L’agence allemande Kolle Rebbe a pensé cette publicité créative pour la marque d’aspirateurs Vorwerk. Réalisée en 3D par la société Sehsucht, cette création très réussie imagine avec fantaisie un univers d’éléments coincés dans notre canapé. Plus dans la suite.
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Architects Stephen Williams Associates have completed a hotel that looks like a shipping warehouse beside the harbour in Hamburg.
Named the 25hours Hafencity, the hotel features a ground-floor lounge with gridded markings on the floor and a conference room inside a freight container.
Visitors check in at a desk of plywood boxes and can pile up their luggage on industrial trolleys.
Each room comes with a trunk that hinges open to reveal a desk stocked with drinks, a logbook, information packs and electrical sockets.
A boxing punch-bag and bespoke sit-up chairs are all that comprises the hotel gym, but neither is sheltered from the rain.
A row of telephones boxes made from salt-bleached driftwood house Skype booths for guests, while a printer can be found inside a rusty metal cage.
The hotel is located in the Hafencity development area in southern Hamburg and is our second story this week from the district – see our earlier story about a canteen with a spotty ceiling and see all our stories about Hafencity here.
Here’s some more information from Stephen Williams Associates:
A modern maritime story: the 25hours Hotel Hafencity
Hamburg’s Hafencity is one of the most ambitious urban construction sites in Europe. A new district is emerging creating a lively city quarter, a microcosm of modern life where people come together, mingle, confer and celebrate. So it was the idea behind the new 25hours Hotel Hafencity to give this new district a new „living room“ in the heart of the Hafencity.
“We wanted to create a web of meaning with interrelating signs and symbols referring to seafaring and harbour life. A place where old and new stories come to life,” describes the British Architect and Designer Stephen Williams. It all began from the poems of Joachim Ringelnatz with the fictitious sailor Kuttel Daddeldu, a good soul who’s deeply rooted in the seafaring life, but also coarse and a little cheeky.
From the projects inception the idea of a multi-disciplinary team played an important role – The client was an integral part of the design team from day one and formed part of a creative collective co-ordinated by Stephen Williams Associates. The ultimate user-generated architecture where all participants bounced ideas within spacial structures – a storyteller, an event agency and an illustrator giving meaning at all levels. “We worked together like story editors in epic TV-series where a team of writers and professionals with different backgrounds fiddle about to get the perfect story that works at various levels: truly reflect life and it’s meaning,” says Stephen Williams. “It could be considered, that our role is a like that of director of space balancing narrative identity with feasibility and, on top producing unique ideas.”
Modern seamen or ‘maritime nomads’ have something in common with travellers, dubbed as ‘urban nomads’: mobility. In search of this spirit, Markus Stoll, a storyteller for brands, interviewed 25 international sailors in the Seaman’s Club Duckdalben in Hamburg. Passionate about the contemporary notion of the seafaring world, he adapted the first-hand accounts into semifictional stories that became one of the guiding themes of the hotel’s concept.
The seamen’s stories were illustrated by Jindrich Novotny and appear not only on wall surfaces but also in specially created log books in each room.
Guests when retreating to their rooms experience the intimacy of cabins. Conventional furniture replaced with built-in elements and a ‘travel trunk’ providing the visitor with all that they will require: information, log book, drinks, working space with writing instruments and electrical connections. The sea trunk and its contents evoke the emotion of a transitory existence, the seafarer now on land for a short period with all his belongings.
The hotel offers a classical typology of spaces but comes up with surprising interpretations. The rooms are cabin-style suites, the business center is called the ‘Radio Room’. Privacy is catered with 3 Telephone boxes built from salt bleached driftwood, to include skype. Business and private travellers alike have everything they need including a printer located in a rusty metal cage – the ‘Radio Room’‚ a communication point for a new breed of business traveller.
The ‘Hafen Sauna’ is on the rooftop built within a rusty container with panoramic views over the industrial harbour. It is the furthest from wellness that one could imagine. Fitness is achieved by punching a boxing bag and sit-ups on a specially designed seat from Stephen Williams has the roughness a sailor would appreciate. Not only that it is not protected from the Hamburg weather but even the showers are outside.
The ground floor, with discrete lobby, restaurant, bar and shop presents a comfortable version of harbour living, and is the hub of the hotel. It is a public space of inclusivity that invites guests or non-guests to stay and drop in.
