Hasta La Ideas

A bridge over a stream connects the two sides of this concrete house in India by Mumbai firm Architecture Brio (+ slideshow).

House on a Stream was designed by Architecture Brio as a weekend retreat near the town of Alibag, on a site with a stream meandering through it.

The architects chose to separate the master bedroom from the main part of the house containing the kitchen, dining room, living room and guest bedroom by arranging them on either side of the stream.

Monolithic concrete boxes containing the various rooms rest on the uneven ground and cantilever over the water, while trees grow in the gaps between.

“Like an organism trying to make most use of its resources and surroundings, the house with its several limbs reaches out into the landscape, making full use of the views within the site and dramatises special moments: a beautiful tree, a view of the mountains beyond or the cascading stream during the monsoon rains,” said the architects.

A walkway covered by a pergola links the bridge with the entrance to the larger part of the house. Next to it, a narrow swimming pool follows the course of the stream and adjoins a sheltered verandah that becomes an extension of the dining room when sliding doors are pulled back.

The living room and both bedrooms also feature doors that can be slid or folded back to open these spaces onto outdoor decks that bring the occupants closer to the surrounding nature.

The kitchen is located at the centre of the house, with a high ceiling containing a skylight contributing to the bright space, around which the other rooms are arranged.

By offsetting these surrounding rooms and raising the level of the living area, the architects intended to give each space a sense of autonomy, while strategically positioned windows create views from one part of the building to another.

Concrete cast against wooden planks gives the building’s exterior a textured finish, which will be enhanced as it gains additional patina over time. The natural aesthetic is enhanced by timber screens that cast delicate shadows on the floors and walls.

Photography is by Sebastian Zachariah.

The following project description is from the architects:

House on a stream

Landscape

With a stream running through the house, this retreat in Alibag is delicately woven into the landscape, alternately opening up and closing itself to the different characteristics of the site.

A multitude of medicinal and fruit bearing trees provide for an intimate ambiance and comfortable microclimate. Though seasonal, the stream bed allows for an interesting landscape feature throughout the year. The house is placed on the banks of the stream where it makes a sudden S-curve. A short walk along the stream before entering the house builds up an element of anticipation.

Like an organism trying to make most use of its resources and surroundings, the house with its several limbs reaches out into the landscape making full use of the views within the site and dramatises special moments: a beautiful tree, a view of the mountains beyond or the cascading stream during the monsoon rains. What started out as a Cartesian response to the site became deformed, stretched and pushed in.

Program

The house consists of two parts: the day areas of the house such as the dining/kitchen, the living room and entrance verandah are separated from the master bedroom by a bridge that spans across the stream.

Since the owners are passionate about cooking, the kitchen is made the heart and centre of the house, a large, inviting volume with a high ceiling and a skylight that floods the space with light.

This space forms the anchor of the house from where its various limbs branch out into the landscape around existing components of the site. The living room on the left is lifted off the ground to have a panoramic view of the mountain range in the distance. The guest room embraces an existing tree to create a courtyard and just peeks across the dining room to have a view over the length of the stream. The pool is aligned along the stream acting as a celebration of it during the monsoons, and a memory of it during the dry season.

Orientation

The orientation of the program is based on climatic considerations. The bedrooms are mostly west facing with large verandahs and get the evening sun.

The living rooms faces east once again with a large verandah. The kitchen, dining, and pool areas all look towards the north and are shaded by large trees. The south façade of the house is predominately closed and more solid with the exception of a picture window that frames the view out from the pantry to the fields beyond.

Monolithic character

While the external structural concrete shell contracts and expands in plan in section it does so as well. The external form of the house responds to site and its orientation and flows from high to low in accordance with the monolithic fluidity of its form. Internally, however, it responds to the creation of space, and directs the eye to frame a particular view.

The outside and inside are therefore apart and internal spaces are defined with volumes created by the changing thickness of the internal ceiling.

The heaviness of this mass however is reversed by the lightness of the white washed walls and ceilings. A central skylight and large sliding doors, which span from floor to ceiling and wall to wall bring in the outside into the interiors. The cantilevered ‘limbs’ of the living room and two bedrooms defy the heaviness of the concrete volumes. By not resting it on the ground the relationship with the landscape paradoxically is strengthened.

