Job Office collection by Studio Job for Lensvelt

Milan 2013: Belgian artists Studio Job will present a desk with a golden nose for a drawer handle as part of a collection for Dutch furniture brand Lensvelt at MOST in Milan this week.

Job Office by Studio Job for Lensvelt

Above: Job Buffet

Another piece in the Job Office collection for Lensvelt is the Job Buffet, a white powder-coated metal cabinet with two doors and a chrome-plated aluminium key that locks it.

Job Office by Studio Job for Lensvelt

The Job Desk also makes use of white powder-coated metal for its top and legs, but instead of a key to open the slim drawer, the user must pull on the golden nose.

Job Office by Studio Job for Lensvelt

Above: Job Desk

The two Job Tables are enlarged versions of the Job Desk.

Job Office by Studio Job for Lensvelt

Above: Job Desk

The Job Desk Lamp uses LED bulbs and features an oversized golden switch under its powder-coated metal shade.

Job Office by Studio Job for Lensvelt

Above: gold nose drawer handles

Each piece in the collection is available in a range of colours: white, green, grey, dark grey, black, red, yellow and blue.

Job Office by Studio Job for Lensvelt

Above: Job Desk Lamp

“Over time, Hans Lensvelt has proven to be an ingenious product developer who consistently transforms our unconventional designs into comprehensive functional products, yet intricately maintaining a sense of wit,” said designer Job Smeets. “Our collaboration constitutes sustainable office furniture, valuing the importance of functionality and high-quality objects that represent their own identity and humour.”

Job Office by Studio Job for Lensvelt

Above: Job Cabinet

The collection is an extension of the Job Cabinet launched by Studio Job in Milan last year – a metal cabinet with a single door that also comes with a gold-coloured key.

Job Office by Studio Job for Lensvelt

These pieces will be on show at the MOST exhibition in Milan from 9 to 14 April, while Studio Job will also show lamps with metal buckets and tubs for shades as part of Moooi’s latest collection – see all design by Studio Job.

This week we’re covering all the highlights from Milan, including Zaha Hadid’s monochrome pendant lamps for Slamp and OMA’s furniture collection for US brand Knoll – see all news and products from Milan 2013 or take a look at our interactive map featuring the week’s best exhibitions, parties and talks.

Photographs are by Roos Aldershoff.

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Cassell Street House by b.e. Architecture

Slabs of travertine in two different shades create horizontal stripes across the facade of this house in Melbourne by b.e. Architecture (+ slideshow).

Cassell Street House by b.e. Architecture

“The house builds on some of the ideas of 57 Tivoli Road,” architect Daniel Rees told Dezeen, comparing the project to a basalt-clad house the studio completed in 2010. “Here, the facade is clad in beautiful banded silver travertine marble.”

Cassell Street House by b.e. Architecture

b.e. Architecture sourced stone from opposite sides of the same quarry to create the two-tone effect, then cut the material into ten different slab sizes to give a varied pattern.

Cassell Street House by b.e. Architecture

The striped travertine clads the top floor of the two-storey Cassell Street House, while the lower floor features a mixture of concrete and glass walls. The glazed areas surround a living room on one side and a study on the other, allowing both rooms to open out to separate gardens.

Cassell Street House by b.e. Architecture

The architects were keen to make the building look aged, so they added weathered timber window shutters and entrance gates to help it fit in with its Edwardian neighbours.

Cassell Street House by b.e. Architecture

“The house was designed to be sympathetic with the period but not mimetic of any particular style, whilst remaining unapologetically contemporary,” they explain.

Cassell Street House by b.e. Architecture

Four bedrooms are located on the upper floor, alongside a series of en suite bathrooms. There are also three balconies on this floor, which sit within deep recesses in the stone facade.

Cassell Street House by b.e. Architecture

A car park occupies the basement and can be accessed by a ramp tucked around the side of the building.

Cassell Street House by b.e. Architecture

Melbourne-based b.e. Architecture was founded in 1997 by Jonathon Boucher and Broderick Ely. As well as 57 Tivoli Road, the studio also designed Meakins Road, a house surrounded by a steel and timber grid. See more by b.e. Architecture.

Cassell Street House by b.e. Architecture

Other residences completed in Australia recently include a house with a facade inspired by tree branches. See more houses in Australia.

Cassell Street House by b.e. Architecture

Photography is by Peter Clarke.

Cassell Street House<br /> by b.e. Architecture

Here’s some more information from b.e. Architecture:


Cassell Street house is a boutique new home built on a corner block in South Yarra, built in place of an attached Edwardian row house and set amongst homes of a similar vintage. The house was designed to be sympathetic with the period but not mimetic of any particular style, whilst remaining unapologetically contemporary.

