Hasta La Ideas

Cologne 2014: two shingle-clad houses converge to form this year’s Das Haus home of the future installation at the imm cologne fair by Copenhagen designer Louise Campbell (+ slideshow).

Das Haus is an annual commission that allows a designer to imagine what their ideal future home would be like.

Louise Campbell designed a 240-square-metre dwelling devoid of interior walls, with openings at each end rather than doors.

“There are no walls dividing the various zones, only soft textiles that can be rolled up or down as desired,” said Campbell.

Two timber-framed buildings intersect at an angle to one another, with the exposed beams and columns inside coloured grey and white to distinguish the different structures.

These two elements are designed to represent the coming together of masculine and feminine within the home. A long dining table sits in the centre of where they meet.

“There are no secrets and no pressure – the ideal marriage. Perhaps indeed the ideal house,” Campbell said.

A line of beds for sleeping and lounging runs along one side of the space, in front of patterned fabric panels that line the walls.

Campbell modelled the kitchen on a workshop, hanging 573 tools on the white pegboard wall behind the counters.

“Personally I feel very much at home here,” said Campbell. “Where floral wallpaper in a kitchen would not naturally present itself at the top of my list, plenty of fine tools do. Even so, I’d much rather sleep in an imaginatively decorated space than in a bare white bedroom.”

A 100-year-old stoneware bathtub has been placed in the middle of the living area and an upside-down canoe is balanced in the rafters.

The house is clad in larch shingles with coloured tips and the roof is perforated with a pattern of diamonds, which becomes less open at the top of the walls.

Campbell’s design is installed at the centre of this year’s imm cologne design trade fair, which continues until Sunday.

Last year’s conceptual home of the future was created by Italian designer Luca Nichetto, who installed an eco-friendly environment full of plants. London studio Doshi Levien designed 2011 Das Haus, envisaged as part of a dense urban neighbourhood.

Read on for more text sent to Dezeen by imm cologne:

A house with two sides

» Das Haus – Interiors on Stage 2014 by Louise Campbell: a slow house full of handmade things
» Under the title 0-100. (Made to measure), Louise Campbell sounds the depths between man and woman, reason and emotion
» The very personal vision of a home the Danish designer has created for the imm cologne is unreservedly playful and sensuous

What Louise Campbell has erected in Pure Village (Hall 2.2) at the imm cologne with such incredible passion for detail isn’t one house, it’s two! Two timber-framed, prototypical houses with an exposed beam structure that look as if they were positioned at an angle to one another on the floor of the hall and then pushed inside one another like a telescope. The posts of one house have been painted white, those of the other a light grey. The rectangular overlap in the middle created by the intersection of the two volumes marks the spot where opposites are reconciled and the two houses merge into one.

Half designer portrait, half visionary blueprint

Das Haus – Interiors on Stage is the simulation of a home at the international interior design fair imm cologne. Every year, the imm cologne nominates a new designer whose plans are then used for the layout and furnishings. The furniture, colours, materials, lighting and accessories chosen by the Guest of Honour add up to an individually configured interior design. But this holistically conceived proposal isn’t just meant to be forward-looking; it should be practical as well – and above all authentic. Das Haus is an example of how it is possible to create a world of one’s own that becomes an expression of one’s own personality. Besides picking up on current interior design trends, the project also addresses the public’s aspirations and social change.

Louise Campbell turns Das Haus into an attractive stage for relationships

The structure, which has a footprint of 240 square metres and is made of wooden beams, larch shingles and lots and lots of fabrics, turns out to be a thoroughly attractive and seductive experimental setup. Louise Campbell wants to figure out how opposites can be reconciled through design. And in her eyes, the biggest conceivable contradiction in our lives is the (in-)compatibility of man and woman, of reason and emotion – which makes a partnership between the two the biggest experiment of all.

“I don’t understand why we don’t question something as fundamental as love more,” explains Louise Campbell provocatively. “What is love? How does a designer approach these questions? By circling around our physical bases through form.” She wanted to design Das Haus as a home “for him and her, for slow and fast, soft and hard, light and dark, colour and material, British and Scandinavian – with a tranquil space in the middle where everything fits together with some quirks, but no conflicts.” And in this case, “him and her” doesn’t just mean male and female, but the masculine and feminine side within each and every one of us.