Internal relationships

A series of asymmetrical axis create a path of discovery through the house. The arrival path is aligned with the axis of the pergola, which embracing the pool enters the dining room on the left side. One corner of the dining room overlaps with the conically shaped volume of the kitchen. By shifting the axis of the dining room off the axis of the kitchen and raising the level of the living room, this becomes a more secluded space.

Furthermore it allows a glazed door in the kitchen to open up to the outside and view along the external living room wall. At strategic positions in the house steel framed box windows protrude through the concrete walls. Placed symmetrically on the interior walls they highlight specific elements of the site, such as the bark of a tree, or peek from the master pavilion to the main house.

Materialisation

The house is cast in plank-finished concrete with a vertical grain. The homogenous materialisation emphasises the sculptural quality of the house that is moulding itself about the site. Concrete being left exposed in the humid Indian climate, attracts a patina that becomes more rich and alive over time. More so the grey textured surface provides a muted surface against the vibrant green surrounding.

Elegant timber screens further soften the greyness of the con- crete. They not only form a buffer between the interior space and the exteriors, but also create an intensive play of shadow and light on the floors and walls.

Description: Weekend house
Location: Jirad, Alibaug, Mumbai, India
Size: 300 m2
Design: Architecture BRIO, Robert Verrijt + Shefali Balwani
Structural design: Vijay K. Patil & Associates
Realisation: September 2013

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that straddles a stream in India appeared first on Dezeen.

A giant mound of sand appears to support an aluminium roof at New York studio Formlessfinder’s Tent Pile installation outside this year’s Design Miami fair, which opens to the public today (+ slideshow).

Formlessfinder was commissioned by Design Miami to create the temporary pavilion for the entrance to this year’s fair.

Although the gabled roof appears to be supported by the pyramid of sand at first glance, it is held up by timber columns and a plywood wall across its centre.

Five hundred tons of sand are piled up against the central wall, dividing the area beneath the roof into two.

The wall is kept upright by a number of diagonal metal braces, which prevent the weight of the sand from pushing it over and also transfer the cool temperature of the sand to the seating area on the other side of the retaining panel.

On this side, visitors can rest in the shade on milled aluminium benches and beneath fans before entering the exhibition.

The designers intend the pile of sand to be sat on and played in. “We’re hoping to create something that people would want to participate in,” said practice co-founder Garrett Ricciardi when the design was released in October.

The roof comprises a series of anodised aluminium trusses made by fabricator Neal Feay, which run lengthways and are connected by thin struts.

Dezeen is currently in Miami for the last leg of this year’s Dezeen and MINI World Tour and we’ll be posting video reports from the event soon.

Last year visitors entered the exhibition space under a canopy of inflatable sausages designed by Snarkitecture. This year’s fair continues until Sunday.

Photography of the pavilion under construction is by Michael Landsberg.

Here’s some more text from Design Miami:

NYC-based architectural practice Formlessfinder to design a pavilion for Design Miami’s 2013 commission

Each December, Design Miami/ commissions early-career architects to build a designed environment for the fair’s entrance as part of its biannual Design Commissions program.

Harnessing multiple, often unexpected, properties of sand and aluminium, Formlessfinder’s Tent Pile pavilion provides shade, seating, cool air and a space to play for the city’s public. The pavilion appears as a dramatic aluminium roof miraculously balanced on the apex of a great pyramid of loose sand. Milled aluminium benches give resting space in the shade, where visitors will be fanned by the cool air naturally generated by the structure.

Formlessfinder describes itself as a “formless” architectural practice – a studio where an expanded range of ideas, material considerations, construction techniques and user interactions all take priority over the shape of the final building. “Form is often the default lens for thinking about architecture. Even when people think they’re talking about something else, like function or structure, there’s often some kind of formal idea underlying the discussion. We’re trying to shift away from form so that we can explore other qualities of architecture, such as new ways of experiencing space or innovative ways of using materials,” explains Julian Rose, who co-founded the practice in 2010 with Garrett Ricciardi. The pair refer to their practice as a “finder” because it has a multifaceted output, which includes research projects and a forthcoming book. But while the theoretical aspect is important to its work, Formlessfinder still has the creation of physical structures at its heart.

