Hasta La Ideas

Milan 2014: Japanese architect Toyo Ito spoke to Dezeen about his design for textile brand Kinnasand’s first Milan showroom and his “site specific” architecture (+ interview + slideshow).

Kinnasand, a company founded in Sweden over 200 years ago and now owned by Danish textile brand Kvadrat, asked the 2013 Pritzker Prize-winner Toyo Ito to develop its showroom interior for Milan design week.

Ito rarely designs interior projects, but in an exclusive interview with Dezeen the architect said that he agreed to collaborate with Kinnasand as he felt that several of its fabrics were reminiscent of the transparency and natural influences inherent in some of his architectural projects.

“What I have felt from the start is that it would be important to create an architecture that is more site specific, that is going to take into account what surrounds the human begins,” said Ito, who discussed the underlying ethos that connects the wide variety of styles and forms he has experimented with.

“When I think about a new piece of architecture, I think about making it as if it was a piece of clothing that must be wrapped around a human being,” he said.

Ito’s career has spanned more than four decades. Predominantly based in Japan, his best known projects include the Mikimoto Building, created for a jewellery company in the Ginza district of Tokyo – which features a series of irregular glazed openings all over its facade – and the Tod’s building in Tokyo with criss-crossed concrete bracing that echoes the silhouettes of the trees on the street it faces on to.

His more recent projects include the Sendai Mediatheque – a transparent glass cube that aimed to remove some of the architectural barriers around how space should be used. In 2011 he completed work on the Toyo Ito School of Architecture in Ehime, completed in 2011.

At the last Venice Architecture Biennale in 2012, he curated Japan’s award-winning pavilion presenting alternative housing solutions for the aftermath of the country’s 2011 earthquake and tsunami.

For Kinnasand’s showroom, he chose to translate the properties of the company’s textiles into the materials used for the showroom’s walls, floors and ceiling.

“Some of them were transparent, others were semi-transparent, all of them were very light and it really felt like they could float over the whole space of the showroom,” said Ito, describing the fabrics.

“I decided that the architecture for this space needed to be something that would not overwhelm the essence of these fabrics. It needed to be something that could leave the textiles the possibility to float around the space,” he added.

“This is the image that I had in my mind and this is also why I decided to use the reflective glass, but at the same time I decided it needed to be something with a not too strong reflection. I wanted to create a soft but deep environment for the showroom.”

The glass walls have a frosted finish that reduces their reflectivity and are complemented by the dull shine of the electropolished steel panels on the ceiling and the polished white limestone floor tiles.

Two curving metal poles suspended from the ceiling provide rails over which the fabrics can be draped to enclose the central area of the showroom and form its only product displays.

A storage area for further fabric samples is concealed behind floor-to-ceiling wooden doors featuring minimal metal handles at one end of the space.

The clean and bright aesthetic is enhanced by basic furnishings including a rounded meeting table and chairs made from pale wood, which reference the brand’s Scandinavian heritage.

Lighting is provided by spotlights and strips of LEDs hidden behind the edges of the ceiling that wash the walls in light that can be adjusted between different colours to alter the mood of the space.

Read the edited transcript from our interview with Toyo Ito:

Marcus Fairs: How did you get to come into contact with the brand and how did you apply your architectural ideas to an interior?

Toyo Ito: About one and a half years ago, I had a visit from a Kinnasand person that arrived in Tokyo with a suitcase full of textiles and I was asked if I would be interested in doing the interior design for the showroom. And I have to say that usually I don’t do just interior design, I do architecture. But in this case, the textiles that I had the chance to see were so beautiful, so brilliant, that I really wanted to do just the interior design for the space.

Marcus Fairs: Tell us about the way you’ve used the space here.

Toyo Ito: I had the chance to take first a look at all the textiles of Kinnasand and I realised that is was very sensitive fabric. Some of them were transparent, others are semi transparent, all of them were very light and it really felt like they could float over the whole space of the showroom. They could actually envelop, they could wrap the whole environment.