Interior philosophy: omitting walls gives the other person more space

The Danish designer shows how both “he” and “she” can make themselves very much at home within these contradictions – and does away with various interior conventions in the process: Das Haus is one big, open space, the bed is a 16-metre-wide piece of furniture for sprawling, lounging and sleeping on, the bathtub stands in the middle of the living area and the kitchen is located in the man’s domain. In the middle, he and she meet at the big table in harmony. There are no proper rooms; instead, the various areas of the home are defined by the furnishings and accessories.

Besides featuring Louise Campbell’s own designs such as the LC Shutters lamps from Louis Poulsen and Zanotta’s Veryround Chair, Das Haus also contains a variety of products by other designers. Everything else was made by hand in Louise Campbell’s Copenhagen studio. And because she felt it was important to include something old as well, a 100-year-old stoneware bathtub was borrowed from the museum collection of Villeroy & Boch AG and set up in the middle of the living area. “There are no walls dividing the various zones, only soft textiles that can be rolled up or down as desired. There are no secrets and no pressure – the ideal marriage. Perhaps indeed the ideal house,” says Louise Campbell of her interior concept, in which everything is designed from the inside out.

A tool wall with 573 tools

A large wall surface in the kitchen zone is one of the highlights of Das Haus. For Louise Campbell, the kitchen is both a workshop and a place to cook, and she has thus hung around 573 tools of every kind imaginable on the exterior wall. The big table is used for stirring, mixing, sawing, painting, hammering and sewing. And whilst technology is notable only by its absence, the house contains the instruments required for every conceivable kind of handicraft. Finding the right measure – the right balance between reason and emotion, perfection and cosiness, technology and craftsmanship, hectic activity and total relaxation – is a key theme for Louise Campbell, both in her design and in her version of Das Haus, which is why she has so aptly named it: 0-100. (Made to measure).

A playful house that exudes sensuousness

“Personally I feel very much at home here,” says Louise Campbell of her Haus. “So where floral wallpaper in a kitchen would not naturally present itself at the top of my list, plenty of fine tools do. Even so, I’d much rather sleep in an imaginatively decorated space than in a bare white bedroom.”

Louise Campbell’s house is a celebration of physical existence in the here and now. Digital projections are entirely absent. The warm lighting, exquisite textiles, comfortable rest zone and many playful details and accessories are a reminder of what is truly responsible for the quality of our homes and lives. Louise Campbell exemplifies this attitude by lending a willing hand with the construction of Das Haus, stapling, painting and draping as it takes shape. By celebrating classical sensuality and all that is handmade, her interior concept is the diametric opposite of the technophile tendencies that have become so widespread in today’s world. The designer cites Lewis Carroll’s Alice in Wonderland, Sherril Jaffe’s Scars Make Your Body More Interesting, Jane Austen’s Sense and Sensibility and The Cure’s Wild Mood Swings as the sources of her creative inspiration.

Das Haus 2014 is a beacon of feminine design

By creating a low-tech house with open spaces that can be used flexibly to provide scope for all its occupants’ (contradictory) facets, Louise Campbell is continuing the Das Haus – Interiors on Stage series with a design that is just as remarkable as its predecessors. In 2012, Anglo-Indian designer team Nipa Doshi and Jonathan Levien were in charge of the new format’s debut, staging what was effectively an organically evolved space that permits communicative interaction between occupants and cultures. In 2013, Italian product designer Luca Nichetto created the next instalment of the design event as an elegant ensemble open to nature on all sides. Das Haus is located within the Pure Village format, which has been given a spacious new home in Hall 2.2 at the 2014 event.

The post Das Haus conceptual future home installed
at imm cologne by Louise Campbell appeared first on Dezeen.

This small wooden pavilion was modelled on the design of a rural shed and added to an old museum in Germany by architects Von M (+ slideshow).