Formlessfinder approaches new projects with an interest in the specifics of geography and the use of available and appropriate materials, committing to use them in a way that allows for re-use. In researching ideas for Tent Pile at Design Miami/ 2013, Rose and Ricciardi ultimately focused on two phenomena very particular to Miami. The first was the ubiquity of sand in the region; those golden grains visible on the beaches also lie beneath the foundations of every building in the city and beyond. Any kind of construction in Miami must take into account the loose and shifting layer on which the final structure will ultimately float. The second was the architectural vernacular of the city; a kind of tropical post-war modernism distinguished by hybrid indoor/outdoor spaces of which the cantilevered roof seemed particularly emblematic. To design the roof and subsequent seating, the architects enlisted the support of materials powerhouse Alcoa and third-generation aluminium fabricator Neal Feay, both of which were integral in giving life to the ambitious truss design of the roof, executed in anodised aluminium.


Formlessfinder’s pavilion takes the sand that is elsewhere so problematic and uses it to advantage. The sand which is so destabilising for architectural projects elsewhere in Miami here becomes the stabilising element of the structure, mooring the lightweight aluminium roof, in lieu of an excavated foundation, for the cantilever, while also being a zero-waste material, completely re-usable after its time at the pavilion.

A retaining wall appears to slice the pyramid of sand in half, creating a more ordered space immediately in front of the entrance to the fair. Bench seating in a variety of sizes is provided by large sheets of aluminium fixed to simple wood bases, foregrounding the raw nature of the materials used. Arranged in a 500-ton pyramid the sand has a thermal mass cooling effect – metal fins driven through the retaining wall into the sand will draw the cool temperature into the seating area, and simple fans will create a refreshing breeze rippling out from the wall.

The pavilion acts as a refuge for the more than 50,000 visitors who come to Miami for the fairs each year, as well as inhabitants of the city’s South Beach neighbourhood. It is intended as a public installation that marries the practical requirements of shelter and seating to spectacular creative architectural ideas from a young practice. Formlessfinder’s Tent Pile engages not only with materials and aesthetics specific to Miami, but with the location of the fair within the city – the pyramid of sand is there to be sat on and played in, the cooling fans to be approached, examined and enjoyed. “We’re hoping to create something that people would want to participate in,” says Ricciardi, and the result is a structure designed to be occupied and explored, as much as it is to be admired.

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entrance to Design Miami appeared first on Dezeen.

This narrow house in Tokyo by local studio Another Apartment has no windows or doors on its front to prevent neighbours from seeing inside.

The house for a family of three is squeezed onto a 58 square-metre plot in a residential neighbourhood of the city.

It is surrounded on three sides by other properties, so Tsuyoshi Kobayashi of Another Apartment positioned the building on the northern edge of the site, and located the entrance and windows on the south-facing sidewall.

“We adopted a plan to make maximum use of openings on the south face and the roof for natural illumination, ventilation and views,” explained Kobayashi.

A spiral staircase with cantilevered treads and a minimal handrail links the ground floor with both the upper storey and a basement level designated for use as a home theatre.

The entrance opens into the living room, which also contains the kitchen and features a full-height sliding window that can be opened out to a narrow patio.

“The living room on the first floor is located a little higher than the ground level and has an atmosphere like a broad veranda as a whole,” said the architect.

Upstairs is a single space that can be separated into two bedrooms using sliding partitions that disappear into the wall when not required.

On the south facade, a series of windows spans the full length of the room, while the opposite wall features built-in storage and includes a hidden sink.

Photography is by Koichi Torimura.

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has no windows or doors on its front appeared first on Dezeen.

News: here’s a preview of the nearly completed Pérez Art Museum Miami by Swiss architects Herzog & de Meuron, which opens tomorrow in downtown Miami and which suggests a new “kind of vernacular” for the city, according to Jacques Herzog (+ slideshow + photography is by Iwan Baan).

Taking over from the former Miami Art Museum, PAMM accommodates 3000 square-metres of galleries within a sprawling three-storey complex that features a huge elevated veranda, boxy concrete structures and large expanses of glazing.

Herzog & de Meuron designed the building to suit the tropical climate of Miami. The veranda, which in time will be filled with plants, is raised up on stilts to surround the building, creating an intermediate space between the galleries and the surrounding city.

“This building is just like a shelter,” said Jacques Herzog. “A roof just like the floor we stand on, under which volumes are assembled to collect, to expose and to show art.”

“Miami doesn’t have any local vernacular,” Herzog said on a tour of the building earlier today, explaining how he wanted to avoid recreating the “decorated boxes” of Miami’s iconic Art Deco District.