Cassell Street House by b.e. Architecture

The limited material palate of natural and aged materials such as travertine, rusticated timber, concrete and steel cast over a strong rectilinear form work to give the building the quality of looking older than it is – to look as though in an another world it could well have been standing in its place unchanged since the 1930s.

Cassell Street House by b.e. Architecture

Being sited on a corner block, the first floor form in particular is highly visible from the street with all sides visible to the passer by. A bespoke material treatment was thus considered an appropriate urban gesture. The complex travertine facade is made up of 10 different sized slabs of stone laid in bands sourced from opposite sides of the same quarry producing two distinct colours. The banding quality of the stone facade is referential of Byzantine buildings in a reference to the owner’s heritage.

Cassell Street House by b.e. Architecture

The deep apertures formed in the travertine walls of the first floor facade make the building read as a singular and massive stone edifice and in doing so shade and shelter the western windows as well as protecting the occupant from the nearby major road.

Cassell Street House by b.e. Architecture

By contrast, downstairs is characterised by expansive glazing, opening the living areas to the secluded garden space which surrounds the building.

Cassell Street House by b.e. Architecture

A visitor enters from the street into the heart of the building adjacent a curving staircase rising three floors from basement garage to the upstairs bedrooms. The curving staircase contrasts with the rectilinear form of the exterior and is used as a separation device to define the ground floor living areas into two distinct zones: The day/summer areas facing north and overlooking a pool and outdoor eating area; the night/winter areas facing south and east into the more sheltered back yard.

Cassell Street House by b.e. Architecture

Architects: b.e architecture
Location: Melbourne, Australia

Cassell Street House by b.e. Architecture

Construction Team: Bayside Construct
Design Team: Andrew Piva, Broderick Ely, Jon Boucher, Kris Keen

Cassell Street House by b.e. Architecture

Area: 500 sqm
Year: 2012

Cassell Street House by b.e. Architecture

Above: ground floor plan

Cassell Street House by b.e. Architecture

Above: first floor plan

Cassell Street House by b.e. Architecture

Above: basement floor plan

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Tree Art Museum by Daipu Architects

Sloping exhibition rooms fold around curvy courtyards and a fish pond at this art gallery in Beijing – the first completed project by new studio Daipu Architects (+ slideshow).

Tree Art Museum by Daipu Architects

Tree Art Museum is located beside a main road in the Songzhuang arts district, so the architect wanted to create secluded spaces outside the gallery where artists and visitors can socialise. One large courtyard is inserted in front of the building, while a second is positioned at the back and a terrace ramps up over the roof.

Tree Art Museum by Daipu Architects

Architect Dai Pu explains: “This project hopes to create a place where local people and visitors would communicate with nature, light, trees, water and contemporary art.”

Tree Art Museum by Daipu Architects

A chunky concrete wall separates the entrance courtyard from the road. A sliced opening reveals it to be a corridor, offering an informal exhibition space on the way into the galleries.

Tree Art Museum by Daipu Architects

Glazed curtain walls surround the courtyard facades of the building, bringing natural light into the two gallery floors and revealing the sloping floors.

Tree Art Museum by Daipu Architects

“I hope people might be attracted into the museum by the view at the entrance,” said Dai Pu. “Their eyes would follow the curvy floorslab coming from the ground all the way up to the roof.”

Tree Art Museum by Daipu Architects

Zigzagging ramps at one end of the building lead up from the ground to the rooftop terrace, which also accommodates four smaller patios.

Tree Art Museum by Daipu Architects

Meeting rooms and offices are lined up along the rear of the building and face down onto the secondary courtyard.

Tree Art Museum by Daipu Architects

Dai Pu previously worked for Beijing studio MAD, where he was project architect for Hutong Bubble 32, a bubble-shaped extension to a traditional Chinese courtyard house. Tree Art Museum is his first project since launching Daipu Architects.

Tree Art Museum by Daipu Architects

Other new galleries in China include Jade Museum, located in a converted office block in Shanghai, and The Design Republic Commune, a design gallery, shop and event space in the same city. See more architecture in China.

Tree Art Museum by Daipu Architects

Photography is by Shu He.

Here’s some more information from Daipu Architects:


Located in Songzhuang, Beijing, China, Tree art museum lies beside the main road of the area. Original village has vanished, replaced by big scale blocks which better fit for cars. Even if renowned as artist village, it’s difficult to stay or enjoy art exploration without local artist friend’s introducing. So, the first idea was to create an ambient, a public space where people would like to stay, date and communicate.

Tree Art Museum by Daipu Architects

I hope people might be attracted into the museum by the view at the entrance. Their eyes would follow the curvy floorslab coming from the ground all the way up to the roof. People could choose getting into the space either through the ramp or the courtyard with a pool and tree on the first floor. Sky is reflected onto the ground, with reflecting pool together, helping people to filter their mind and forget the environment out there.