So I decided that the architecture for this space needed to be something that would not overwhelm the essence of these fabrics. It needed to be something that could leave to these the textiles the possibility to float around the space. This is the image that I had in my mind and this is also why I decided to use this reflective glass that you can see here but at the same time, I decided it needed to be something with a not too strong reflection. I wanted to create a soft but deep environment for this showroom.

In order to have the materials of this architecture not take all the attention in this space, I give a lot of attention to small details and this is why I decided to choose simple materials. As you can see for those doors, you have a surface that is very plain and flat but at the same time is very simple and linear. So you do not have a frame where the doors are actually hidden, you have some doors that become the surface itself of a very linear construction, so that it could envelop this whole environment. This is something that I really wanted to give great attention to in the details.

Marcus Fairs: The white fabric with the pattern of circular dots on it reminds me of the facade of the Mikimoto building in Ginza, Tokyo, which has a similar pattern of circular windows. Did you spot that similarity?

Toyo Ito: Absolutely, I think that the fabric right behind me is perfect for my architecture. In relation to the building of Mikimoto in Ginza, it has got a very simple surface with several sized holes in it. Also, just by having a look at the fabric behind me, I think I would really like to use Kinnasand’s fabrics and textiles in my own architecture.

Marcus Fairs: Throughout your career, there’s a lot of different forms you use and different structural solutions. How would you describe your approach to architecture?

Toyo Ito: As you said, my style, the materials I’ve been using, has changed throughout several eras. Also the shape and the form of my architecture. But there is one thing that is consistent, which is that my own architecture is something made for human beings. You have other architects that think if human beings are not a part of the particular architecture, that architecture will look even more beautiful. I do not think so. I think that architecture is something that must be made for human begins. That human beings must be partners with the architecture itself. So when I think about a new piece of architecture, I think about making it as if it was a piece of clothing that must be wrapped around a human being. This is my image of architecture.

Marcus Fairs: Sendai Mediatheque was a hugely revolutionary building because of the structure and the way it used data, and the Mikimoto building is fun and it has a pattern on it. So what is the link between those two different architectures?

Toyo Ito: Both the Sendai Mediatheque and the Mikimoto building have got a very important point which is the structure. Of course what I wanted to create was a kind of structure that had not yet been seen until that very moment. But what I wanted to focus my attention on is that when you decide to use a new kind of structure, you have to think of how you can make it as human as possible. To turn it into a human space as much as possible.

For the Sendai Mediatheque, I decided to use pieces of wood like tubes that would give the human being inside the space the idea of being surround by a forest – so you have a human being that can enjoy a video or just some time inside the forest. And for the Mikimoto building, of course that was also commercial architecture, so we didn’t have the chance of making the interior design. As for the main architecture, I decided that it was also interesting in that case to have the light entering the building as if it were through the leaves of a forest and so in both cases, you have a very natural element that is strongly felt by the human being inside the environment and that’s the common point in my architecture.

Marcus Fairs: And the Tod’s building in Omatesando in Tokyo has a glass facade with large tree shapes set in it.

Toyo Ito: Of course Tod’s even more than the Mikimoto building, you would have the possibility to see a very strong and direct wooden silhouette, wooden structure. In that case, we didn’t have that much of a volume we could use and also the facade was L-shaped. In that case we decided to have a wooden structure and having it completely surrounded by wood you would feel like you were really surrounded and wrapped by nature and this is the image that I had when I created the design.

What I have felt from the start is that it would be important to create an architecture that is more site specific, that is going to take into account what surrounds the human begins. So it would be important to create an architecture that destroys that distance between human begins and nature. Up to now, human beings have lived in environments that are very far from nature and actually I would like the chance for human beings to live inside nature and to be surrounded by nature.

Of course you have to take one step at a time, and I think that if we do take one step at a time in that direction we can achieve some kind of evolution. And I can also tell you that to a certain extent, we are already going towards that direction, and if we continue completely towards the direction and arrive at the goal we will be able to enjoy a much more lively life. We will get back to a more primitive instinct that will give us the possibility to be more natural in our everyday life. Like animals to a certain point, having the possibility to completely enjoy the surroundings and that is the kind of architecture that I think we should all aim for.

Marcus Fairs: And when you say “we”, do you mean “we” as an architectural office, or “we” as a society?