“It looks nice and it’s associated with Miami,” he said of the art deco buildings. “But in fact Miami doesn’t have any local vernacular. It has something that the tourists especially like which is this art deco style. This [the Pérez Art Museum Miami] is somehow deconstructing that. It’s the opposite: it’s not based on the box, it’s based on permeability.”

Herzog compared the architectural approach to the Miami building to Herzog & de Meuron’s barn-like Parrish Art Museum on Long Island, which was completed last year.

“As much as the Parrish is an answer to this more northern exposure and is a totally different typology, this is an answer for here, sitting on stilts, with the floods, with the shading, and especially the plants.”

“I think something that could become a kind of vernacular is a building that is specific for this place,” he continued, comparing architecture to cooking.

“The ingredients here are the climate, the vegetation, the water, the sun. The building should respond to all these things,” he said. “Like cooking in winter is different to cooking in summer because you don’t have the same ingredients so you shouldn’t make things that make sense in summer, in winter.”

Stilts support the base of the veranda, then turn into columns to support an overhanging roof that shelters both indoor and outdoor spaces. Clusters of suspended columns covered in vertical gardens by botanist Patrick Blanc hang from the roof structure.

“There’s a very thin layer between the inside and the outside,” added Herzog. “As soon as there are more plants, this will help to make that more accessible, and not such a shock.”

The interior is complete and the exhibitions are installed; when Dezeen visited earlier today contractors were still finalising the landscaping around the building and installing the vertical gardens.

A permanent collection featuring artworks from the museum’s 1800-piece collection occupy the two lower levels of the building. Special exhibitions will also be accommodated on the first floor, while the uppermost level is dedicated to education facilities.

PAMM opens with the first major international exhibition of Chinese artist Ai Weiwei, alongside shows dedicated to Cuban painter Amelia Peláez and Haitian-born artist Edouard Duval-Carrié.

The building is located beside a motorway near Biscayne Bay and is the first completed museum of a waterfront complex that will also be home to the Grimshaw-designed Patricia and Phillip Frost Museum of Science when it opens in 2015.

Photography is by Iwan Baan.

Here’s the transcript of Herzog talking about the building at this morning’s press tour:

“Since the early 90s I have been coming [to Miami] with my wife, long before we knew we were going to be building and we were shocked about what is vernacular here: the decorated box. There’s this climate and this reputation, this didn’t make sense, but of course it looks nice and it’s associated with Miami.

“But in fact Miami doesn’t have any local vernacular. It has something that the tourists especially like which is this art deco style. This [the Pérez Art Museum Miami] is somehow deconstructing that, it’s the opposite, it’s not based on the box, it’s based on permeability. Also this transparency with water, vegetation, garden, city and art. Art is intertwined with all these elements.

“In some ways I think this is really interesting because we are here at a crossroads between south and north: South America and North America and other parts. We, with this Eurocentric, America-centric view, didn’t have any focus until not so long ago. The building should help make that possible. This building is just like a shelter, a roof just like the floor we stand on, under which volumes are assembled to collect, to expose and to show art.

“What makes it local? I think thats it’s local because, if we compare it with cooking, the ingredients here are really the climate, the vegetation, the water, the sun. The building should respond to all these things. This sounds simple and it is simple but it’s not easy to achieve, to not make it so boring and generic.

“It is I think something that could become a kind of vernacular, a typical building, a specific building for this place. Just like the Parrish [Art Museum] in the north, which recently opened. We’ve done other museums, the Tate Modern, that answer to what is already there. Like cooking in winter is different in summer, because you don’t have the same ingredients so you shouldn’t make things that make sense in summer, in winter. As much as the Parrish is an answer to this more northern exposure and is a totally different typology, this is an answer for here, sitting on stilts, above the floods, with the shading, and especially the plants.

“We’re very happy to have a Patrick Blanc working on this. Because when we saw the old museum, and you come into the museum over this very hot plaza, and there is a black glass door and that says this is outside and that is inside, it’s like boom! Such a shock, because what it gives way to is an air-conditioned, climatically-controlled box with a very thin layer between the inside and the outside.

“The plants here should be like a filter to make the transition between inside and outside. As soon as there are more plants, this will help to make that more accessible, and not such a shock.”

Here’s a detailed description of the design from the museum:

Pérez Art Museum Miami

Designed by Herzog & de Meuron, the new Pérez Art Museum Miami (PAMM) reflects the natural and urban landscape of Miami and responds to the city’s rapid growth as a cultural destination. The new facility borders the MacArthur Causeway with its front façade oriented toward the bay, making it a highly visible landmark amid Miami’s cityscape. PAMM includes 32,000 square feet of galleries as well as education facilities, a shop, waterfront café, and exterior plazas and gardens.