Tree Art Museum by Daipu Architects

The first courtyard was separated with the main road and dust outside by a bare-concrete wall. People would stay and chat under the tree in the courtyard, or, just feed fishes by the reflecting pool. Meanwhile, they could enjoy artworks and watch other people lingering inside the building through curtain wall. In the bare-concrete wall, there is a corridor which could be utilized to exhibit books and small sculptures. The curvature varies slightly along the path.

Tree Art Museum by Daipu Architects

The second courtyard introduces nature light to the back exhibition hall and meeting room on 2nd floor, while separating the public and privacy needed. The curvy wall implies people to the other side of the building, and introduces them to come to the public stairs-plaza on the roof, where people could sit and enjoy sunshine, or look down to the pool or even chat with people down in the courtyard.

Tree Art Museum by Daipu Architects

There are six and half courtyards on 2,695 square meters site. Besides the two bigger ones for exhibition, there are four more courtyards lying on the upper part. Two yards apply sunlight to the back space and introduce skylight to the exhibition hall below. The other two yards are on the top of the floor, which also open to sky.

Tree Art Museum by Daipu Architects

Above: axonometric diagram – click for larger image

By taking real and pure expression, this project hopes to create a place where local people and visitors would communicate with nature, light, trees, water and contemporary art. This simple and plain idea will spread out through their experience.

Tree Art Museum by Daipu Architects

Above: ground floor plan – click for larger image

Project title: Tree Art Museum
Location: Song zhuang, Beijing, China
Height: 18.78 meter
No. of floors: Exhibition part: 2 stories, Function part: 5 stories
Building Area: 3,200 square meters
Site area: 2,695 square meters

Tree Art Museum by Daipu Architects

Above: first and second floor plans – click for larger image

Client: Chinese Contemporary Art Development Foundation
Design Architect: Daipu Architects
Director: Dai Pu
Design Team: Dai Pu, Feng Jing, Liu Yi

Tree Art Museum by Daipu Architects

Above: third and fourth floor plans – click for larger image

Structural Engineer: Huang Shuangxi
Water Engineer: Lei Ming
Mechanical Engineer: Wang Gepeng
Electrical Engineer: Wang Xiang
Curtain Consultant: Beijing Doorwin Decoration Co, Ltd
Design: 2009.11
Construction: 2010.11 – 2012.09

Tree Art Museum by Daipu Architects

Above: cross section one – click for larger image

Tree Art Museum by Daipu Architects

Above: cross section two – click for larger image

Tree Art Museum by Daipu Architects

Above: street elevation – click for larger image

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Tools for Life by OMA for Knoll

Milan 2013: architect Rem Koolhaas has unveiled a collection of rotating, sliding and motorised furniture for US furniture brand Knoll (+ slideshow).

Tools for Life by OMA for Knoll

Designed by Koolhaas’ architecture studio OMA, the Tools for Life collection includes a table with a top that rises and falls at the press of a button, a chair that can be adjusted in the same way and a counter made of three swivelling stacked blocks (above and below).

Tools for Life by OMA for Knoll

Koolhaas said: “We wanted to create a range of furniture that performs in very precise but also in completely unpredictable ways, furniture that not only contributes to the interior but also to the animation.”

Tools for Life by OMA for Knoll

First glimpsed on the runway for Prada’s Autumn Winter 2013 menswear collection back in January the collection, unveiled today at Fondazione Prada in Milan, has been launched to coincide with Knoll’s 75th anniversary.

Tools for Life by OMA for Knoll

Above: swivel armchair with red button to adjust height

Two height-adjustable tables and a swivel armchair are powered by an electric motor and can be raised or lowered by pressing a large red button.

Tools for Life by OMA for Knoll

A low coffee table comprises three transparent acrylic boxes that slide apart to create cantilevered shelves, while upholstered cushions provide casual floor seating and a “table pocket” stores small objects.

Tools for Life by OMA for Knoll

Above: height-adjustable table and chair

Although not shown in these images, OMA has also designed a screen made from panels of foamed aluminum, travertine or wood laminate, a modular bench, another glass table and a height-adjustable stool.

Tools for Life by OMA for Knoll

Above: coffee table

Tools for Life will be on show to the public at Fondazione Prada at Via Fogazzaro 36, from 9 to 10 April.

Tools for Life by OMA for Knoll

Above: adjustable table

The collection was previewed during a Prada menswear show in January, and the fashion house has collaborated with OMA a number of times in the past, including on a shape-shifting pavilion in South Korea and a design for experimental exhibition spaces in Milan – see all Prada projects.

Tools for Life by OMA for Knoll

Above: table pocket for storage

We’re in Milan this week covering all the highlights from the design week, including Zaha Hadid’s monochrome pendant lamps for Slamp and Ronan and Erwan Bouroullec’s installation of cork carousels – see all news and products from Milan 2013 or take a look at our interactive map featuring the week’s best exhibitions, parties and talks.

