Wire-encased lights are suspended above oak-topped counters at this bakery in Poland by designer Maciej Kurkowski (+ slideshow).
Situated in Piaseczno, a town south of Warsaw, Kurkowski’s Przystanek Piekarnia Bakery features a custom-designed shelving unit for storing and displaying bread.
The unit occupies one wall and is made from 626 plywood modules stained in four different hues.
A large blackboard covers the adjoining wall for advertising the day’s menu.
Black electrical cables run up the walls and across the ceiling, powering light bulbs surrounded by intricate wire shades.
Oak counter tops sit on plinths covered in matte white tiles and with bevelled edges.
One tile on each plinth is replaced with a plywood module engraved with the company logo.
Krzosek Bakery is a family company established few generations ago in 1959. Its values combine respect for the tradition and a need for constant development. Interiors of their shops are an embodiment of this approach.
The commission was to create a coherent interior designs for a whole chain of their shops. Individual look of each interior is achieved by use of a stained birch plywood 450x70x20mm module, that can be used to create almost infinite parametric design variations, while the rest of the interior components remain the same. Depending on the interior the modules can form a built-in display rack or a sculptural suspended ceiling that folds over the wall morphing into display shelves.
The first realisation of the project is in Piaseczno. Key feature of the shop is a custom display shelving unit behind the counter made from 626 plywood modules stained in four warm hues. This allows to keep the rest of the elements used in the interior monochromatic, achieving a balanced look with lightly coloured manually applied coarse plaster, epoxy resin flooring and electrical cables laid on walls in black encasement.
Oak counters sit on white tiled plinths. Matte tiles with beveled edges, resembling those used for tile stoves delicately diffuse the light. In each plinth one tile is replaced with a plywood module with new logo of the company engraved in it.
Subtle lightning was created using Thomas Edison’s design inspired light bulbs with an intricate luminescent rod encased in wire fixtures allowing the glow to delicately seep through the gaps which creates elegant overall effect.
Other two main features used in all interiors are a blackboard wall for announcing special offers and stainless steel furnace for baking fresh buns and delicious cookies on site.
Dutch Design Week 2013: from synthetic biology to 3D printing, technologies that could signal the future of fashion are demonstrated in garments and accessories at an exhibition in Eindhoven (+ slideshow).
Object 12-1 by Matija Čop
For the Modebelofte 2013 Future Fashions exhibition, Eindhoven fashion store You Are Here and Amsterdam agency Glamcult Studio collaborated to select young fashion designers who have worked with technologists, to create experimental new materials or recycle old ones.
Design by Rianne Suk
“We tried to make it about technology and innovation, as well as handcraft,” curator Ellen Albers of You Are Here told Dezeen.
The range of projects on display was curated to show how different technologies can be applied to fashion design and textiles, plus adapted for other applications.
Designs by Sadie Williams (left), Jef Montes (centre) and Ana Rajcevic
“[The exhibition is] an examination of what these new techniques can do for us, and how can we bring designers and companies together so that they can use the techniques for other kinds of things,” said Albers.
Items on displays are split into two groups, one on each floor of a dilapidated former fire commander’s house.
Design by Jef Montes
The ground floor contains pieces categorised as Revolutionary Innovations, which were created using processes such as 3D printing, laser cutting and moulding techniques.
On the first floor, the Hyper Crafts section displays exaggerated uses of traditional techniques such as pleating, knitting, embroidery and woodworking.
Barkfur, a synthetically-created biomaterial, is used by Danish designer Laerke Hooge Andersen to suggest how we could grow clothing directly onto the body in the future.
The first houses a cool, dry climate for Mediterranean flowers, while the second encloses a cool, moist climate for tropical plants and encompasses a 30-metre man-made waterfall.
Aerial view of the Flower Dome. Photograph by Craig Sheppard
Interior of the Flower Dome. Photograph by Darren Soh
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Waterfall in the Cloud Forest
Competition closes 21 November 2013. Five winners will be selected at random and notified by email. Winners’ names will be published in a future edition of our Dezeen Mail newsletter and at the top of this page. Dezeen competitions are international and entries are accepted from readers in any country.
Here are some further details from ORO Editions:
In 2012 Wilkinson Eyre Architects won World Building of the Year at the World Architecture Festival for one of the most ambitious cultural projects of recent years – the cooled conservatories at Singapore’s Gardens by the Bay. More recently, the project has won a RIBA International Award and the prestigious Lubetkin Prize. The conservatories are the key built element within the gardens, which were masterplanned by a British-led team following an international design competition in 2006. One of the defining projects of this dynamic world city, Gardens by the Bay sets out to reinforce a vision of Singapore as a “City in a Garden”, bringing species from some of the world’s most vulnerable climate zones to the Marina Bay waterfront. A major tourist destination, the site has attracted over 3 million visitors in its first year of opening.
