Hasta La Ideas

Dutch studio MORE Architecture has completed a concrete museum on an island in a manmade lake in Jiaxing, China.

Named Ginkgo Gallery after the ginkgo trees that cover the island, the contemporary art museum comprises exhibition rooms, an auditorium, a reading room and a workshop space.

Designed as a small-scale museum and constructed with a minimalist use of materials, the 1,500-square-metre Gingko Gallery was intended to be different from the larger-scale museums that have often defined the past decade of the “museum boom” in China.

“Ginkgo Gallery is the antidote to the ‘museum boom’ phenomenon – a humble, intricate museum where art and nature merge into one immersive experience,” MORE Architecture said.

Located on an island in a manmade lake in Jiaxing, eastern China, the museum design was informed by the typical layout of local villages.

By combining a free-flowing design plan with more traditional routed museum layouts, the studio aimed to both open up the curatorial possibilities and improve the visitor experience.

“The DNA of the typical Zhejiang village, with its small scale and sophisticated network of spaces that differ in size, is the true inspiration for this museum,” said MORE Architecture.

“The museum invites visitors to wander through and discover the different sections as if they were exploring a small town, creating a floorplan with ‘fluid spaces’, merging two traditional museum typologies – the conventional ‘guided’ routing and the ‘free flow’ plan – into one museum,” it added.

The result is a building comprised of connected museum halls, located under curved concrete slabs that span up to 17 metres.

MORE Architecture used board-marked concrete, arranged in a horizontal pattern, for the entire building, creating a unique pattern and texture on its facades and ceiling.

On its front and back facades, green aluminium mullions frame full-height windows that contrast the roughness of the concrete.

“It became clear that a modest museum design also required a modest use of materials,” the studio explained.

“So, we decided to focus on the spatial quality of the museum, and limit the number of materials, and therefore transport movements, construction waste, packaging and so on.”

Ginkgo Gallery’s exhibition halls increase in both size and height from the south side of the museum towards the north, inviting views of the surrounding landscape and letting in plenty of natural light on the northern side.

Meandering walking paths allow visitors to explore the rest of the island, which can also be used for outdoor exhibitions.

Working internationally with its team based in Amsterdam and Shanghai, MORE Architecture also designed the Floating Hotel featuring a continuous zigzagging roof, as well as a fortress-like clubhouse complex, both in China.

The photography is by Kris Provoost.

Project credits:

Design lead: Daan Roggeveen
Design team: Robert Chen, Lina Peng, Pedro Martins, Emilio Wang, Mengyao Han, Anna Clement, Mae Szeto, Jeffrey Kuo
Structure/MEP/HVAC: 9LEON, Jiaxing
Contractor: Zhejiang Zhongcheng Construction Engineering Group
Facade: Shanghai Meite curtain wall Co Ltd

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This hotel bar in the centre of Kyiv, Ukraine, was designed by Mirzoyan Studio to have plywood panelled walls and a green latticed ceiling to improve acoustics.

Bursa Bar opened earlier this year in the city’s historic Podil neighbourhood, on the first floor of the boutique Bursa Hotel.

The 55-square-metre cocktail bar was designed by Mirzoyan Studio founder Nastia Mirzoyan as a place for music lovers, hoping to attract “vinyl record enthusiasts and live-set lovers every weekend”.

“The architect’s idea was to create a space reminiscent of a musical instrument, where every visitor would feel like they’re inside a giant music speaker or guitar, surrounded by a cosy atmosphere of plywood,” said the team.

The interior is lined with dark-stained plywood as a nod to contemporary Japanese design.

The material forms evenly spaced wall panelling, simple bench seating and shelves for displaying liquor bottles and vinyl records.

A grid of wooden boards creates a coffered ceiling that helps to dampen echoes and improve acoustics in the space, as well as preventing the sound from travelling to guest rooms above.

This results in a lower ceiling height but allows lighting and ventilation systems to be hidden inside while creating a more intimate atmosphere within the bar.

“In our design, we aimed to subtly implement the features of Eastern style: orthogonal lines, clean shapes, horizontal orientation of objects, vertical rhythm of walls, and orthogonal ceiling,” Mirzoyan said.