Photographs are by A.Osio, courtesy of Knoll. Here’s some more information from Knoll:


Knoll, Inc. introduces “Tools for Life,” a new collection of furniture by OMA, the collaborative practice co-founded by Dutch architect Rem Koolhaas in 1975. Knoll tapped Koolhaas, one of the most provocative thinkers and daring form-makers of his generation, to help mark its 75th anniversary. With this collection, Koolhaas joins Knoll’s pantheon of modern masters, which includes such figures as Mies van der Rohe, Eero Saarinen and Frank Gehry. “Tools for Life” offers a contemporary interface between furniture and people, supporting the ebb and flow of work and social life, while adjusting to the different needs of both.

The collection will be on view during the 2013 Salone Internazionale del Mobile at Prada’s Milan exhibition space at via Fogazzaro, 36, where the pieces were first previewed during the Fall Men’s Show earlier this year. Public exhibition hours are 10:00 AM – 8:00 PM, Tuesday, April 9 and Wednesday, April 10.

Commenting on the endeavour, Rem Koolhaas said: “We wanted to create a range of furniture that performs in very precise but also in completely unpredictable ways, furniture that not only contributes to the interior but also to the animation.”

At the core of the collection is Koolhaas’s belief that furniture should be understood as a high-performance tool rather than a design statement.

“I want to talk about work and not the office — the distinction being that today people work everywhere,” added Benjamin Pardo, Knoll design director. “With that in mind, the OMA pieces are more kinetic than static: many are easily adjustable so that with changes in height, adjacency and degree of privacy, almost any space can be transformed to a place of work.”

The simple, no-nonsense palette makes the furniture compatible with a range of residential and workplace interiors. Clear acrylic is juxtaposed with concrete; glass with leather; travertine with steel—beguiling and engaging contrasts that draw attention to individual pieces.

Horizontal “Tools for Life”

The dynamic 04 Counter is the collection’s signature piece. Beginning as a monolithic stack of three horizontal beams, the user can rotate the top two beams and transform this wall-like unit into a series of shelves and cantilevered benches—a metamorphosis from a spatial partition to a communal gathering place. Rigorous engineering and a system of internal bearings and rails facilitate 360 degrees of movement. Patterned wood grain and leather surfaces provide unexpected and subtly sensuous contrasts.

For individual focused or group collaborative work, the 05 Round Table and 06 Table integrate mechanical sophistication with seemingly effortless effect. Both can be adjusted to accommodate lounge seating or even standing. The 05 Round Table features a travertine top with a travertine base or an acrylic top with an aluminum base. An exposed mechanism, powered by an electric motor, elevates or lowers the table.

Conceived as an executive desk, the 06 Table has a two-piece laminated glass top. The two horizontal surfaces, one a work surface and the other intended for storage, are separated by four round, glass columns.

The 03 Coffee Table is a stack of three transparent boxes constructed of clear acrylic. Internal slides allow the individual elements to be rotated and cantilevered, giving users the ability to adjust its overall shape depending on changing needs.

Seating “Tools for Life”

Comfort and privacy are explored in the collection’s two primary seating pieces: 01 Arm Chair and 02 Arm Chair with high back. The 01 Arm Chair is a height-adjustable, swivel lounge chair with a clear acrylic exterior frame and leather interior upholstery. A mechanical column base with a signature red band provides height adjustment at the touch of a button. A concrete base plate grounds the chair. The 02 Arm Chair with high back has the same features, while offering uniquely flexible interior cushioning that when unfolded provides an enveloping privacy.

Adding to the selection, the 11 Floor Seating, featuring simple upholstered cushions, provides alternate seating heights for work, reflection or relaxation.

The 07 Bench and 08 Perch round out the seating options. The modular bench, made of interconnecting and corner blocks, can be adapted based on user needs. A mortise and tenon mechanism locks the blocks in line; a selection of materials allows for seemingly endless combinations. The 08 Perch is an adjustable stool with an internal gas assist mechanism. Featuring an upholstered seat, the Perch consists of three cylinders; the top and bottom cylinders are wood; the middle one is acrylic. Offering height adjustment from 19 to 30 inches, the Perch accommodates different work requirements.

Ancillary “Tools for Life”

The 09 Screen can be used to partition specific zones within an overall open space. A base of clear acrylic supports panels of foamed aluminum, travertine or wood grain laminate that can be cantilevered off-center.

The 10 Credenza serves as a complementary piece to any and all of the horizontal table elements by providing storage pockets that are accessed by a hinged lid.

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Unexpected Welcome by Moooi

Milan 2013: an exhibition of new products for Dutch brand Moooi, including lamps shaped like upturned buckets and bathtubs by Studio Job, opens in Milan’s Tortona district tomorrow (+ slideshow).