Toyo Ito: Of course I mean my personal office but not only just that. I would like to think I am extending the meaning of what I just said to all people who are currently making architecture.

The post Glass, timber and stone showroom created by
Toyo Ito for Kinnasand’s “sensitive fabric” appeared first on Dezeen.

The timber and stone buildings of Gion A Caminada, a cult figure in Swiss architecture, will feature in an exhibition opening next month at the House of Art in the Czech city of České Budějovice (+ slideshow).

Hailing from Graubünden, the same Swiss canton as fellow architect Peter Zumthor, Gion A Caminada has built little outside of his native region and instead focussed much of his life’s work on the village of Vrin, where he established his studio in the late 1970s.

Both the population and the economy of the village were in serious decline, so Caminada set about providing infrastructure that would help it to thrive again. These projects include the Klosterhof Salaplauna farming facility and the Mehrzweckhalle public sports hall.

Initally trained as a carpenter and cabinet-maker, the architect also designed a series of houses aimed at combining traditional constructions with modern detailing. Examples of these include Haus Walpen in Blatten, Haus Caviezel in Vrin and his own home, Haus Caminada.

The exhibition, entitled Creating Places, will offer a retrospective of Caminada’s career to date, compiled by the architect alongside curator Michal Škoda.

“The aspect of my architecture that I am interested in is the discussion with the local tradition,” said Caminada, who currently works as an architecture professor at ETH Zurich.

“I pose a question to myself what those old architectural systems may give us,” he continued. “Where is the substance of those constructions? How can they be transformed for new kinds of use to meet the requirements of the present time?”

Other projects featured will include Aussichtsturm Reussdelta – an observation tower for ornithologists – and Waldhuette, a school classroom contained within a woodland cabin.

The exhibition opens at the House of Art’s contemporary art and architecture gallery on 7 May and will run until 15 June.

Here’s some more information about the exhibition:

Gion A Caminada – Creating Places

“The aspect of my architecture that I am interested in is the discussion with the local tradition. I pose a question to myself what those old architectural systems may give us. Where is the substance of those constructions? How can they be transformed for the new kinds use to meet the requirements of the present time? It is always the matter of discussion and a new development. I believe that it is the core of tradition of the entire village.”

These are the words of the Swiss architect Gion A Caminada, whose exhibition was prepared by the Gallery of Contemporary Art and Architecture of the House of Art in České Budějovice for May and June this year.

In the late 1970s, Caminada appeared with a project of improving the development and functioning of the village. And Vrin became the place that Caminada focused a major part of his lifelong effort on. Nowadays, with the benefit of hindsight, we can state that certain ideas and proposals of Caminada’s have not remained at the level of considerations only, which is proved by an essential change on the place mentioned.

Vrin, a village that was dying, both in terms of population and economy, started to change in a number of respects. People stopped moving away, and a number of communal and private buildings, as well as modern farming constructions enabling a contemporary manner of cultivating land, were built. All of this was achieved without a conflict with the traditional nature of the village. Traditions and the cultural heritage were linked with new, up-to-date needs. Another proof of the well-chosen way is that Vrin was the first village to be awarded the Wakker Prize of the Swiss Heritage Society.

In Caminada’s work, architecture also plays a social role. It is happy and beautiful only if the tension between tradition and modern ways bring attractive solutions and if its function is linked with a way of life.

Caminada based his work on the presumption that houses have to reflect people’s stories, and that architecture is an interdisciplinary field, while technology is merely its complement. He uses contemporary means to imprint a traditional appearance to the Alpine environment. However, at the same time, he admits that architecture is becoming a political issue to an increasing degree. The designer has to overcome a number of obstacles related to politics. This is what he partly views as the weak point of contemporary architecture, which has forgotten to solve problems.

Caminada focuses his interest on the countryside/periphery. He characterises it as the domesticated countryside. Although this area once received a generous support from the Swiss government, this support started to fade away as the government decided to support centres/catchment towns and large villages, which are supposed to influence and inspire the periphery. However, is he convinced that proceeding in the opposite direction is correct. He assumes that this way would, on the contrary bring about an increase in the number of abandoned villages.