The new building supports the institution’s mission to serve local populations as a dynamic social forum, stimulating collection growth and enabling the Museum to better fulfill its role as the principal contemporary visual arts and educational resource in the region.

The Building and Landscaping

The three-story facility includes 200,000 square feet of programmable space, comprised of 120,000 square feet of interior space―a three-fold increase from the Museum’s previous facility―and 80,000 square feet on the exterior. PAMM sits upon an elevated platform and below a canopy, both of which extend far beyond the Museum’s walls creating a shaded veranda. Open to light and fresh air, surface parking will be located beneath the platform and surrounded by landscaping and terraces. Stairs as wide as the plot connect the platform to the bay and a waterfront promenade, creating a continuous, open civic space that conjoins community, nature, architecture, and contemporary art.

Designed by artist and botanist Patrick Blanc using his advanced horticultural techniques, native tropical plants hang from the canopy between the structural columns and platforms. The project team also worked closely with landscape architects Arquitectonica Geo to select a range of plant life that could withstand exposure to sun and wind as well as the city’s storm season. The platform provides a comfortable outdoor temperature by natural means. The intermediate space has the ecological benefit of minimizing the sun’s impact on the building’s envelope and reducing the cost of controlling the environment for artworks.

Curatorial Plan

In collaboration with the Museum’s leadership, Herzog & de Meuron developed a series of gallery typologies to best display and develop PAMM’s growing collection. Different modes of display are deployed in a non-linear sequence, allowing visitors to map their own experiences of the Museum’s collection and physical space. The permanent collection galleries are located on the first and second levels. The latter of which also houses special exhibitions. Offering natural light and views of the surrounding park and bay, outward-facing exhibition spaces alternate with more enclosed galleries that focus on single subjects.

Art is displayed throughout the entire building, including the garden and the parking garage. A mostly glazed envelope on the first and third levels reveals the public and semi-public functions within: entry halls, auditorium, shop, and café on the first level, education facilities and offices on the third. By offering a specific range of differently proportioned spaces and a variation of interior finishes, as opposed to a traditional sequence of generic white cubes, PAMM proposes a new model of curating and experiencing art.

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creates new “vernacular” for Miami appeared first on Dezeen.

Classic sports cars appear to be frozen as they explode in this series of images by Swiss artist Fabien Oefner (+ slideshow).

Oefner deconstructed scale models of 1950s and 1960s sports cars and photographed the parts individually. He then digitally arranged them to create an image that makes it look as if a life-sized car is exploding.

“What you see in these images, is a moment that never existed in real life,” said Oefner. “What looks like a car falling apart is in fact a moment in time that has been created artificially by blending hundreds of individual images together.”

The artist sketched where the individual parts would be placed before each model, containing over a thousand components, was taken apart piece by piece. Titled Disintegration, the series includes a 1954 Mercedes-Benz 300 SLR Uhlenhaut Coupé, a 1961 Jaguar E-Type and a 1962 Ferrari 250 GTO.

To set up the shots, Oefner arranged the pieces with fine needles and string to create the right angle. He photographed each of the components then combined the pictures to form a single image using Adobe Photoshop.

“These are possibly the slowest high-speed images ever captured,” he said. “It took almost two months to create an image that looks as if it was captured in a fraction of a second. The whole disassembly in itself took more than a day for each car due to the complexity of the models. But that’s a bit of a boy thing. There’s an enjoyment in the analysis, discovering something by taking it apart, like peeling an onion.”

The photographs are currently on display at the M.A.D Gallery in Geneva, Switzerland, along with another series by Oefner called Hatch. This set features images in which a 1967 Ferrari 330 P4 appears to have just broken out of a shell like an egg hatching.

These images of “the birth of a car” were created by filling a latex mould of the model Ferrari with a layer of gypsum to produce a series of shells. The shells were thrown at the model or dropped on top of it, with the aim of capturing the smashing so the car looks like it is breaking out from it. A microphone was connected to the camera to trigger the shutter to close at the exact moment of the shell breaking.

“I have always been fascinated by the clean, crisp looks of 3D renderings,” said the artist. “So I tried to use that certain type of aesthetic and combine it with the strength of real photography. These images are also about capturing time: either in stopping it as in the Hatch series or inventing it as in the Disintegrating series.”