Bauernhaus Museum Wolfegg is an outdoor museum consisting of old relocated farmhouses that visitors can explore to discover the area’s rural way of life from 1800 to 1900.

Stuttgart-based firm Von M designed the BMH pavilion as a multifunctional space for exhibitions, events and workshops. It’s the only new structure on the site so needed to fit in aesthetically.

The building is clad in silver-grey spruce, while the gabled roof is covered with sheets of grey zinc.

Hinged wooden shutters open at intervals along the side walls and the main entrances are via glass doors at each end.

Architect Dennis Mueller told Dezeen that the building was always intended to be a simple structure.

“The context of the pavilion is quite unique so we needed a clear idea to react to the artificial but strong and old-looking context,” he said.

“The roof and the wall cladding have the same colour to achieve the monochromatic and calm appearance,” he added.

Photography is by Dennis Mueller.

Here’s a project description from Von M:

BHM Pavilion “Kulturschuppen”

The starting point for the design of a new building on the Wolfegg museum area was the need for a room that can be multifunctionally used. In this room special exhibitions as well as minor events and museal pedagogical workshops should take place.

Very essential in this connection was the location of the pavilion within the museal context. The new building complements the main entrance of the open-air museum around the already existing buildings “Blaserhof” and “Zehentscheuer” that had been transferred to Wolfegg as “museum – buildings” earlier.

Because of this prominent neighbourhood that aims at attractiveness in its entity, the new building had to subordinate itself under the existing housing of the museum area. Thus the pavilion is to be understood as a fine complement of the farmhouse ensemble, not as a centre of it.

Functional agricultural buildings served as an analogy for the conceptional design. The pavilion makes use of the characteristic shape and materials of a typical shed in a rural environment thus fitting in the environment of the transferred buildings.

Still, the monochrome colour design as well as the minimalist detailing distinctly demonstrate the exceptional position of the pavilion in the midst the farmhouses of former centuries.

Also structurally the pavilion aims at a preferably simple and clear principle. Massive spruce plywood panels define the interior in a rhythmical interplay with the opening folding shutters.

Because of the restriction on one single material of the simple industry quality surfaces a quiet and strong atmosphere emerges in an interplay with the surfaces of the roof elements and the spruce floor, both untreated.

The bright character of the interior on the one hand, contrasts the dark-grey exterior coating of the pavilion on the other. Thus it also stresses the interplay of open and closed wall surfaces as well as the transition from inside to outside.

The post Small museum pavilion designed to
resemble a rural shed by Von M appeared first on Dezeen.

This rectilinear wooden cabin in Hungary by young studio Béres Architects nestles up against the exposed rock face of a former quarry (+ slideshow).

Hungarian architects Attila Béres and Jusztina Balázs of Béres Architects designed Hideg House as the holiday home for a couple and located it on the outskirts of historic town Kőszeg.

A geometric black frame encases the two sections that make up the house, while a sheltered terrace sandwiched between offers view out over the landscape as well as back towards the jagged rock face.

“Natural light and views to the surrounding nature were the most important factors in the arrangement of spaces,” said the architects.

The owner and his wife spent three years building the house themselves. The outer frame was constructed from roughly sawn larch, while the two contained volumes also use larch, but were sanded smooth and left with their natural colour.

“The contrast between the rough sawn larch cladding stained black on the exterior surfaces and the same material with natural finish and smooth surface on the inside leads visitors towards the interior spaces,” said the architects.

The largest side of the house contains the main living spaces, including a combined living room, dining area and kitchen, as well as a bedroom with an adjoining sauna and bathroom.

The smaller western end of the house is a self-contained guest suite. Like the rest of the interiors, it has a plain interior with white walls, plain furnishings and timber-panelled flooring.

Photography is by Tamás Bujnovszky.

Here’s a project description from Béres Architects:

Hideg-ház – Kőszeg, Hungary

Focusing on sculptural cliffs and friendly hillside woods, Hideg-ház is an unusual object in the landscape of the outskirts of Kőszeg, a charming historical town in Hungary.

