Cette maison à Kyoto, au Japon a été conçue par le bureau de conception Alts. En raison de sa faible largeur, la maison apparaît disproportionnée en hauteur. Les architectes ont donc choisi de mettre l’accent sur cette caractéristique en créant des portes et ouvertures à bout pointu.
This radical redesign of a door by Austrian artist Klemens Torggler uses a folding and pivoting system to collapse and roll to one side.
Instead of a single panel attached to a frame by two hinges, Torggler‘s Evolution Door folds into four triangular sections that collapse in on themselves and turn round before straightening back up into a rectangle.
Two halves of the door are attached by pivots at the bottom and top of the frame and a hinge in the middle.
By gently pulling at the joint that connects the two middle panels together, the door folds and slides across the entrance.
“The special construction makes it possible to move the door sideways without the use of tracks,” explained Torggler. “This technical trick opens up new applications for the door.”
Torggler calls the system Drehplattentür, which translates as the “flip panel door”. The artist, based in Vienna, has been working on the concept for a number of years with a series of distinct iterations.
His earliest designs used two metal rods to connect two square panels that would separate then converge in one motion. He developed a second technique that used a cut-out epitrochoid curve with a wheel track that allowed the two panels to move more fluidly than his previous design. The triangular design is his latest.
Torggler has experimented with glass, wood and metal, as well as creating larger double doors and screens to separate entire rooms.
Currently the Evolution Door is a prototype, however a selection of his earlier versions have been made available through website Artelier Contemporary.
The post Door reinvented with folding mechanism
by Klemens Torggler appeared first on Dezeen.
Swiss architects Bureau A have created decorative steel gates to discourage nocturnal “illegal activities” in the entrance to their Geneva studio.
Instead of designing an opaque barricade, the architects came up with a concept for a perforated gateway that would be both secure and ornamental.
The elaborate designs draw inspiration from textile designer William Morris and artist Kara Walker, and are laser-cut into the 10 millimetre-thick steel.
Bureau A also recently worked with students to create a travelling commune inside a collection of shipping containers – see the project here.
Photography is by Federal Studio.
Here’s some more text from Bureau A:
The realization of THE PORTAL, the latest design of Leopold Banchini and Daniel Zamarbide of BUREAU A, has just been completed. Located in the centre of Geneva, Switzerland. Régis Golay from federal studio has produced some images of the design piece.
Designer’s statement:
NEWS FROM SOMEWHERE
Like many places within the urban fabric the tiny area of intervention was of problematic nature. By the slight retreat of the street it formed a dark entrance close to some of the hot places in Geneva, hidden from direct views. It constituted thus a perfect place to hide and realize some of the things that are not allowed in our institutional life, a perfect nightspot for illegal activities. The portal appeared thus as a problem-resolution sort of project, the sort of project that is best served by the design of a wall with the pragmatic ambition to solve social issues or report them somewhere else. Within the modest size of the intervention it emerged during the short process of design a belief in the utopian decoration claimed by William Morris. The portal wanted to demonstrate the pleasure of designing and fabricating a decorated surface that could scape from the problem solving design formula. The modest utopia in this case would be to replace vandalism and nightlife odours by a naïvely ornamented pleasure. The same ingenuity sincerely believed in the Alice in wonderland effect that transforms a simple door into a magical threshold to be enjoyed on a daily basis. The portal proposes a game of light and shadows, appearance and disappearance through a very classical pattern that has been playfully modified by filling in or emptying the metal surface.
On another angle, the project was confronted to urban and city regulations and official commissions that lack of real competence on historical matters when it comes to intervene on sensitive ancient sites. They tend to find shelter on standards of contemporary recipes and catalogues of possibilities that might or might not be adequate when studied thoroughly. The portal wanted to play around the idea of what is classical and how much the question of contemporaneity needs to be addressed and constitute an issue or not. Manipulating a stereotype pattern borrowed to a traditional French blacksmith the design wanted to address the question of modern craftsmanship as much as the transmission of a certain vernacular classicism in dialogue with our own 2012 culture. The installation of the portal in this context of debate around classical, vernacular and contemporary languages in our city was an attempt to address the absurdity of these debates and place the aesthetic pleasure of design and craftsmanship at the centre of our preoccupations. In a sort of Kara Walker approach (particularly her work on black cut-paper silhouettes in dialogue with folklore traditional images from the south of the United States) the Portal uses the communicative potential of traditional patterns.
‘Before I leave this matter of the surroundings of life, I wish to meet a possible objection. I have spoken of machinery being used freely for releasing people from the more mechanical and repulsive part of necessary labour; it is the allowing of machines to be our masters and not our servants that so injures the beauty of life nowadays. And, again, that leads me to my last claim, which is that the material surroundings of my life should be pleasant, generous, and beautiful; that I know is a large claim, but this I will say about it, that if it cannot be satisfied, if every civilized community cannot provide such surroundings for all its members, I do not want the world to go on”
“How We Live and How We Might Live”
William Morris in a lecture of 1884
The post The Portal by
Bureau A appeared first on Dezeen.