There is no fear of being asked by some stiff concierge if you need any help, the buzz of the lobby is a democratic coming and going of all types, the staff in Breton shirts and red neckties augmenting a space with no sign of cliche. Furniture chosen by Connie Kotte has the patina of years which makes it seem as this industrial space has been there for ever. The import export warehouse has become the living room in the Harbour city but here people are the commodities coming in and going, as it would seem with the natural elements of wind and tide.
Hapag-Lloyd, Hamburg’s well known shipping company kindly donated a shipping container which forms one of the conference rooms and overspill from the restaurant for larger groups. The movable container wall hoisted up to the ceiling to allow access, a reference to the nearby container cranes in constant movement.
Every seafarer longs for home: HEIMAT Küche + Bar is the restaurant of the hotel (in German ‘Heimat’ means ‘Home’) in an elegant industrial aesthetic. Warehouse shelves, rough wooden boxes, floor markings, stacks of oriental carpets and an eclectic range of maritime finds are not decorative but usable storage space for this multifunctional room. Furniture which can be stored, moved around and configurated when wished. Floor markings give an order to many different seating typologies.
“We want to create a space of cultural relevance”, summarizes Stephen Williams. “That for me is linked to the understanding of social structures and how people define themselves within space and how they relate to each other. I would term it ‘designing the invisible’ – spaces, not objects, provide the framework essential to influence human behaviour. Objects are just like characters in the script, they are not the story itself. It is the interplay that brings this to life, the context of spatial sequences. To achieve democratic spaces where everyone can feel comfortable and be who they are is worth achieving. Then we have created the true living room of the Harbour city.
Architecture can only be the backdrop for human activity and not an end in itself.The 25hours Hotel Hafencity is a place to interact, explore and to be oneself. And like all journeys the discovery of something new. A destination to be and start exploring by yourself.”
Circular mirrors, glowing acrylic rods and large yellows discs adorn the ceiling of this canteen for German magazine Der Spiegel (photos by Zooey Braun).
Designed by Ippolito Fleitz Group Identity Architects, the dining room is located on the ground floor of the company’s headquarters in the Hafencity development of southern Hamburg.
Over 4000 of the satin-polished aluminium panels cover the ceiling, concealing electrical wiring and fittings behind.
Round lamps hang like upside-down mushrooms above each table and can be individually brightened or dimmed by diners.
The suspended acrylic rods are arranged into curved rows to separate clusters of tables and are illuminated from above.
Painted blacks lines indent the white terrazzo floor to define walkways and discourage encroaching chairs.
Hafencity is a large development beside Hamburg’s Elbe River – other recent projects in the area include a concert hall by Herzog & de Meuron and a curvy apartment block.
Here’s some more information from the architects:
In October 2011 the SPIEGEL Group, whose stable includes Germany’s most important news magazine Der SPIEGEL, moved into its new publishing house in Hamburg’s HafenCity development. This impressive structure on the Eriscusspitze, lapped by the waters of the River Elbe, was designed by Danish architect Henning Larsen.
Ippolito Fleitz Group was commissioned to create a new employees’ canteen for the building. The legacy building’s famous canteen was designed in 1969 by Verner Panton and has since been placed under heritage protection. This inheritance represented a particular challenge.
Verner Panton’s canteen
Our deliberations began with a question: could we integrate Verner Panton’s iconic facility into a new concept? After careful consideration we decided against adopting the facility. One factor which spoke against redeployment was the polygonal format of the new building, where Panton’s square-based modular concept would inevitably lead to virtually uncontrollable spatial remnants.
Furthermore, the new building offers little in the way of large, continuous walls which are crucial to the Panton concept. The old building had three separate, compact spaces which Panton enlivened with the dynamic forms and colours of his ceiling topography. The new space, however, covers a large area and gives a strong horizontal impression. But above all it seemed logical to us to complement the new architecture of the building with contemporary, future-oriented interior design – exactly what Panton’s facility once was for the previous building.
Starting point
The employees’ canteen was and is a calling card of the SPIEGEL Group, reflecting its journalistic philosophy as much as its culture of dialogue – not least because of its prominent position in the building and its high visibility from the exterior. Nonetheless it is a space which looks inward, only accessible to SPIEGEL employees and their guests.