The site had been used as a quarry a few centuries ago so the exposed rock face was one of the strongest elements of the environment. In order to get enough direct sunlight all-year-long and to stay close to the sculptural cliffs, the building had been placed about 10 meters above the road that runs along the bottom of the valley.

“An abstract footprint of a family’s lifestyle – perhaps these are the best words to describe the floor plan” architect Attila Béres says. The wooden cabin is floating a few steps above the natural terrain. The two parts are tied together with a thick black frame. These units taken apart create space for the covered outside terrace which became the central space of the cabin with its perfect views towards the colourful forms of the exposed rocks and the woods on the south side.

Natural light and views to the surrounding nature were the most important factors in the arrangement of spaces. The solid and open surfaces of the 110 sqm building react to these elements as well – large but shaded openings towards the best views on the south side, glimpses of the rock from accentuated spots on the north.

The contrast between the rough sawn larch cladding stained black on the exterior surfaces and the same material with natural finish and smooth surface on the inside leads visitors towards the interior spaces. The clear white walls in the interior pick up the random colours of the sky and the surroundings.

The building is located in a country with very diverse climate. Hot summers and cold winters desire a smart mix of architectural decisions to keep the cabin comfortable and easy to run in all four seasons. The clients had a clear concept about what they wanted to achieve in terms of building services and comfort. A combination of high-tec and simple ecological solutions resulted in extremely low energy consumption and moderate building cost.

Hideg-ház is the first project realised by Attila Béres and Jusztina Balázs. Their young architecture firm started the design of this building in 2009 when Mr. Hideg noticed Attila Béres in Wallpaper magazine’s Graduate Directory – an annual list of talented young architects. Detailed design and construction of the cabin finished in 2013.

Mr. Hideg and his wife spent 3 years on site to build this precisely detailed and custom-tailored house by hand. They carried out almost every phase of construction from cleaning the cliffs to building custom furniture. Their devotion and insistent enthusiasm had key importance along the process of design and construction of the holiday home.

The post Woodland retreat by Béres Architects
nestles up against a jagged rock face appeared first on Dezeen.

This baguette shop in Warsaw, Poland, by architects MFRMGR is modelled on market booths and stalls set up in the city during the 1990s (+ slideshow).

Polish firm MFRMGR, formerly known as Moko Architects, designed Serwus as a healthy and modern version of the traditional Zapiekanka stall, which served open baguettes topped with meat, vegetables, cheese and ketchup as a popular type of fast food.

“The entire spatial idea relates to the market booths where virtually everything was sold in Warsaw in the 90s,” said the architects.

“Generally, we have pleasant memories from that time when small businesses developed and huge changes took place in our country after the fall of communism,” they added.

Red and yellow steel frames – coloured to resemble ketchup and cheese – surround wooden serving counters, representing the framework of a market booth.

During construction the architects also exposed the original tiled floor, dating back to before the Second World War.

The interior is divided into five stalls. The first one is a welcome zone with the menu and cash register while the second zone separates the customer and staff area with a flap and gate.

The third stall is designed as an area for preparing sauces and storing ingredients. The fourth stall is the food preparation area and the fifth stall, in front of the window, features a high counter where customers can sit and enjoy their food.

Photography is by Jakub Certowicz.

Here’s a project description from MFRMGR:

Zapiekanka Bar

Recently, hamburgers and other types of food from distant places of the world have become extremely popular in Warsaw. However, we always felt sentimental about the typical Polish toasted baguettes called zapiekanka which were common fast-food in the 90s and were sold in hideous booths on markets or in trailers.

The basic zapiekanka was made with delicious baguette with mushrooms and real cheese with ketchup on top. Unfortunately, the typical tasty zapiekanka became extinct like the dinosaurs or we can say that they ate their own tail – instead of a yummy meal you could buy just a large frozen baguette with cheap ingredients (ham, cabbage, onion etc.) which was prepared in a microwave.

At Serwus we decided to experiment with the vision of zapiekanka. Apart from the reference to classics we created variations with original and healthy ingredients. Our offer is based on the idea of slow-food – each morning fresh products are prepared while the sauces (ketchup) is prepared using homemade methods. The ingredients, shape and size of the baguette was prepared by a partner bakery according to our guidelines. Zapiekanka is prepared in a fan oven.

