Hasta La Ideas

Mirrored walls and projecting staircases create optical illusions inside the brick-lined atrium of this apartment complex in Ghent, Belgium, by local office Atelier Vens Vanbelle.

Named Gewad, the building housing four individual apartments was constructed on the site of a former costume shop destroyed by fire, which architect Maarten Vanbelle of Atelier Vens Vanbelle bought and decided to redevelop with partner Dries Vens.

Rather than a standard arrangement of single-storey apartments, the properties slot together in multi-layered shapes that mean each one is spread over at least two floors.

“We did not want to design apartments that would feel like an apartment, with all rooms obediently after the other,” said the architects. “It had to be houses, hence all apartments have two or even three floors.”

The surviving rear facade was retained along with an existing courtyard which, complemented by the central patio and the street on the other side, allows daylight to reach each apartment at all times of the day.

Influenced by the courtyards found at the heart of homes encountered by the architects on a trip to Italy, the patio provides a communal entrance featuring a staircase that ascends to the top floor and incorporates landings, offering access to the apartments on different levels.

The walls of the atrium are built from brick salvaged from the ruined shop. Stairs are made from different materials, with some hidden behind brick walls and others projecting over the atrium, creating a complex composite effect intended to evoke the illusory drawings of M.C. Escher.

“You see countless courtyards with stairs, balconies and doors in places where you least expect it,” said the architects of their experiences in Italy. “That was also the intention: that you step inside and not immediately know how the apartments are oriented.”

Windows around the atrium allow glimpses into the interiors of the apartments and add to the communal feel, while their careful placement restricts views of the most private rooms.

At the top of the atrium is a polished aluminium mirror that reflects sunlight and views of the sky into the spaces below and amplifies views of the surrounding neighbourhood when seen from the roof terrace.

The irregular arrangement of the apartments also creates unique spaces and details, including private balconies, sloping walls and double-height spaces.

One apartment features a wooden staircase with widened treads that provide storage and casual seating areas, while another has an opening above the living room that exposes dark-stained wooden beams.

Materials including wood, concrete and second-hand terracotta flooring were chosen to ensure the building ages well with use. The intention is that residents will gradually adapt the public areas to meet their needs.

“We have let a lot of materials coexist, without letting it be too crowded,” the architects pointed out. “By playing with textures and materials we create atmosphere and define different residential functions.”

The architects’ studio is contained in a former coach house at the rear of the courtyard, which features planting that will mature over time to create a lush garden.

The street-facing facade is rendered in a whitewash in accordance with the local council’s request and features a ground floor wall incorporating the trunks of 23 chestnut trees.

Photography is by Tim Van de Velde.

Here’s some more information sent by Atelier Vens Vanbelle:

Four inventive city apartments

Puzzling around central patio

This project brings together four new apartments which run perfectly under, over and trough each other. The building was erected on the spot where once stood a burnt costume shop. Maarten bought the dilapidated house with his brother and parents, and began puzzling together with his business partner Dries. “There was a lot of thinking concerned. We started from zero, only preserving the rear facade. Not only an urban intervention, but thanks to the old rear facade the original dimensions of the courtyard were also retained.” “Each apartment overlooks both the street, the central patio, and the courtyard, so that at any time of the day somewhere sunlight can come in.”

Italian interior square

Whoever enters the building, stands on a particular courtyard. The architects had shortly before the start of the project on tour in Italy, and there the idea grew. “You will see countless courtyards with stairs, balconies and doors in places where you least expect it. That was also the intention: that you step inside and not immediately know how the apartments are oriented. ‘The staircase consists of different materials and we even spotted a piece of’ reverse ‘staircase. “It reminds of a drawing of graphic artist Escher, which kicks all directions seem to go.”

The patio provides a unique circulation throughout the building. The residents come out against each other, or see each other occasionally pass through a window. “Without that privacy is violated. We made sure that no one else is living inside look. “The patio is built with stones recovered from the burned building. Above the patio there’s a large mirror made of polished aluminum. It was positioned in a way it reflects down the sunlight during the day and seen from below it reflects the sky.

House Feeling

“We did not want to design apartments that would feel like an apartment, with all rooms obediently after the other.” It had to be houses, hence all apartments have two or even three floors. “We have thought very longtime about how we could fit the apartments together.” These apartments define eachothers shape and layout. Besides the two floors there are also other elements that reinforce the ‘house feeling’: each apartment has a separate entrance which can be reached with stairs from the patio, and each apartment has both a street, patio and courtyard side. Each resident enjoys fantastic views of the city of Ghent, a private terrace and nooks and crannies that you would not expect in an apartment. One apartment has a meter high atrium, the other a piece of glass in the bedroom floor, or a hall with a sloping wall. On the street side there is a meeting room for the architects, and at the rear of the courtyard there’s a charming former coach house as a studio for the two.