Unexpected Welcome by Moooi

Above: Bell Lamp Medium by Marcel Wanders

Moooi’s co-founder Marcel Wanders has created a number of pieces for the Unexpected Welcome collection, such as bell-shaped lights topped with ceramic bows, lamps with stands that look like chunky balusters and sofas scattered with plump white pillows designed to look like clouds.

Unexpected Welcome by Moooi

Above: Labyrinth Chair Grey by Studio Job

Armchairs patterned with maze-like geometries and a cabinet with patchwork surfaces are among the items by Dutch artists Studio Job.

Unexpected Welcome by Moooi

Above: Common Comrades Scholar by Neri&Hu

Slovenian designer Nika Zupanc‘s entirely golden chair and Chinese studio Neri&Hu‘s family of red utility tables also feature in the range.

Unexpected Welcome by Moooi

Above: Bucket Lamp by Studio Job

Last week Moooi revealed a selection of initial sketches and concept drawings by the designers who contributed to the collection.

Unexpected Welcome by Moooi

Above: Construction Lamp by Joost van Bleiswijk

The products will be on display from tomorrow at Via Savona 56 in the Tortona district of Milan, close to where Dezeen has set up a studio in a car wash at the MINI Paceman Garage as part of our Dezeen and MINI World Tour.

Unexpected Welcome by Moooi

Above: Juuyo Peach Flowers by Lorenza Bozzoli

See all our stories about designs for Moooi »
See all our coverage of Milan 2013 »
See our map of Milan 2013 »

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Quiet Motion by Ronan and Erwan Bouroullec for BMW i

Milan 2013: designers Ronan and Erwan Bouroullec present a courtyard installation of rotating cork platforms for car brand BMW i (+ slideshow).

Quiet Motion by Ronan and Erwan Bouroullec for BMWi

Called Quiet Motion, the project for BMW’s electric car division comprises four carousel-like structures with strips of fabric hanging from the edges, linked by wide circular cork platforms that are also revolving.

Quiet Motion by Ronan and Erwan Bouroullec for BMWi

Visitors can climb inside the curtains of textiles and relax as the world slowly passes round them: “You are invited to take part in it and be part of the movement,” explains Erwan Bouroullec.

Quiet Motion by Ronan and Erwan Bouroullec for BMWi

The Bouroullec brothers believe that as electric engines make cars quieter, the driving experience and the interior design of vehicles should become simplified and more relaxing.

Quiet Motion by Ronan and Erwan Bouroullec for BMWi

“We tried to interpret what it means to have an electric cars,” he continues. “What we propose with this installation is to say that motion, movement, energy in general should probably be quieter, softer and something which is less about speed and aggression.”

Quiet Motion by Ronan and Erwan Bouroullec for BMWi

They combined materials common to car design – bodywork paint and leather – with materials more usually associated with furniture and interiors, like cork and fabrics.

Quiet Motion by Ronan and Erwan Bouroullec for BMWi

“We are more and more surrounded by materials that look fake,” says Bouroullec. “In the furniture industry you use less materials and fewer components. I think car interiors have to come back to materials that are more clear, more simple, and more understood by the people and customers.”

Quiet Motion by Ronan and Erwan Bouroullec for BMWi

The installation will be on show at Facoltà Teologica dell’Italia Settentrionale, Via dei Cavalieri del Santo Sepolcro 3, 20121 Milan from tomorrow.

Quiet Motion by Ronan and Erwan Bouroullec for BMWi

The Bouroullecs will also present an aluminium sideboard for Italian brand Magis and an update to their Steelwood chair at the Salone Internazionale del Mobile in the city this week. See all our stories about design by Ronan and Erwan Bouroullec.

Quiet Motion by Ronan and Erwan Bouroullec for BMWi

BMW i is the sustainable sub-brand of BMW – check out their folding electric scooter and two electric concept cars or see all our stories about BMW car design.

See all our stories about Milan 2013 »
See our Milan 2013 map »

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Proyecto Roble by Équipe

Bright red louvres screen the gabled walls of this office building in Tilburg, the Netherlands, by Dutch architects Équipe (+ slideshow).

Proyecto Roble by Équipe

Proyecto Roble is the headquarters of landscape firm Van Helvoirt Groenprojecten, who asked Équipe to upgrade an existing building that had become too small.

Proyecto Roble by Équipe

The architects demolished the canteen of the old office, then added a new structure stretching out in its place. Constructed around a chunky timber frame, the building has an asymmetric shape with floor-to-ceiling glazing along its sides and the red slatted timber across its ends.

Proyecto Roble by Équipe

“The original building wasn’t that old so we tried to reuse it,” architect Daniëlle Segers told Dezeen. “We demolished half of the structure then reused as much of the materials as we could, for example the old brickwork was used in the foundations.”