Interior view of the Cloud Forest. Photograph by Craig Sheppard
The extraordinary conservatories cover an area in excess of 20,000 square meters and are among the largest climate-controlled glasshouses in the world, comprising a 1.28-hectare cool, dry biome (the Flower Dome) and a 0.73-hectare cool, moist biome (the Cloud Forest). Together they represent a uniquely collaborative approach to design, bringing together scientific and design disciplines to meet the challenge of creating cool growing conditions in a building typology more frequently used to produce a warm environment for plants.
Aerial view of the gardens at dusk. Photograph by Robert Such
Supernature tells Wilkinson Eyre’s story of the design, describing in detail the challenges of delivering this highly technical and culturally significant project, and following the team through the early conceptual design stages and construction process to the project’s final completion. It also includes an architectural critique of the building and essays placing the project in the context of Wilkinson Eyre’s wider portfolio.
Faceted white walls frame the entrances to this monochrome auditorium in rural New South Wales by Australian architects Silvester Fuller (+ slideshow).
Silvester Fuller designed the auditorium building as a flexible events space for the Anglican church of Dapto, a small town south of Sydney.
The building is sandwiched between the existing town hall and primary school, creating a community hub and meeting place that is close to the town’s church.
“Locating the auditorium between these two facilities presented the opportunity to create a central hub, from which all the primary event spaces in both the new and existing buildings are accessed,” said the architects. “This hub becomes the campus meeting place.”
Large pre-cast concrete panels give a textured surface to the exterior walls. These are painted black to contrast with the white entrances, which are clad with sheets of fibre cement.
A paved terrace between the car park and the building leads visitors towards the main entrance, which comprises a concertina-style screen of glazed doors and windows.
The doors can be folded back to the edges of the entrance, opening the hall out to its surroundings.
The 500-seat auditorium is located at the back of the building and has an entirely black interior.
Silvester Fuller’s Dapto Anglican Church Auditorium is the first of a new generation of buildings for the Anglican Parish of Dapto. The design is a response to the changing functional and social direction of the church and it’s relationship with the community.
Intended to complement nearby St Luke’s Chapel, the auditorium offers a theatre-like venue for a broader range of event types. No longer a place devoted solely to Sunday worship services, the new church building is required to support a range of events held in the morning, afternoon and evening, 7 days a week and catering to a broad spectrum of the local community.
The organisational strategy for the site involved the relocation of vehicular traffic to the site perimeter, allowing for a fully pedestrianised centre. The new auditorium was then to be located on the site with minimal intervention to the existing buildings. For this reason the perimeter plan of the new auditorium is bounded by the two existing buildings; a preschool and church hall. Locating the auditorium between these two facilities presented the opportunity to create a central hub, from which all the primary event spaces, in both the new and existing buildings are accessed. This hub becomes the campus meeting place.
Once the perimeter mass of the new building was defined, circulation spaces were carved out of the mass, informed by the flow of people from the parking areas to the building and subsequently in and around the two primary spaces; the auditorium and foyer. This subtraction of mass defines voids which connect these spaces to each other and the landscape. The secondary support spaces then occupy the remaining solid mass. The requirements of the individual spaces called for a delicate balance between generosity and intimacy, with some spaces open to the landscape and others completely concealed from it.
The external facade responds to two conditions: where the primary mass has been retained the facade surface is dark, earth-like and roughly textured. In contrast the subtracted void areas are bright, smooth and crisp surfaces identifying the building entrances and acting as collection devices. Once inside the building, the entry into the main auditorium is an inverse of the exterior, presenting recessed darkened apertures acting as portals which then open into the 500 seat theatre. The theatre is a black-box with a singular focus on the stage. There is provision for a natural-light-emitting lampshade to be built above the stage at a later date.
A modest budget demanded construction simplicity combined with spatial clarity and efficiency, to produce a building that is easily understood whilst standing apart from its context. The new building aims to establish a new design direction and focus for the Parish and is envisaged as stage one of a master plan of growth.