Furniture with stainless steel legs is pushed to the edges of the rectangular room, with the bar and accompanying stools on one side, and a row of small high-top tables along the built-in bench on the other.

Straight in front of the entry door is a DJ booth, also crafted from plywood, behind which the extensive vinyl record collection is stored.

The centre of the space is left empty as a dance floor, where guests can move freely to sounds from the Ojas speakers.

The front of the bar counter is clad using relief tiles in ochre, white and a dark forest green hue that matches the ceiling and the Flowerpot lamps by Verner Panton, which illuminate some of the tables.

Extra seating is provided at stainless steel counters installed in the window niches on either side of the door.

The lighting scheme is fully adjustable to create different atmospheres in different areas of the room.

“We combined accent lighting for guest seating areas, creating small bright spots, and used soft linear lighting to emphasize vinyl shelves and exquisite drinks,” said Mirzoyan. “This way, every guest feels special.”

Despite Ukraine’s ongoing war with Russia, several projects have completed in Kyiv – from a laser clinic with futuristic interiors to a dance studio outfitted with custom furniture made from materials sourced in the face of wartime shortages.

Other spots for drinking and dancing in the city include the Virgin Izakaya Bar in a former arsenal building, which was shortlisted in the restaurant and bar interior category of Dezeen Awards 2021.

The photography is by Yevhenii Avramenko.

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Have you ever wondered why the WiFi signal in your home is strong in one room but weak in another? Or why sometimes your internet seems slower even though you’re paying for high-speed service? The culprit often lies not in the service itself but in the placement of your WiFi router. Think of your WiFi router as the heart of your home network system. Its location can either make or break the quality of your internet connection. Proper placement isn’t just about putting the router anywhere that’s convenient; it’s about strategically positioning it to maximize its effectiveness. In this article, we’ll explore five essential tips to help you place your router for the best possible WiFi coverage throughout your home.

1. Centralize Your Router

One of the simplest yet most effective tips is to place your router in the center of your home. The router ’emits’ connectivity through waves… so think of these waves as ripples – the further they travel, the weaker they get. The more they bounce off objects, the weaker they get. A video by a physicist above shows exactly how WiFi travels around in your home. If your router is placed at one end of the house, the signal has to travel a longer distance to reach the farthest rooms, leading to weaker coverage in those areas. By centralizing the router, you ensure a more even distribution of the signal, minimizing dead zones.

For example, if your home has multiple floors, consider placing the router on the main floor in a central location. This placement allows the signal to reach both the upper and lower floors more efficiently. Additionally, central placement can help reduce interference from walls and other obstructions that can weaken the signal. Remember, the goal is to give your WiFi signal the shortest, most direct path to all areas of your home.

2. Elevate the Router

Once you’ve found the central spot for your router, the next step is to elevate it. Placing your router on a high shelf or mounting it on the wall can make a significant difference in your WiFi coverage. WiFi signals tend to spread out and downward, so positioning the router higher up allows the signal to cover a larger area with fewer obstructions. Try to look around in offices, hotels, or at the airport and you’ll notice that WiFi routers are always wall or ceiling-mounted. There are a bunch of good reasons for this.

Think of it this way: if you place your router on the floor, the signal has to pass through furniture, appliances, and other objects that can absorb or deflect it, weakening the strength. By elevating the router, you reduce the number of obstacles the signal encounters, leading to better performance. Sniper mentality, in short! Additionally, mounting the router on the wall can help avoid interference from other electronic devices that are often found at ground level, such as TVs and gaming consoles.

3. Avoid Obstacles

Obstacles are one of the main enemies of a strong WiFi signal. Large metal objects, thick walls, and electronic devices can all interfere with your WiFi signal, causing it to weaken or drop entirely. When choosing a spot for your router, try to keep it away from such obstacles as much as possible.

For instance, placing your router next to a large metal refrigerator or inside a cabinet can severely impact its performance. Metal absorbs and reflects WiFi signals, causing significant signal loss. Similarly, thick walls, especially those made of concrete or brick, can block the signal from passing through. If your router has to transmit through several thick walls to reach certain rooms, you might experience weaker connectivity in those areas. To combat this, place your router in an open area, free from obstructions, and consider using WiFi extenders or mesh networks for larger homes.