He is very particular about tradition and continuity in his work, not only about the picture. His constructions communicate in a comprehensible language, giving priority to their own function. It places a great emphasis on details while studying further possibilities of traditional constructions and trying to find ways towards a perfect model of the timbered house.

We can talk about architecture with a reflection of the original culture, with respect to a particular place, which is not only a romantic area, but also a countryside with whims of the weather.

This exhibition that Caminada prepared specially for the Gallery in České Budějovice focuses on the subject of The Creation of Places. At this venue, it deals with a particular architectonic object to a lesser extent, but gives more attention to the idea of how a place could be strengthened in its broadest reality. The exhibition is divided into five parts, and visitors may see both the village of Vrin and the relationships between objects and the countryside, and the place of Caminada’s next place of work – the ETH Zurich.

Gion Antoni Caminada lives in the village of Vrin, in the Swiss canton of Graubünden. First, he learned the trade of carpenter and cabinet maker and then he attended a school of applied arts. After gaining experience on his travels he graduated from the ETH Zurich, the Department of Architecture, where he currently works as a professor. In the late 1970s, he returned to his native village of Vrin, founded his own office, and is also politically active there. Most of his realised works that focus on optimising the functioning of the village are situated at Vrin and its surroundings. He is interested in discussions with the local building tradition, and seeks possibilities of employing old building constructions in modern architecture. To realise his constructions he uses traditional local materials wood and stone.

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Swiss architect Gion A Caminada appeared first on Dezeen.

Milan 2014: Swedish collective Note Design Studio has designed glass lamps mounted on wooden frames that resemble mind-bending illustrations (+ slideshow).

Stockholm-based Note Design Studio created the MCE Lamps for Belgian design brand Per/Use.

The design for the bases was influenced by illustrations and optical illusions by Dutch graphic artist MC Escher and Swedish graphic artist Oscar Reuterswärd.

The solid oak frame balances on three points and allows the globe-shaped lamp to rest on top.

A small circular opening at the top of the shade can be pointed in the desired direction by swivelling the ball.

“Depending on how you lean or tilt the bowl you can direct the light like a soft spotlight,” explained the designers.

The lamps come in gradated pastel shades in three different sized globes and frames.

They were displayed at Per/Use’s exhibition in Milan’s Brera district during the city’s design week, which concluded yesterday.

Here’s some information from Note Design Studio:

MCE Lamp for Belgian design brand Per/Use

The design of the wooden frame was inspired by the mathematical illustrations and optical illusions by M.C.Escher, Oscar Reuterswärd and their likes, hence the name MCE Lamp.

Of course this “impossible” frame is nothing but possible and it’s sturdy construction allows the big glass bowl to rest safely. The glass bowl is blown in three different sizes as the frame and the generous bowl elegantly hides the light source. Depending on how you lean or tilt the bowl you can direct the light like a soft spotlight.

The lamp was launched during Salone del Mobile 2014 by the Belgian design brand PER/USE at the Per/Use own exhibition Brera Design District in Via Dell’Orso 12.

The MCE lamp was originally designed as a one-off piece for the Glass Elephant exhibition during Stockholm Design Week.

The exhibition was a collaboration between Stockholm Furniture & Light Fair and ABB.

The post MC Escher illustrations inform stands
for glass lamps by Note Design Studio appeared first on Dezeen.

Reclaimed timber boards and sections of mesh fencing feature in this dimly-lit bar in Sydney by Australian studio Luchetti Krelle (+ slideshow).

Donny’s Bar, located in the northern beachside suburb of Manly, was designed by Sydney studio Luchetti Krelle to resemble a New York loft.

The bar serves a selection of Asian-inspired dishes, so the design team wanted to also incorporate Asian influences into the space to conjure up images of “a back alley in Chinatown”.

“The brief was to create a warm and friendly New York style loft bar which would serve Asian style tapas and dumplings – on a tight budget,” the designers explained. “Avoiding overt Asian theming, we instead opted for a pared-back approach to the design.”

A range of recycled materials were used to transform the stark space into a dark and atmospheric bar with exposed brick walls and concrete flooring throughout.