Diagrammatic section
Site: 9546 square metres New building: 1155 square metres Auditorium capacity: 500 people Parking capacity: 118 cars, 10 bicycles Design phase: 2008-2009 Construction phase: 2010-2012 Client: Anglican Parish of Dapto & Anglican Church Property Trust Council: Woollongong City Council Architect: Silvester Fuller Project leaders: Jad Silvester, Penny Fuller Project team: Patrik Braun, Rachid Andary, Bruce Feng
Portuguese studio DNSJ.arq has completed a cluster of three white houses on the outskirts of a small town in southern Portugal (+ slideshow).
Located just outside Aldeia do Meco, the first of the three houses was designed by DNSJ.arq as a home for the clients, while the other two function as rentable holiday homes.
Two of the houses are located on a flat section of the site close to the street and the third house is positioned behind them, slightly further up the hill.
Architect Nuno Simões said the team decided to arrange each house in a different composition, “almost like a jazz improvisation.”
“We decided to make the bigger house for our client – in the hilly side of the land with the swimming pool – and the other smaller two for rent,” Simões told Dezeen.
“The two smaller houses, which have a more congested situation, were for living mainly on the patios, while the larger house faces a small river with a glimpse of the ocean,” he added.
Each house has brick walls that coated with white render, as well as poured concrete floors. All three open out to patios on two levels and feature their own private swimming pools.
A garage connects the two smaller houses. A pathway leads to the third house, which is twice as big and boasts more bedrooms and a spacious kitchen.
The intervention that is proposed is located within the urban perimeter of Aldeia do Meco. It is a narrow strip towards sunrise/sunset, flat up to about half of the land and thereafter acquiring an pending until the river bordering the west.
The settlement program includes the construction of three houses, two for rent and a residence for the owners.
The first two houses are grouped together (Casa 1 and Casa 2) on the flat part and closer to the street and settled the other house (Casa 3) on the ground to the west.
This house adapts to the topography, adjusting to the presence of existing trees, and enjoying the views through a system of terraces that extend the house outdoors. Unlike Casa 3, Casa 1 and Casa 2, more exposed to neighbouring buildings, enjoy a more intimate relationship generated by a system of courtyards.
Important starting point was the impossibility of any sophistication constructive opting for current building systems.
The banality of the building grew into a minimal architectural lexicon composed of white unequal volumes, but similar in nature. This game was complemented with the austerity of the chosen materials.
These night shots by New York photographer Andrew Prokos capture some of the buildings designed by late Brazilian architect Oscar Niemeyer in Brasília (+ slideshow).
National Museum of the Republic
Andrew Prokos topped the Night Photography category at this year’s International Photography Awards with the series, which documents buildings such as the National Congress of Brazil and the Cathedral of Brasília after dark.
National Congress of Brazil
“I became fascinated by Oscar Niemeyer’s buildings as works of art in themselves, and the fact that Niemeyer had unprecedented influence over the architecture of the capital during his long lifetime,” said Prokos.
National Congress of Brazil
Niemeyer, who passed away last year, completed a series of civic and government buildings in the Brazilian capital over the course of his career, following the appointment of Juscelino Kubitschek as president in 1956.
Cathedral of Brasília
As well as the congress building and cathedral, Niemeyer also designed the Palácio do Planalto – the official workplace of the president – as well as the National Museum of the Republic and Itamaraty Palace.
Palácio do Planalto
“I found the city fascinating from a visual perspective,” Prokos told Dezeen. “At its best the Niemeyer architecture is elegant and inspired; at the other end of the spectrum there are structures that are straight out of the Soviet era.”
Brazilian architect Isay Weinfeld designed this apartment block in São Paulo as 62 “houses with yards”, which are stacked on top of one another like the blocks of a Jenga game (+ slideshow).
The 360º Building, which was presented at the World Architecture Festival earlier this month, is a 20-storey tower block located at the peak of a ridge between the neighbourhoods of Alto de Pinheiros and Alto da Lapa in the west of the city.
Isay Weinfeld wanted to avoid the typical São Paulo typology of compact apartments with little or no outside space. “We have strived to introduce 360º Building as an alternative to the vertical multi-family housing model, which, in its commonest form, merely stacks up apartment units,” said the studio.
Rather than adding small balconies, the architect gave each home its own terrace. These spaces are all tucked between apartments, offering shelter from the elements and a degree of privacy.
Apartment sizes vary from 130 to 250 square-metres in area, and there are between two and four homes on each floor.
These specifications provide a total of six different floor types, which alternate to create a volume reminiscent of Jenga – a children’s game where wooden blocks are removed from a tower and placed back on top.
The base of the building is set into the hillside. Residents enter via a suspended walkway at first-floor level, bridging a swimming pool that runs around the perimeter.