4. Optimal Antenna Position

Many routers come with adjustable antennas, and how you position these antennas can impact your WiFi coverage. A common mistake is to leave the antennas pointing in the same direction. However, adjusting the antennas can help direct the signal more effectively.

For multi-floor homes, the best practice is to position one antenna vertically and one horizontally. The vertical antenna will help distribute the signal to the floors above and below, while the horizontal antenna ensures better coverage on the same floor. This configuration allows the signal to spread more uniformly throughout the home. In single-floor homes, positioning both antennas vertically can provide a wider range of coverage across the floor. Experiment with different angles and positions to find what works best for your specific home layout.

5. Limit Interference

Lastly, minimizing interference from other electronic devices is crucial for maintaining a strong WiFi signal. Many household devices operate on the same frequency as your WiFi router, leading to potential interference that can degrade your internet performance. Common culprits include microwaves, cordless phones, baby monitors, and Bluetooth devices.

To limit interference, try to place your router away from these devices. If possible, avoid placing the router in the kitchen where appliances like microwaves can interfere with the signal. Additionally, consider using a dual-band or tri-band router, which can help separate your devices across different frequency bands, reducing the likelihood of interference. Dual-band routers operate on both the 2.4 GHz and 5 GHz frequencies, allowing you to allocate different devices to each band. For instance, you can reserve the 2.4 GHz band for devices that require longer range but can tolerate slower speeds, like smart home devices, and use the 5 GHz band for devices that need higher speeds and can be closer to the router, like laptops and gaming consoles.

Achieving optimal WiFi performance in your home isn’t just about having the latest router or the fastest internet plan; it’s about strategic placement and understanding how WiFi signals work. These tips come from a mix of technical knowledge and practical experience, and while every home is different, the principles remain the same. Implement these strategies and watch as your WiFi performance reaches new heights, providing you with the seamless connectivity you need in today’s connected world.

The post Top 5 WiFi Router Placement Tips for Perfect Internet Connectivity at Home first appeared on Yanko Design.

“Inspired by Nature” is a stunning collection of nine stools that beautifully captures the essence of the natural world. Drawing inspiration from the elements, forms, and colors that surround us, each piece in this collection is thoughtfully crafted to reflect the beauty and diversity of nature. Designed by the renowned Italian designer Andrea Ponti, this collection is a testament to his commitment to sustainability and innovative design.

Designer: Ponti Design Studio

Each stool in the Inspired by Nature collection shares a consistent design language, marked by a rounded footprint, a tapered silhouette, and a concave seat. This cohesive design suggests continuity and mirrors the patterns found in nature. Despite this shared design, each stool maintains its own unique identity, with distinct shapes and specific colors that echo different elements of the natural world. This deliberate variety within a uniform framework is what makes the collection so captivating.

The Inspired by Nature collection is made entirely from recycled ABS, reflecting Ponti’s dedication to sustainable design practices. This choice of material not only reduces waste but also underscores the collection’s connection to the environment. By using recycled materials, Ponti demonstrates that sustainability goes beyond eco-friendly practices; it is about creating products that forge lasting relationships between people and nature. The use of recycled ABS is a conscious decision that aligns with the broader goals of environmental stewardship and responsible design.

The uniqueness of each stool in the collection is intentional and crafted to evoke the essence of the natural world. The careful selection of hues and forms is designed to tap into our deepest emotions, fostering an intimate link between us and the environment. Each piece is more than just a functional object; it is a representation of nature’s beauty and diversity. This emotional connection is a crucial aspect of Ponti’s design philosophy, as it seeks to create not just products, but experiences that resonate on a deeper level.

Andrea Ponti, formerly of the Polytechnic of Milan, is a celebrated designer known for his innovative and sustainable designs. His previous works, such as the imposing Kanban side table, the Shadows in the Window furniture collection, and the Diga, Koma, and Torus kitchen utensils, have all been acclaimed for their exceptional design and functionality. With the Inspired by Nature collection, Ponti continues to push the boundaries of design, creating pieces that are not only beautiful but also meaningful. His work consistently emphasizes the importance of sustainability and the role of design in fostering a harmonious relationship between humans and their environment.