The exhibition continues until May 2014. Here is some more information from the artist:

Mind-blowing images by Fabian Oefner at the MB&F M.A.D. Gallery The MB&F M.A.D. Gallery is delighted to present a series of prints by Swiss artist Fabian Oefner. Fabian has carved out his reputation by fusing the fields of art and science, creating images appealing to heart and mind. He is constantly on the lookout for capturing life moments that are invisible to the human eye: phenomena like sound waves, centripetal forces, iridescence, fire and even magnetic ferrofluids, among others. The artworks on display at the M.A.D. Gallery from Fabian’s series are mind-boggling. The three images of the Disintegrating series are exploded views of classic sports cars that Fabian has painstakingly created by deconstructing vintage roadster scale-models, photographing each component, piece by piece in a very specific position, to create the illusion of an exploding automobile.

The three other images on exhibition form his Hatch series, which explores the theme ‘the birth of a car’. Inspired by a picture of a hatching chick, Fabian decided to show a manufactured object being born just like a living organism – in this case a Ferrari 250 GTO breaking out of its shell, to create a witty high-octane take on the beginning of life. While both series feature cars, they both also involve fooling the observer into seeing the images as computer-generated renderings rather than the real photographs that they are.

Fabian says: “I have always been fascinated by the clean, crisp looks of 3D renderings. So I tried to use that certain type of aesthetic and combine it with the strength of real photography. These images are also about capturing time: either in stopping it as in the Hatch series or inventing it as in the Disintegrating series.” Fabian Oefner’s artwork will be on show at the M.A.D. Gallery in Geneva starting on 27 November until May 2014. Disintegrating in detail Fabian Oefner explains that photography usually captures moments in time; but his Disintegrating series is all about inventing a moment in time. “What you see in these images, is a moment that never existed in real life,” says Oefner. “What looks like a car falling apart is in fact a moment in time that has been created artificially by blending hundreds of individual images together. There is a unique pleasure about artificially building a moment… Freezing a moment in time is stupefying.”

The images show exploded views of classic sports cars: intricate scale models of an eye-wateringly beautiful Mercedes-Benz 300 SLR Uhlenhaut Coupé with gullwing doors (1954); an iconic sleek, black Jaguar E-Type (1961); and a curvaceously sensual Ferrari 330 P4 (1967). Fabian first sketched on paper where the individual pieces would go, before taking apart the model cars piece by piece, from the body shell right down to the minuscule screws. Each car contained over a thousand components. Then, according to his initial sketch, he placed each piece individually with the aid of fine needles and pieces of string. After meticulously working out the angle of each shot and establishing the right lighting, he photographed the component, and took thousands of photographs to create each Disintegrating image.

All these individual photos were then blended together in post-production to create one single image. With the wheels acting as a reference point, each part was masked in Photoshop, cut and then pasted into the final image. “These are possibly the ‘slowest high-speed’ images ever captured,” says Fabian. “It took almost two months to create an image that looks as if it was captured in a fraction of a second. The whole disassembly in itself took more than a day for each car due to the complexity of the models. But that’s a bit of a boy thing. There’s an enjoyment in the analysis, discovering something by taking it apart, like peeling an onion.” However, he adds: “The hardest part was actually setting up the camera, lens and light, because the biggest frustration is when you can’t get any beautiful image out of it!” Hatch in detail With Hatch, Fabian Oefner presents his interpretation of how cars might be ‘born’. The first two images show a Ferrari 250 GTO (1962) – again a detailed scale model – breaking out of its shell. The third image shows one of the empty shells left behind among several others yet to hatch. Fabian started by making a latex mould from the model car, which was then filled with a thin layer of gypsum to create the shell. Several dozens of these shells were made in order to complete the next step: smashing the shell onto the car to create the illusion of the vehicle breaking out. This step had to be repeated a great many times until the desired results were achieved. To capture the very moment where the shell hit the model, Fabian connected a microphone to his camera, a Hasselblad H4D, and flashes, so that every time the shell hit the surface of the car, the impulse was picked up by the microphone which then triggered the flashes and the camera shutter. Representing a car as a living, breathing organism that has been gestated is a neat twist on car conception; it could be said Hatch is to the automotive world what a stork is to delivering babies.

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exploded sports cars appeared first on Dezeen.