Voici Gnarly Bay Productions qui nous propose cette vidéo d’une beauté incroyable appelée “A Story For Tomorrow”. Un voyage au Chili et en Patagonie avec des images splendides, posant en même temps la question du bonheur. A découvrir en vidéo dans la suite.
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Le parc de Copenhague au Danemark a vu récemment l’apparition de ce pavillon “Mirror House”. Designé par MLRP, la structure se veut être interactive entre les citoyens et leur environnement. Une idée intéressante à découvrir dans la suite de l’article en images.
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This boutique by Japanese designers Nendo is full of fake doors.
The extra doors break up sight lines in the long narrow Indulgi clothes store in Kyoto, meaning customers must explore the interior if they want to see all the merchandise.
Each door forms part of the shop’s display system, sporting rails, hooks, shelving and mirrors.
Back in 2009, architects Ninkipen! created a similarly surreal but more sinister shop lined with eleven fake doors and only one real exit, while Nendo themselves caused controversy among our readers last year with their mental health clinic where none of the doors open so patients and staff must open sections of the walls to move around – see what all the fuss is about in our earlier story or read more about it in the Dezeen Book of Ideas.
You can also watch Oki Sato of Nendo talking about his work in our interview on Dezeen Screen and see all our stories about Nendo here.
Photographs are by Daici Ano.
Here are some more details from Nendo:
Indulgi
A new shop “INDULGI” designed by nendo opened in Kyoto, Japan. A small clothing shop in Kyoto’s Nakakyo district.
The deep, narrow space has good sightlines, but this can be dangerous, too: a shop can look messy and the interior space simply uninteresting if visitors can see all its products in one glance.
We decided to add shielding elements to create a space that could never be seen in its entirety, one in which different elements appear and disappear from view, changing customers’ experience of the shop as they move about it.
Walls create an over-strong sense of pressure, and the space already contained a number of doors, so we added even more doors to it. We set the doors open and closed at different angles to control the degree of visibility, and the mix of ‘real’ and ‘fake’ doors gives the space a slight sense of surreality.
We added functionality to the ‘fake’ doors, using them for hangers, shelving and mirrors, and furnished them with fixtures that spill out from inside in different colours and textures to create even more variation in the space.
Opening one door brings not only surprise but the desire to open the next, creating a space that evokes curiosity in all its visitors.
53-1 Takakura Higashi-hairu,
Nakagyo-ku Sanjo-Street,
Kyoto 604-8111
Here’s another apartment renovation in Barcelona by Spanish studio Arquitectura-G (see their El Born apartment in our earlier story).
All rooms are linked by folding doors and sliding wall partitions.
The kitchen and bathroom occupy the former service corridor.
See also: Apartment in El Born by Arquitectura-G
Photographs are by José Hevia.
Here’s some text from the architects:
The original condition of the apartment had a linked room layout, with pieces connected to each other by double leaf doors. These pieces were also related to a service corridor which split the circulation into two, connecting more efficiently the kitchen, the utility room, the larder and the guest bathroom.
The generous passage between pieces let link them programmatically, allowing multiply the dimension of a single room or even reaching an absolute permeability. On the other hand, diverse levels of division and intimacy where possible locking the doors depending on the needs.
Due to the flexibility of that scheme, we chose to maintain and to improve it.
It also fitted with the uncertain needs of the clients. The main decision has been creating a central core of specialized pieces -kitchen and bathrooms- which takes over the original circulation spaces.
We placed the kitchen at the entrance, instead of the original useless hall.
Thus, we have an encounter point accessible both from the exterior and the contiguous rooms that, furthermore, is a kitchen.
On the other side, the new bathroom appropriates the original service corridor, increasing its size so we can understand it as a huge interchangeable toilette area where we have two complete bathrooms -which may go with two hypothetical rooms-, and a guest bathroom.
We insisted on removing the corridor by rotating an existing partition and covering it with a floor to ceiling mirror.
It provided the coming up of programmatically ambiguous areas, ready to be defined by the inhabitant, and it improved the visual permeability allowing diagonals that break the orthogonality of the plan.
At the same time, the rotation of this mirror plane blurs the bathroom’s inner division while reflecting its images to the adjoining rooms.
Beyond the size equality of the pieces, the door is the tool which expresses the apartment’s versatility.
There is not any single leaf door. The existing double leaf ones are maintained, combined or relocated while some new typologies are included; sliding one leaf doors, sliding/casement doors, etc.
It is done in an almost random way, playing with the size of the partition and the door in order to mistake one element for the other, and to emphasize that each room has a close relation to its adjoining ones.
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| Alemanys 5 by Anna Noguera | Doors by Hiroyuki Tanaka Architects | Sayama Flats by Schemata Architecture Office |
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