Proyecto Roble by Équipe

Describing their decision to use red paint, Segers explained: “We had a discussion about leaving the wood in a natural colour, but it wouldn’t stay beautiful in the future. Now, when you approach the building you notice the colour stand out against the green, but it’s still a natural pigment.”

Proyecto Roble by Équipe

The roof of the building is covered with a mixture of sedum grass and photovoltaic solar panels.

Proyecto Roble by Équipe

Meeting rooms are located in the old building, while all the offices occupy the new building and are lined up beside a spacious corridor.

Proyecto Roble by Équipe

The architects designed custom furniture for use throughout the building, then added reclaimed chairs and LED lighting.

Proyecto Roble by Équipe

This is the second bright red building we’ve featured in the last week, following a temporary theatre that recently opened in London. See more red buildings on Dezeen.

Proyecto Roble by Équipe

Photography is by René de Wit and Équipe.

Here’s a project description from Équipe:


“Proyecto Roble” extension of Van Helvoirt Groenprojecten in Berkel-Enschot

“Proyecto Roble” by young office Équipe is a grass roots project, a building embedded in the local context in the rural south of the Netherlands. The client, owner of landscaping firm Van Helvoirt Groenprojecten, had a vision for his headquarters to be a flagship model of sustainability. This was to be a key project where sustainable innovations replace money-issues as the bottom line.

Proyecto Roble by Équipe

The building is a custom designed environment with no standard details. The project was undertaken as a research into the potentials for creating a positive workplace. Key themes were broken down into components and expressed in the design. “Feel Good!” was the catchphrase coined that encompassed the different themes as renewable energy, passive climate control, abundance of natural light and the relationship to the external landscape, which was to be a showpiece of healing environment garden.

Sustainability was thus been payed attention to in all stages and all scales. From a period of studying what ‘sustainability’ actually means to making sure everyone on the building site understands and embraces these principals.

A.o. a new way of tendering was used, called the Building-team Plus and a new formula was invented to document decisions on materiality and techniques.

Proyecto Roble by Équipe

The new extension immediately catches the passing motorist’s eye, a sleek red form in the agrarian landscape, replete with a fully integrated photo-voltaic-panel roof and a green roof. The green roof transcends its cosmetic role, and is a testing ground for emerging water filtration technology. In the beginning of the 20th century Tilburg was re-known for its textile industry, collecting the workers pee in pitchers for using it as a bleach. Now this project goes back to this tradition inventing worlds first sloped constructed wetlands.

Urine is separated from the black water using it a as a nutrition ingredient for making fertiliser in the clients landscaping activities. Further the grey water runs through the grass roof leaving it as clean water that can be used in the building again. This is only one of the multiple innovations in this project that has been designed to the smallest detail: from building to garden, from the bicycle shed to the bespoke interior and signposting.

Proyecto Roble by Équipe

The building consists of two parts, connected by the clay stove. Heated with prune wasted from the greenery’s own business, this element brings together the office-employees and the outdoor workers. Thus connecting the new extension to the traditions of the family business. Besides the pleasant indoor atmosphere the clay stove also brings technical advantages. The air heating pump could have less capacity and in addition the heater is used as a hot water boiler.

The north part of the building consists of offices. The linearity of the building is emphasised by the interior elements, that are placed on the coloured pathways. By using red linoleum on different areas of the floor and furniture the interior keeps a coherency to the exterior looks of the building.

The southern part of the building is a oversized foyer that connects all spaces. This multipurpose lobby, used for bigger and smaller, organised and spontaneous meetings, provides a green and transparent link to the outdoor world. The play of lines has been made expressive by folded raw aluminium lighting trays that float the length of the building.

Proyecto Roble by Équipe

Above: site plan

The facades are made of open detailed, wooden slats painted red with water based ‘nature paint’ thus creating different transparencies between inside and outside. The structure of prefabricated cross laminated timber elements is left unfinished, the imperfections of the timber adding to the natural serenity of the interior. The timber imbues the internal spaces with a positive connection to nature, something which contributes to the landscaping firms green image. All interior elements, apart from second-hand chairs and desk LED lamps, were custom designed. They are specifically designed in consultation with the personnel. Chairs and table carriages are second hand, like all kinds of smaller parts in the interior design: the door handle of the employees entrance (a re-used banister), the magazine stand (heating pipe) and the fruit boxes in the sample cabinet. Also in the furniture low environmental impact products were used. Special research was done to investigate what material could be best used in what elements and how should these materials be connected. Just like for the exterior the ‘decision document’ was used to explore the considerations in the building team plus and to be able to document conclusions. This proved to be a very useful tool that helps making choices that exceed standards or norms. During the whole process norms were never leading anyhow. Choosing consciously prevailed following scores. (Nevertheless all calculated scores are excellent) F.e. were passive house theories and Dutch energy performance norms may lead to small windows in the north facade, this building has high windows from floor to ceiling that provide the employees with a view to the landscape and lots of northern light.