That means it isn’t a “brand space” as such. The starting point for our deliberations was the characteristics of the space and of the building. The building distinguishes itself through its exposed position on the water and its modern architecture, expressed in the vertical interior space of the 14-storey atrium. The floor plan of the canteen defines a large, polygonal space whose strong horizontal emphasis is further highlighted by the uninterrupted row of windows on two sides.
Ceiling and light
Because the space had to be flexible, it was soon clear that the ceiling design would be the distinguishing moment of the canteen. Reflecting both this fact and the harbour location, we developed a matt shimmering ceiling which reflects light in much the same manner as water. It is formed of 4,230 circles made of micro-perforated satin-polished aluminium, laminated onto noise-absorbing supporting material and set at slight angles to each other. This means that the canteen’s natural light ambience reacts to its surroundings.
During the day the ceiling is enlivened by water and light effects from the surrounding area. The matt shimmering “plates” absorb daylight and turn the roof into a lively, gently reflective complement to the water surface of the Ericusgraben canal. Large-scale light dishes use intense colour to divide the space into zones. This colour generates a positive atmosphere in the space, even on grey days. Dimmable lamps suspended directly above tables ensure that light levels are infinitely variable.
In the evening the dishes are transformed into indirectly-lit light objects. The overall mood in the canteen is determined by the warm, white “ambient light” shed by the suspended lamps. Indirect light in selected suspended lamps discreetly illuminates the ceiling discs.Focussed downlights, hidden in the ceiling, complement the nuanced sophistication of the overall mood with light accents.Wallwashers integrated into the ceiling cast an even light on wall surfaces. They create a balance between horizontal and vertical illumination and optimise the sense of space by night, partly through reflections in glass surfaces.
The ceiling also has functional advantages: the area above the ceiling plates is painted black, along with the mandatory technical fittings, rendering them invisible. Ceiling diffusers and sprinklers effectively disappear. In addition, the upper ceiling was configured to be noise-absorbent, complementing the acoustic properties of the micro-perforated plates.
The space and its divisions
Despite the size of the space the visitor should never have an impression of monotonous, interchangeable, production-line construction. Rather the goal is to illustrate, in a dining context, the culture of dialogue which has flourished over the decades at SPIEGEL.
The employees’ canteen is a meeting place, a place of culture and informal exchange of opinions. At the same time it should fulfil functional obligations such as accessibility and spatial clarity.
The round, communicative tables are made from black coated steel frames which seem to grow from the floor in a graceful motion. Granite plates serve as table tops, their lasered surfaces working with the ceiling lights to create glare-free, brilliant light. The tables are placed within the space in three large groups in loose arrangements and so provide an organic counterpoint to the polygonal floor plan. Movement zones are thus clearly delineated.
Three lines are set into the smooth, white terrazzo floor: they ensure tables don’t encroach on walkways. Along these lines four areas are arranged with removable, lightweight spatial filters composed of white, hanging rods. Large yellow light dishes support the zoning of the space just as the hanging lamps locate tables within the space.
Wood panelling lends a sense of depth to structural hubs. The whitewashed, varnished surfaces appear even deeper thanks to a vertical, wavy relief which gives a textile-like effect.
Through a zigzagging glass façade a separate area can be formed at one end for discrete events or for use of the canteen late at night. A shoal of bright, hanging Plexiglas rods creates glare-free illumination and an intimate setting. The glass façade between this area and the canteen is formed of doubly reflective glass. So at times when both areas are in use, the separation is almost immaterial. However when the canteen is closed and thus darker, the façade appears half-mirrored, half-transparent.
The employees’ canteen in the SPIEGEL Group’s new headquarters is a space that meets all functional demands while creating a strong visual impact to form a truly distinguishing space. In so doing it supports the mature culture of communication within the company and in a grand gesture transmits these values to the outside world.
Le street-artist berlinois EVOL a imaginé cette installation “Nordkreuz”, à l’occasion du festival MS Dockville à Hamburg. Une véritable ville et un croisement de rues creusé dans le sol durant 8 jours, grâce à une réplique de lotissement souterrain. Plus d’images dans la suite de l’article.