Windows and co

An exception, perhaps, but the architects design everything by making models. “Because we are so focused on light. We make a model, which we orient in the same way as the future home, and by filming the inside we see how the sunlight penetrates the building. “In the apartment building we find numerous examples of well-positioned roof and interior windows. In the upper apartment, where three boys live together, the bathroom is connected to the living room through an inside window, and look out simultaneously by a roof window: “So you see your own house from unexpected angles in a way it remains fascinating. The head of the architecture department of Ghent said that our project is a kind of synthesis of urban living: How can you live together in a small area, but do not suffer the disadvantages concerning light, circulation and privacy?”

Anti trends

The architects wanted to create the feeling that the apartments have spontaneously, coincidentally, almost organically grown. “We do not want architecture for architects. It should not be finger-on that we have thought hard about the design. The intention is that our project is going to look better by getting older, rather than to decline. Hence we have worked with many beautiful old materials: wood, concrete, old floors, etc. The patio has yet to change: vegetation, balconies and washing lines. It should all be a little more ‘lived’. ‘The façade takes humility on the street. Besides the base, formed by 23 chestnut trees, the façade is a purified version of the classic whitewashed facade. The white plaster was one condition of the city services.

Controlled multitude

The material is not motivated by ephemeral fads. In the living room of Maarten’s apartment we see a wardrobe made from grooved plywood of Polish pine, which has a beautiful drawing. That pine wood contrasts with the dark smoked oak parquet. The ceiling is partly concrete, partly from pasting, partly from wooden beams and there is even an iron beam visible. “So much more fun if you watch your ceiling from your seat.” In the kitchen we find even a dash reclaimed terracotta floor, feeling like the oak. “We have let a lot of materials coexist, without letting it be too crowded. Name it controlled quantity (laughter). By playing with textures and materials, we create atmosphere and define different residential functions. Sociability is a bit of a dirty word in modern architecture, but honestly we are quite fond of it.”

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features brick walls and a mirrored atrium appeared first on Dezeen.

Belgian artist Nick Ervinck has masked the unattractive rear facade of a building in Ghent by constructing a gigantic yellow blob with a bar inside (+ slideshow).

Named Cirbaots, the huge sculpture is attached to the rear of Zebrastraat, a mixed-use building that houses art galleries, apartments, and a hotel and lounge. New apartments constructed recently behind the building had revealed windowless facades never intended to be seen, so Nick Ervinck was asked to place a large sculpture in front.

“For me it was really challenging to do something at that scale,” he told Dezeen. “The idea was to put a bar inside the sculpture, so it was almost like hiding one sculpture underneath another.”

Describing how he came up with the idea for the blob-like form, Ervinck explained: “I started with the idea of water, then came more to the idea of fabric, of a cloth or a veil.”

The bright yellow form folds around the new bar – set to be fitted out by designer Peter Vermeersch – and its colour matches an earlier installation created by the artist on another side of the building.

The structure was assembled from seven parts that were manufactured offsite and then hoisted into place. “We had to close one of the most important streets in the city for two days,” revealed Ervinck.

The main body is made from polyurethane foam, which was sculpted by hand based on a computer-generated design. The exterior was then built up with a layer of fibreglass and painted polyester.

“It still fells like one really big veil,” said Ervinck, reflecting on the completed form. “On one hand it’s very much a sculpture, but on the other it’s completely figurative, like a huge piece of fabric that’s glowing.”

Other installations to feature on Dezeen recently include an arched screen with hundreds of building-shaped holes and a melting brick wall. See more art and design installations »

Here’s some more information from the designer:

CIRBAOTS

With this monumental project for Zebrastraat in Ghent, Ervinck bundles some current topics and personal interests: the architectural discourse between blobs and boxes, the art historical motif of the veil and the social and political tension between public and private, and outside and inside. This monumental sculpture should be a meeting point that bridges the separation between public and private, and between inside and outside. Moreover, it elevates the “rear” of the building or neighbourhood to a visual attraction.

Blobs and boxes

This monumental sculpture is so to speak grafted on the building and illustrates the contrast between the conventional models of the architecture (box) and the virtual design (blob). It is a contrast between rigid and organic forms and between physical and virtual. While most architects favour only one single of these schools in design, Ervinck choose with this design resolutely for a third way: the synthesis of both. Inspired by architects like Will Alsop and Greg Lynn, Ervinck explored the potential of digital design methods for the sculpture. For Zebrastraat he designed an organic form that seems to loosen the cube, but at the same time can not exist without the latter. This tension between the solidity of the base on the one hand, and the sculpture coming to life on the other, was already treated by Ovid (the sculptor Pygmalion creates Galathea from a cut stone) and in the 17th century, beautifully visualised by Bernini (Daphne’s legs are half part of the base and half free). In the work of Nick the blob and the box form as it were two identities that attack, embrace and reject each other and merge together. This monumental work is not only a study of the media sculpture, it also challenges its existence conditions (mass, dimension, matter and gravity) in a radical way.