A polished copper counter forms a centrepiece in the downstairs bar area. Recycled timber boards and paving stones line the base of the counter, with lighting glowing through the spaces in between.

“The rustic quality of the timber contrasts with a shiny copper rectified top and perfectly mitred timber lining boards weaving diagonally across the lower ceiling and walls,” the designers added.

High tables and bar stools are set against the side walls, while worn leather armchairs, low tables and cushioned footstools are arranged next to a spiralling metal staircase.

Dozens of lights encased in small wire cages are suspended from the mesh-covered ceiling of the double-height space, creating a feature above the entrance.

On the mezzanine floor above, exposed brick and wood panels feature on some walls, while another features red Asian-style prints. Fluorescent lighting tubes illuminate the space and are covered by more sections of mesh wire.

Tables and chairs indicate a space for dining and are accompanied with seating booths tucked away in the corners.

Old toilet cisterns were incorporated into the bathroom, while light bulbs are fixed to a network of exposed pipes above the sinks.

Photography is by Michael Wee.

Here’s a project description from Luchetti Krelle:

Donny’s & Co Manly

Conjuring up images of a back alley in Chinatown, Donny’s Bar is an unexpected and refreshing change to the coastal suburb of Manly and the bar scene there. The design resolution captures a careful balancing of the rustic versus the refined – where urban meets with an Asian Australian flavour.

The existing space was a stark white plasterboard box with a commercial look and feel. The brief was to create a warm and friendly New York style loft bar which would serve Asian style tapas and dumplings – on a tight budget. Avoiding overt Asian theming, we instead opted for a paired back approach to the design.

Our client is from rural NSW and we certainly played on his roots with the barn like scale and proportions of the space. The mezzanine is set back from the entry, allowing the volume of the space to be fully appreciated upon entry.

The bar front utilises railway sleepers casually bundled together with those adjustable ratchet straps used to tie down a load on a truck. The rustic quality of the timber contrasts with a shiny copper rectified top and perfectly mitred timber lining boards weaving diagonally across the lower ceiling and walls.

Canvas lorry tarps are casually tied off to walls and chain-link fencing stretches across the upper ceiling, screening the acoustic treatment from the eye. Recycled materials play a big role in the palette – from the brickwork painstakingly clad to the walls to the re-birthed old toilet cisterns.

When budgets are tight we need to work harder to innovate within our means and this project is an excellent example of such. More and more these days, we designers are being held to account for superfluous spending and budget overruns. We worked hard to nut out this concept and edit it back to its bare bones. We have been creative and clever in the use of every day materials like the chain-link fencing to become features and by using recycled timber and brick for the majority of the palette.

This design is sustainable – both in our design approach and its potential for longevity as a thriving small bar in Manly.

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bar based on a New York loft appeared first on Dezeen.

Milan 2014: Japanese design studio Nendo has unveiled several new pieces to accompany the Peg armchair it produced last year for Italian brand Cappellini (+ slideshow).

Also called Peg, Nendo‘s collection includes another chair, a series of beds, a chaise longue, a small and large table, a mirror, a corner cupboard and two sofas.

“Peg is a family of products that tells a history, comfort but also attention to detail, quality of materials and good shapes,” said Cappellini in a statement.

The shape of the round armchair was influenced by the small cars that populate the streets of Milan. Its seat rests on a crossed ash frame, with the back legs poking up through the sides of the backrest to provide support.

The top and legs of the tables are both rounded – a distinctive element repeated throughout the collection. The tops of the legs puncture the tabletop so they are visible when viewed from above.

Echoing a design feature from the table, the longest tripod supporting the mirror is visible through a hole at the head of the oval glass.

The chaise longue and sofas come with removable cushions available in a range of colours and fabrics.

The beds in the collection have wood headboards that can be upholstered in fabric or leather. The corner cupboard is made with three poles that support four triangular moulded shelves.

All the pieces come in wenge, ebony, natural ash wood or bleached walnut.

The collection was on show at the Salone Internazionale del Mobile in Milan, which concluded yesterday.

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collection for Cappellini appeared first on Dezeen.