Proyecto Roble by Équipe

Above: floor plan

Project title: Proyecto Roble
Address: Oisterwijksebaan 8a 5056 RD Berkel-Enschot, Gem. Tilburg the Netherlands
Client: Van Helvoirt Pensioen BV
Architect: Équipe voor architectuur en urbanisme
Project architects: Huib van Zeijl, Daniëlle Segers
Employees: Adam Murray
Interior design: Equipe voor architectuur en urbanisme
Garden Design: Studio Van Helvoirt

Function: office
Original building year: 1996
Research & design: 2006-2011
Start building: May 2011
Deliverance I employment: June 2012

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Sheikh Zayed Bridge by Zaha Hadid photographed by Hufton+Crow

Slideshow feature: Zaha Hadid’s Sheikh Zayed Bridge in Abu Dhabi is pictured in these new images by London photographers Hufton+Crow (+ slideshow).

The 842-metre-long bridge connects Abu Dhabi Island with the mainland and comprises a sequence of concrete waves that curve up and down from the water to reach a height of 64 metres. A four-lane highway runs across and the two road decks are cantilevered from the sides of the structure.

Zaha Hadid Architects completed the project in 2010 – read more in our earlier story.

See more photography by Hufton + Crow on Dezeen, or on the photographers’ website.

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photographed by Hufton+Crow
appeared first on Dezeen.

Y Clinic by Kimitaka Aoki of ARCO Architects

This clinic by architect Kimitaka Aoki in the Ibaraki prefecture of Japan is designed to look like a cluster of smaller buildings (+slideshow).

Y Clinic by Kimitaka Aoki

Externally, Y-Clinic appears as four conjoined buildings creating a facade of protrusions and recesses with seemingly random windows and an uneven pitched roof.

Y Clinic by Kimitaka Aoki

These exterior irregularities are in fact the result of architect Kimitaka Aoki’s sun trajectory studies and response to the surrounding scenery. These calculations result in an interior flooded with daylight and expansive views of paddy fields, cherry blossom and a river.

Y Clinic by Kimitaka Aoki

White walls and exposed wooden rafters that run in different directions depending on which roof section they support emphasise the varying internal volumes.

Y Clinic by Kimitaka Aoki

Aoki told Dezeen, “it’s important to directly express the shape and angle of each roof by leaving the rafters exposed”.

Y Clinic by Kimitaka Aoki

Aoki is part of Japanese studio ARCO Architects.

Y Clinic by Kimitaka Aoki

Other clinics we’ve featured include Hackney studio Gort Scott’s Cat Clinic, a vetinary practice with a subtly feline facade, and a Japanese hair treatment clinic by KORI architecture office and Arimoto Yushiro.

Y Clinic by Kimitaka Aoki

Photography is by Ippei Shinzawa.

Y Clinic by Kimitaka Aoki

Here’s some more information from the architect:


This clinic is located in Tsuchiura, Ibaraki prefecture, Japan. The place next to rice paddy and riverbed is surrounded by nature. There are rice paddy, riverbed, cherry blossom trees, and beautiful sky.

Y Clinic by Kimitaka Aoki

Client (female doctor) demanded no rigidly formal clinic. On the other hand she really demanded reasonable and efficient circulation of doctor, staff and patient.

Y Clinic by Kimitaka Aoki

We designed the clinic by some clues (scenery, seasonal winds, sun trajectory and neighboring buildings) . We found out concavo-convex shape plan with keeping reasonable circulations. And, we suggested characteristic forms which is four buildings with each different roof which is leaded to relationships between inside and outside environment. The format of this architecture is unique to particular places. Whole building form is generated there by some elements. All rooms are rich in light due to offered sunlight by concavo-convex shape plan and different roofs. We can feel inside-space like passing through under some mountains in clinic. This building could be seemed such as villages from people walking along riverbed.

Y Clinic by Kimitaka Aoki

It’s important to for us to consider environmental interrelationship. We strongly desire that the clinic is loved by neighborhood inhabitant and as new symbol in this local area. Although architecture actually has fate as huge artifact, we have to design new architecture which could be integrated environment. Its “scenery” may be called as “new nature (semi-nature)” through their times and affection. It could be new shape of future clinic.

Y Clinic by Kimitaka Aoki

Architects: kimitaka aoki / ARCO architects

Location: tsuchiura , ibaraki , Japan

Architect In Charge : kimitaka aoki

Structural Engineer : yasuhiro kaneda

Area: 198.9 sqm

Year: 2013.03

Photographs: Ippei Shinzawa

Y Clinic by Kimitaka Aoki

Above: site plan

Y Clinic by Kimitaka Aoki

Above: floor plan

Y Clinic by Kimitaka Aoki

Above: long section

Y Clinic by Kimitaka Aoki

Above: short section

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of ARCO Architects
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The Shed at the National Theatre by Haworth Tompkins

Architecture firm Haworth Tompkins has installed a bright red auditorium amongst the brutalist concrete of London’s National Theatre (+ slideshow).

