscapes of Kathmandu for Versus Edition One and pairing two hues together to make each of the four styles.
The natural wool and silk absorbs and reflects light
“I challenged myself to remove all elements that would distract from the rich colours, the light in the surface of the natural materials and the intricacies of the specific Tibetan Knot weaving craft,” said Margrethe Odgaard.
Versus Edition One is available in both standard sizes and made to measure. A second series, Versus Edition Two, will be coming in 2023 and will explore Nordic colours.
Dezeen Showroom offers an affordable space for brands to launch new products and showcase their designers and projects to Dezeen’s huge global audience. For more details email showroom@dezeen.com.
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The studio revealed photos of the skyscraper, which was completed in 2020, showing its twisted design that was created to signify the shift between the office and residential programs of the building.
Commenters were not convinced by BIG founder Bjarke Ingels’s statement that the curving form “gives the tower a sense of femininity in the midst of a more masculine skyline”.
“More wine bottle than feminine shape,” joked Idracula. “Awkward might be a better description,” he continued.
Zea Newland thought that the tower looks like “their Vancouver skyscraper but upside down”.
“Not the first time BIG has recycled designs from other projects by flipping or turning the massing, and it certainly won’t be the last,” responded Jacob Volinski.
“It’s a nice building but architects don’t half talk some twaddle,” said Muckers270.
Ivan Stephen was not impressed: “So instead of doing its part to address climate change, VW puts its efforts into crap like this.”
“The Volkswagen chair is as far from an office chair as you can get,” added Johann van der Merwe. “What type of work is done in this ‘office’?”
Jack Woodburn was of the opinion that “liability insurance for the office space just went through the roof.” “Collisions of two or more racing or duelling chairs at 20 miles per hour,” he added.
The decision to end restoration works due to “a safety concern” for residents, sparked mixed feelings among commenters.
Tom Roberts didn’t agree, claiming the demolition plans are “more hogwash from people who have no respect for great architecture”. According to him, the better alternative would be to “move the people out, fix it and move the people who want back in”.
“If it really is unsafe, it sadly needs to go,” disagreed Zea Newland. “There is the argument that other historic sites in India are dangerous to the public, too, but I would argue that if you have to budget your efforts of elaborate renovations, it makes sense to prioritise older structures and those that have spiritual significance.”
“The more I look at this development, the more I like it”
The Laguna Row Development, which is made up of cedar-clad row houses in San Diego, was designed, developed and constructed by California architect Brett Farrow and has encouraged conversation among readers.
“Handsome,” said Zea Newland. “Glad to see America catching up on efficient land use while ensuring the units are desirable thanks to privacy and views.”
Dezeen is the world’s most commented architecture and design magazine, receiving thousands of comments each month from readers. Keep up to date on the latest discussions on our comments page and subscribe to our weekly Debate newsletter, where we feature the best reader comments from stories in the last seven days.
British studio Foster + Partners has unveiled plans for The William, which will be made from cross-laminated timber and become the studio’s first timber office building in the UK.
The William will be located in Queensway, Bayswater, across from The Whiteley shopping centre, which Foster + Partners is also redeveloping as part of a wider regeneration of the area.
The building will be located in London’s Bayswater area
The six-storey building will have an exterior that is informed by the “natural environment”, real estate investment management firm Mark, which secured planning permission for the project, said. It is named after The Whiteley’s founder William Whiteley.
The William will replace a post-war building and contain 90,000 square feet of office space (8,361 square metres) as well as 21,000 square feet (1,950 square metres) of shops.
It will be Foster + Partner’s first UK timber office building
In addition, it will contain 32 new homes, 11 of which will be affordable. The ground floor will house a double-height lobby with a swooping, sculptural staircase, which will be designed using organic materials.
This floor will also have 11 retail units, designed to mirror the redeveloped The Whiteley on the other side of the road.
A terrace will overlook The Whiteley across the road
“Bio-diverse” terraces and rooftops will provide greenery that will be visible from the street level.
“The William will be constructed using cross-laminated timber, a highly sustainable method of construction, making it one of London’s largest timber developments in the works,” Mark said.
According to the management firm, The William will achieve a BREEAM Outstanding rating and be operationally net-zero carbon once completed.
It will be built using natural and responsibly sourced materials.
The studio will use natural materials for The William
Work will begin on The William in 2023 with the building set to be complete in 2026, while the redevelopment of The Whiteley will complete in 2024.
When complete, The Whiteley will house 139 residences and twenty new shops, restaurants and cafes as well as Six Sense Hotel. It will also have a cinema and a large-scale gym.
The overall Queensway generation project is set to be completed in 2025 and will deliver seven new buildings in the area.
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