The post Andrea Ponti’s ‘Inspired by Nature’ Stools Celebrate Sustainable Beauty with Recycled ABS Design first appeared on Yanko Design.

US architect Philip Johnson’s Glass House annexe, the Brick House, has been restored and reopened following a 15-year closure in Connecticut.

Lead by architect Mark Stoner and the National Trust for Historic Preservation, the project included the exterior and interior restoration of Johnson’s Brick House, a small retreat building located just across from the historic Glass House.

It follows the building’s closure in 2008 after the structure suffered ongoing “water intrusion” due to its sloping site.

Beginning in 2022, the scope of the restoration included updates to structural and cosmetic elements including improvements to site drainage, cladding and interior finishings, replacement of the roof and skylights, window repairs, artwork conservation and a complete replacement of the building’s mechanical and electrical systems.

“For such a seemingly simple structure, the work required to preserve, protect, and restore the Brick House was extensive,” said Stoner.

“Damage caused by decades of water intrusion into the building from above and below took a serious toll on the building. And yet, now that the project is complete, most visitors will be completely unaware of the vast amount of exterior and interior restoration efforts that went into this project.”

Completed two months before the Glass House in 1949, the Brick House served as a secluded personal and guest retreat for US architect Philip Johnson and his partner David Whitney before their passing in 2005.

It is located 80 feet downhill (24 metres) from the Glass House, separated by a lawn and connected by a stone pathway.

In contrast to the glass walls of its partner, the Brick House consists of three enclosed brick walls, with large porthole windows running along its back. A single door is located on its facade.

It measures half the depth of the Glass House, although both structures are 56 feet long (17 metres).

Designed at the same time, the two buildings were created to serve as standalone wings of one house, combining design strategies from Ludwig Mies van der Rohe’s Farnsworth House, a freestanding glass pavilion and the architect’s court-house concept, which places two rectangular wings at 90 degrees towards one another.

Connected underground, the Brick House serves as an “anchor” to the Glass House and contains the mechanical equipment used to power both structures.

“People have commented there’s not much architecture there,” said Johnson of the Brick House in a 1991 interview with the National Trust for Historic Preservation.

“There’s not meant to be any architecture there. It contains the guest rooms and bathrooms and the necessaries and the heating. So, in that way, we make an anchor for the Glass House.”

Johnson’s use of brick cladding was also informed by Mies’ use of the material, who was in turn inspired by Prussian architect Karl Friedrich Schinkel.

“Mies felt that Schinkel’s simplified, neoclassical approach utilized brick in an especially elegant manner,” said the team. “So Johnson’s use of brick in Connecticut is deeply steeped with historic reference.”

The restored version features the layout of the house Johnson renovated in 1953 after moving in, which includes a large bedroom and reading room placed along the porthole windows, and a slim hallway along the front of the house, which also contains a single bathroom.

The interior features an eclectic mixture of materials and furniture throughout, including a purple rug, baby pink and blue chairs by designer Gaetano Pesce in the reading room, and “flattened arches” covered in Fortuny fabric in the bedroom.

“Unlike the Glass House, this structure was a creative canvas where Johnson could experiment with new styles and materials as he made successive changes over the decades,” said the team.

According to The Glass House chief curator Hilary Lewis, the bedroom’s arches were informed by neoclassical UK architects Robert Adam and John Soan and are “the earliest example of Johnson’s bold move away from traditional modernism”.

“Despite Johnson’s embrace of his mentor’s aesthetic, Johnson had clearly moved away from many of Mies’s aspects in both the Brick and Glass Houses, from symmetry to proportioning,” she continued.

“Johnson could not help himself from inserting elements of classism and historic reference in both, even in something as minimal as the Brick House.”

Earlier this year, Japanese architect Shigeru Ban created a pavilion from paper tubes and milk crates at The Glass House to mark its 75th anniversary.

The photography is by Michael Biondo

Project credits:

General contractor: Hobbs, Inc.
Civil engineering: Landtech
MEP engineering: Altieri Sebor Wieber
Structural engineering: RSE Associates, Inc.
Replacement material: Donated by Fortuny, Inc., Edward Fields Carpet Makers, and Cobble Court Interiors

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