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Voici un véritable parc miniature baptisé “Miniatur Wunderland” et construit à l’été 2010 à Hambourg en Allemagne. Il impressionne par sa grandeur et la qualité de ses détails. Reprenant des destinations connues de l’Europe et de l’Amérique, les visuels sont à découvrir dans la suite.
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This apartment building by Austrian architects LOVE architecture is part of the ongoing redevelopment of the port of Hamburg, Germany.
The development is part of the HafenCity project, which is turning 157 hectares of once derelict waterfront into an extension of the city centre.
Baufeld 10 was completed in 2008 and is next to Herzog & de Meuron’s nearly complete Elbphilharmonie concert hall.
Photos are by Anke Muellerklein.
Here’s some info from the architects:
Baufeld 10 – HafenCity Hamburg
International, invitational architect-selection process / 1st prize / Harbour City Hamburg – Kaiser Kai
24 apartments, 2 commercial spaces, 1 restaurant
Living with a direct view of the port
With the HafenCity Hamburg, a new district covering 157 hectares is being developed directly at the port. In addition to the mixed utilization, the relevant urban development concept calls for high-quality architecture. For this reason, there was a separate tendering process for each individual building site.
LOVE architecture and urbanism from Graz won the competition for “Baufeld 10.” The site is situated in an area within the Dallmannkai, directly on the water and in direct proximity to the “Elbphilharmonie” – a concert hall currently being developed by the Swiss Office of Herzog & de Meuron. In total, 26 architectural offices were awarded projects at the Kaiserkai.
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LOVE’s special challenge: The Baufeld 10 project was developed in a joint building venture. This means that the various future residents worked together to create a real community for the new building. Within this model, individualists connected with each other with the goal of building THEIR communal house. The building typology had to meet this expectation. This is why the building houses many different building typologies with all kinds of furnishing standards: from very large apartments (up to approx. 225m2) to smaller units (approx. 50m2), which feature entirely different designs – from one-storey apartments to maisonettes that stretch across four storeys.
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For Baufeld 10, individualisation was the top priority. Each of the 28 new residents can now enjoy his or her unique lifestyle within his or her apartment – whether horizontal or vertical – whether in a small or a big apartment. These different visions were blended into one building – to everyone’s satisfaction.
Viewed from the outside, the residential building presents a gleaming white structure formed of slightly bevelled cubes and with generously proportioned, slightly bevelled window openings. The configuration of these window openings matches the layout of the apartments behind them. Each apartment has a balcony and/or bay which protrude from the building. Within the rigid row of buildings, this configuration provides maximum views in an “exciting direction” – namely, the harbour.
Structural design and facade
The support system consists of a supporting building envelope with stiffening apartment partitions and storey ceilings and was calculated as a spacial static system. This made it possible to place the quite large window openings freely in the exterior walls of the building and to minimize the concrete and steel volume used, which also reduced the construction costs. More structurally demanding parts of the building, such as the roundings of the facade, the balconies and the bays, were executed as prefabricated elements.
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The facade, which serves as an outside composite thermal insulation system, was provided with a “natural stone plaster” surface. This is composed of natural stone grains with an admixture of mica, which causes the facade to sparkle slightly in the sun, a valuable visual effect. The window roundings and the bevelled window reveals were modelled into the composite thermal insulation system with thermal insulation moulding.
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Energy savings and climate protection
From the planning stages of the new district, the Municipal Development Company already emphasized energy savings and climate protection with a series of sustainable ecological measures for the emerging new buildings.
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Regarding the building’s technical characteristics, the apartment building was planned and built according to the latest Energy Conservation Regulations (EnEV). The building features a very light construction mass and a building shell that provides excellent air sealing. One definite cornerstone of the building’s energy concept is its connection to the local heat and power plant, which combines the production of heat and power.
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Outfitting the apartment building with a solar thermal system of ten vacuum-tube collectors for the central domestic water supply is an additional energy efficiency measure. The solar thermal energy system and the heating connection to the local energy provider combine to cover the heating requirement of about 30 kwh/(m2a).
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Facts and Figures of Baufeld 10
Completion: November 2005
Planning Period: January to July 2006
Start of construction: January 2007
Completion: May 2008
Area: approx. 810 m2
Gross floor area: approx. 3150 m2
Residential floor area: 2688 m2
Commercial floor area: 272 m2
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