Veil

Covering with fabric or a veil is an art historical theme with a long tradition. Pliny associated the curtain with illusionism and interactivity: he described how he fooled the artist Parrhasius Zeuxis by asking him to slide a painted curtain. The contemporary artist Michelangelo Pistoletto worked further on this tradition with his work ‘Green Curtain’ (1962-1965). The artwork for Zebrastraat is also about such illusion: using digital design and mathematical formulas the illusion of a fabric is created. This substance seems loosely draped over the underlying matter. It invites so to speak the viewer to lift the veil and to see what lies hidden beneath it. Associated to this are questions about the role of art in society and the imperative of participation and engagement of the viewer relative to the artwork. This artwork also refers to the Belgian identity which is intertwined with surrealism.

The German Renaissance painter Lucas Cranach accented the nakedness of his figures by a transparent veil. The veil is a very ambivalent pattern: firstly it hides the information, but at the same time it also emphasises what is hidden under the cloth. The sculpted fabric stands for transformation: it conceals and reveals the matter. This art work for Zebrastraat is finally a monumental poetic ode to the volume and shape: the fundamentals of sculpture.

Public and Private

Because this work responds to the social specificity of the real estate project in Zebrastraat, it has, besides its artistic relevance, also a profound social significance.

First Ervinck plays with the concept of ‘rear’. These facades were originally not intended to be seen from the street. Now the land was bought, these facades play a new role in the streetscape. Ervinck wants to upgrade the – often unappreciated – rear of the building, and even attribute it a public function. With this work he also thinks about how art can be integrated into society.

By “covering” part of the facade with a veil, Ervinck reflects secondly on the processes of spatial appropriation. Its imposing structure reflects an increasingly problematic division between public and private, and a privatisation process that since the 15th century has become increasingly compelling. Claiming common property in order to transform it into a profitable product is today common practise in all segments of society. The protection of certain areas (think of Fortress Europe) – and the related division between “us” and “them” – is surmounted by a political act. This separation is always characterised by a tension between protection and confinement. Ervinck does not want to draw a radical line between inside and outside. He would rather create a meeting point, which will functionally be realised by the installation of a bar at the bottom of the sculpture. Just as the world has not gone away, when you close your eyes, the architecture does not disappear when it is shielded. It has been transformed and is part of the common area.

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Nick Ervinck appeared first on Dezeen.

Belgian design studio Pinkeye has combined a laundrette, a cafe and a hairdressing salon to create a place where customers can get a drink or a haircut while waiting for their washing.

Located in Ghent, Wasbar is the first in a chain of stores proposed in different Belgian cities. Washing machines line the edge of the room, while pastel-coloured cafe furniture fills the centre and two hairdressing stations are located at the back.

Pinkeye developed the concept searching for a better solution to the “garish strip-lighting” and “soundcloud din” of everyday laundrettes. At Wasbar, visitors are free to relax while they wait for the end of the washing cycle.

Each washing machine has a name inscribed on the wall above it and all the pipes are tucked away out of sight. “There’s nothing about a washing machine which says it has to stand in an unpleasant space,” explains Pinkeye’s Ruud Belmans.

Before the renovation, the building was used as a bookshop. The architects restored the original parquet flooring and added a coat of lacquer.

An assortment of mismatched drawers are mounted onto the walls, displaying price lists and acting as shelving for plants.

A graphic logo emblazoned with a clothes peg and a bottle opener is also printed onto the walls. “For us it was important to create a solid identity,” said Belmans, explaining how this is integral to rolling the project out in other cities. “A couple of pieces of vintage furniture doesn’t cut it,” he added.

Another recently completed laundrette is Splash in Barcelona, where neon lights create the impression of a nightclub. We also recently featured a laundry building converted into a house.

See more architecture and interiors in Belgium »

Photography by Arne Jennard.

Here’s a project description from Pinkeye:

Sometimes a solution is so obvious that it makes you wonder how on earth nobody came up with it before. Wasbar, a brand-new launderette/meeting place, is a fine example: while their dirty laundry spins, the people of Ghent can enjoy a drink with friends or get a new hairdo in one of the two hairdresser’s chairs. The all-in-one concept was elaborated by Pinkeye.