SHED at the National Theatre by Haworth Tompkins

Haworth Tompkins designed The Shed as a monolithic red box, entirely clad with rough-sawn timber boards. This material references the board-formed concrete of Denys Lasdun’s celebrated 1970s National Theatre and was intended by the architects to appear as its opposite.

SHED at the National Theatre by Haworth Tompkins

Four towering chimneys rise up from the corners, helping to draw air through the structure using a stack-effect system of natural ventilation. These chimneys were also planned as a reference to the architecture of the theatre and they mimic the angular geometry of its riverside facade.

SHED at the National Theatre by Haworth Tompkins

A temporary foyer is created beneath the existing balconies and leads straight through into the 225-seat auditorium.

The Shed at the National Theatre by Haworth Tompkins

Reclaimed chairs provide all of the seating inside the building, while recycled materials were used for all of the cladding and surfaces.

SHED at the National Theatre by Haworth Tompkins

“This collaboration has been a wonderful opportunity to explore the ways in which temporary public buildings can alter our perceptions of places and organisations,” said practice director Steve Tompkins. “We hope The Shed will be seen as a playful but thoughtful building, both challenging and complementary to the permanent cultural architecture.”

SHED at the National Theatre by Haworth Tompkins

Above: photograph is by Philipe Ville

The auditorium will remain in place for a year, temporarily replacing the Cottesloe Theatre room while it undergoes a renovation.

SHED at the National Theatre by Haworth Tompkins

Pop-up theatres and cinemas have become increasingly popular in London over the last few years. In 2011 a team of volunteers built a cinema under a motorway flyover, while a theatre for an audience of six travelled around Clerkenwell during last year’s design week in the district.

SHED at the National Theatre by Haworth Tompkins

Above: photograph is by Philipe Ville

Other temporary theatres created recently include one made from scaffolding and plastic pond liner in southern England and one in Estonia made from straw bales. See more theatres on Dezeen.

SHED at the National Theatre by Haworth Tompkins

See more architecture by Haworth Tompkins, including the new home for print-making and photography at the Royal College of Art.

SHED at the National Theatre by Haworth Tompkins

Photography is by Hélène Binet, apart from where otherwise stated.

SHED at the National Theatre by Haworth Tompkins

Above: photograph is by Philipe Ville

Here’s some extra information from the architects:


Haworth Tompkins creates temporary venue at the National Theatre ‘The Shed’

Haworth Tompkins announces the completion of The Shed, a temporary venue for the National Theatre on London’s South Bank. The Shed will give the NT a third auditorium while the Cottesloe is closed for a year during the NT Future redevelopment, also designed by Haworth Tompkins.

SHED at the National Theatre by Haworth Tompkins

The artistic programme for The Shed, recently announced by the Director of the National Theatre, Nicholas Hytner, pushes creative boundaries, giving the NT the opportunity to explore new ways of making theatre. In the same way, The Shed has been a test bed for experiment by the architectural design team. Conceived by Haworth Tompkins and regular collaborators Charcoalblue, it was then designed and built in little more than a year, a collaborative process between the building designers, the National Theatre, and theatre-makers who will work in the space, in a way that more closely resembled a theatre show than a conventional construction project.

SHED at the National Theatre by Haworth Tompkins

Above: photograph is by Philipe Ville

Its temporary nature, building on Haworth Tompkins’ earlier temporary projects like the Almeida Theatre at Gainsborough Studios and King’s Cross, permits a structure that can be seen less as a building than as an event or arts installation – a vibrant intervention on London’s South Bank that will entrance, and sometimes bewilder, passers-by for a period of twelve months.

SHED at the National Theatre by Haworth Tompkins

Above: photograph is by Philipe Ville

The Shed occupies Theatre Square, at the front of the National Theatre, beside the river. Its simple form houses a 225-seat auditorium made of raw steel and plywood, while the rough-sawn timber cladding refers to the National Theatre’s iconic board-marked concrete, and the modelling of the auditorium and its corner towers complement the bold geometries of the NT itself. A temporary foyer has been carved out from the space beneath the NT’s external terraces and provides easy connection to the existing foyers. The Shed’s brilliant red colour covering the entire mass of a form without doors or windows, announces its arrival boldly against the concrete bulk of the NT, giving it a startling and enigmatic presence.

SHED at the National Theatre by Haworth Tompkins

Above: photograph is by Philipe Ville

The Shed also represents another step in Haworth Tompkins’ ongoing project to research sustainable ways of making theatres. Built of materials that can be 100% recycled and fitted out with re-used seating, The Shed is naturally ventilated, with the four towers that draw air through the building providing its distinctive form.

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by Haworth Tompkins
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