The entire spatial idea relates to the market booths where virtually everything was sold in Warsaw in the 90s. Generally, we have pleasant memories from that time when small businesses developed and huge changes took place in our country after the fall of communism.

The small space features five such booths with different dimensions. Each stall is dedicated for a particular function in the process of preparing food. The structure of the stalls consists of powder-coated steel profiles which have the colour of ketchup and cheese. The frame of one stall is zinc-coated. Countertops and enclosures of the oven and refrigerators are made from softwood plywood coated with clear varnish. Round bulbs with visible filaments hang from horizontal steel connectors. Intensity of illumination can be regulated while the worktops can be illuminated with warm-colour fluorescent bulbs.

Each stall is equipped with all necessary elements for completing a certain function.
Stall 1 – welcome zone for the customer. This is where the menu and cash register is located. Under the counter there is a place for beverages and a small refrigerator. After ordering and paying the customer moves further into the restaurant.

Stall 2 – serves as a separation point between the customer zone and the employee zone. There is a flap and gate.
Stall 3 – the area for preparing sauces where the induction stove is installed. It also features the storage area for ingredients in plastic cases. It is possible to attach herb pots, knives, cutting boards etc. on the steel profiles.

Stall 4 – the area for preparing food, cutting bread and putting ingredients on the baguette. This area also features a large fridge, an oven and a storage area for bread in plastic cases. Apart from the multi-function hangers there is also a paper towel holder.

Stall 5 – the area for customers where they can enjoy their food, read a newspaper or have a cup of coffee. Due to the small space, this area features only a high counter where the guest can eat or talk to friends.

During renovation of this shop we discovered unique flooring from the pre-world war II period. The wooden frame where the glass panels were attached using putty was refurbished and repaired where necessary. The frame was coated with red varnish on the outside and cream-white varnish on the inside. We also successfully renovated the brass door handle. In order to easily locate the restaurant we have designed a neon light using old technology.

Project name – SERWUS – Zapiekanka Bar
Project city, country – Warsaw, Poland
Designers/architects – MOKO ARCHITECTS / MFRMGR / Marta Frejda , Michał Gratkowski /
Collaboration – Pamela Krzyszczak
Logotype – Lange & Lange
Status of project / expected completion – completed in 2013
Usable floor area: 18 m2

The post Zapiekanka restaurant in Warsaw modelled
on a market booth by MFRMGR appeared first on Dezeen.

Japanese fashion brand Comme des Garçons has opened a branch of its London store Dover Street Market in New York City (+ slideshow).

The new Dover Street Market store on Manhattan’s Lexington Avenue opened just before Christmas, and displays garments and accessories by both established and emerging fashion designers among a variety of installations.

“I want to create a kind of market where various creators from various fields gather together and encounter each other in an ongoing atmosphere of beautiful chaos – the mixing up and coming together of different kindred souls who all share a strong personal vision,” said Comme des Garçons founder Rei Kawakubo about the concept for the stores.

A selection of artists and designers created graphics and 3D pieces for the interior to form different environments across the seven storeys.

On the ground floor Kawakubo arranged wooden sticks haphazardly across part of the ceiling above scaffolding poles, which are used to support the rails displaying Comme des Garçons’ own designs.

White beams are clamped together to create angled shelves for Dover Street Market merchandise.

More scaffolding is used to form the section for Japanese designer Junya Watanabe on the floor above, where a kiosk for Moscot sunglasses is also located.

A globular tunnel painted purple on the inside covers the staircase connecting levels three and four.

Wooden structures and lattices are dispersed across the fifth level, some large enough to walk through.

The top two floors are decorated with a mix of patchwork wall hangings, illuminated lettering, translucent display units and metal columns.

American designer Thom Browne‘s apparel is presented in a glass room modelled like an office.

As well as New York and London, Dover Street Market also has an outpost in Ginza, Tokyo, which opened in 2006.

The post Dover Street Market fashion store
opens in New York appeared first on Dezeen.