The property that Wasbar occupies was formerly a bookshop. Its worn-out parquet floor was given a fresh coat of lacquer, while the ceiling with its decorative mouldings was left intact. The technical aspect presented the biggest challenge. “A launderette primarily requires plenty of brainwork and preparatory work: you need extra power to keep everything running and we wanted to hide the pipes and wiring from view,” Pinkeye’s creative director Ruud Belmans explains. The pipes and wiring are ensconced in the cellar, leaving just the rows of sleek machines in the space above. “There’s nothing about a washing machine which says it has to stand in an unpleasant space.”

Wasbar is perfectly suited to the student or young professional who is cramped for space – something that is not unknown in this Flemish city of students. ‘What does the student want?’ wondered the young, ambitious proprietors, Dries Henau and Yuri Vandenbogaerde. To spend their time more usefully, I mean more enjoyably, than sitting in a cheerless, bare space with garish strip-lighting in the midst of a ‘soundcloud’ din of whirring machines.

So Wasbar is quite the opposite: cosy and convivial. The washing theme plays the lead role in the elongated interior. The 18 ‘grand old ladies’, the washing machines that bear the names of a grandma, are lined up proudly along the wall. The tumble dryers take the names of grandpas, all crowdsurfed via Facebook.

Opposite the washing machines stands the colourfully tiled bar, with a collage of wooden drawers in various types of wood mounted on the wall, all recycled from discarded furniture from grandma’s day. The contents of the drawers serve as a display for the food menu, the washing prices and washing possibilities, the haircut options and so on. Some of the drawers have been reborn as alternative planters.

Besides employing this kind of upcycling, Pinkeye conceived a palette of toned-down salmon pink, pistachio, cornflower and royal blue, as well as a graphic identity in the form of a two-fold logo: a clothes-peg crossed with a bottle-opener. They created lampshades from coat-hangers and colourful clotheslines playfully break up the space. Second-hand chairs were given a lick of green or blue paint. Fashion designers Black Balloon created dapper laundry bags so that you don’t have to trawl through the city with a transparent plastic bag full of personal wares.

“For us it was important to create a solid identity,” says Belmans. “The concept will probably be rolled out in other cities in Belgium, which makes a distinctive image important. Then a couple of pieces of vintage furniture doesn’t cut it.” The designers have even thought about the potential laundry errors of the inexperienced washer: as a warning there are examples of what happens if you throw a red sock in with a white T-shirt or give your woollen sweater a hot wash.

Wasbar taps into the social trend of people wanting to commune again, to meet face-to-face instead of whiling away an hour with ‘wassups?’ on an iPhone. You can even practice your riffs on the Wasbar piano. And if you really want to, then you can stay in touch with the virtual world via wifi.

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by Pinkeye appeared first on Dezeen.

A cross-shaped window in the sliding door of this Belgian pharmacy transforms into a green sign during opening hours.

Pharmacy M was recently completed by Belgian studio Caan Architecten and is situated on the site of a former farm in the outskirts of Ghent.

The sales floor occupies the entire ground floor of the building, while a lab can be found in the basement and a small apartment is located on the first floor.

The pharmacy is constructed from grey brickwork but also features glass walls on three elevations.

The first floor apartment can only be accessed though the shop and opens out to a roof terrace.

A few other pharmacies from the Dezeen archive include one with a facade punctured by Braille lettering and another with a tree-like green panel ceiling – see more stories about pharmacies here.

Photography is by Thomas De Bruyne.

Here are some more details from the architects:

The pharmacy used to be located at an old farm  on the existing parcel. The parcel is situated next to the main road populated by a diverse array of types of building.

Due to the outdated facilities and limited potential of the farm, it was a logical step to demolish the farm and to start from scratch.

At the front side (Keistraat) the new volume has been placed on the same border line as the old farm to integrate the new construction into the existing context.

The program of the pharmacy defined the design of the building.

The ground floor locates all the necessary facilities for a modern pharmacy, such as an extensive sales area, a night safe, a preparation area…

The surrounded glass wall creates a light and transparency which leads to a greater accessibility.

The basement has been used for storage and lab area.

At the first floor a private space is located with bathroom, kitchen/ dining/ sleeping area. The terrace and green roof elevate the entire space. The green roof is also a visible mark from the street side.

The design and material choices (glass, dark grey bricks) form the modern shape of the building, which we consider to be well integrated in its surrounding context.

The transparent and minimal appearance of the building makes it more accessible, identifiable… a ‘landmark’.

The building contributes to a more contemporary way of service, which was required for this pharmacy.

See also:

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Pharmacy in La Puebla 15 by Buj+Colón Arquitectos	Pharmacy in Koukaki by KLab Architecture	Placebo Pharmacy by KLab Architecture