Communal lounge areas and laundry facilities are located on the ground floor, while three floors of parking are housed in the basement.
360º Building will be erected in São Paulo, the largest city in Brazil, where currently over 10 million people live spread over 1,525 km2. In this setting, unfortunately the “norm” is to live not at one’s best, but crammed and confined, and to commute long distances everyday between home, work and other commitments, by car, bus, or subway. The time left for leisure is scarce, and few are the options to enjoy activities in the open air.
Mindful of the urban reality in São Paulo, of the market and of the client brief, we have strived to introduce 360º Building as an alternative to the vertical multi-family housing “model”, which, in its commonest form, merely stacks up apartment units – ordinary, compact and closed onto themselves.
360º Building, rising on top of the ridge separating the districts of Alto de Pinheiros and Alto da Lapa – a geographic location that will offer privileged sights of the surrounding area and the city -, will feature 62 elevated “homes with yards”: real yards, not balconies, designed as genuine living spaces, wide, airy and bright. It will present 7 types of apartments – either 130, 170 or 250 m2 – combined in sets of 2, 3 or 4 units per floor, in 6 different arrangements.
Leaving the street and past the reception, a suspended walkway will lead to the building’s lobby, surrounded on all sides by a reflective pool. Down one floor, on the ground level, entertaining areas and other facilities – gym, lounge, party room and laundry – will be located, as also the janitor’s living quarters. Further down, there will be 3 parking levels, and, on the lowermost level, employees quarters, storage and engine rooms, in addition to a sauna and an outdoor swimming pool. The land, a steep downwards slope, allowed the lower levels to be semi-subterranean, always keeping 2 sides open to the light and to ventilation.
The building projects to all sides showing no distinction between main and secondary façades.
Treatment rooms sit within a translucent house-shaped enclosure at this dental clinic in Kobe, Japan, by Tato Architects (+ slideshow).
Japanese studio Tato Architects started the renovation by stripping the interior back to the concrete and painting it white, before adding the translucent central volume to accommodate three separate treatment areas.
Wooden screens partition the central space. The walls comprise a film-coated glass, while the ceiling is made from sheets of translucent polycarbonate.
Architect Yo Shimada says the softened lighting of the space help patients to feel more comfortable: “We aimed to produce an space which is clean and peaceful at the same time by controlling the state of light.”
“The translucent material was chosen for lighting the consultation rooms only by the light transmitted through, so that light sources would not offend the eye of the patient in the tilted dental chair,” he added.
A waiting room and reception are positioned at the front of the clinic and furnished with square stools, wooden bookshelves and potted plants.
Bare light bulbs hang down from the ceiling, while a children’s playroom faces out to the street.
A dental laboratory, X-ray facility and sterilising rooms are tucked away at the back.
The interior of the room was of rather coarse RC and in skeleton state. We painted the interior white and inserted a house type of translucent material to get the ceiling as high as possible without a touch on RC beams. This resulted in getting calm, peaceful consultation rooms.
The translucent material was chosen for lighting the consultation rooms only by the light transmitted through so that light sources may not offend the eye of the patient in the tilted dental chair.
A medical facility tends to become functional, cold space after all due to the indispensable requirement such as contamination-proof. I am of the opinion that we can produce an space which is clean and peaceful at the same time by controlling the state of light.
Dutch Design Week 2013: a Dutch fashion textile brand that has a huge following in Africa but which is virtually unknown in Europe has announced a series of collaborations with contemporary designers (+ interview + slideshow).
Congo Chair by Theo Ruth for Artifort, 1952, covered with Studio Job’s print for Vlisco
Vlisco, a 167-year-old company that produces “grande, grotesque, outspoken” hand-printed textiles, staged an exhibition called Vlisco Unfolded exhibition in Eindhoven during Dutch Design Week, presenting its new collection, archive material and its company history as well as a one-off print produced in collaboration with Studio Job.
Studio Job print for Vlisco
Vlisco’s creative director Roger Gerards said the collaboration with Studio Job was the first in series of projects with external designers. “We want to do more and more,” he told Dezeen. “There is a list of designers we are going to work with.”
Celebrate Winter 2013 collection. Photograph by Dirk Lambrechts
Vlisco, based in Helmond close to Eindhoven, employs 800 people and has an in-house design team of 50 people, yet is barely known in the Netherlands.
Celebrate Winter 2013 collection. Photograph by Dirk Lambrechts
“There’s a huge contradiction between how the brand is perceived in west Africa and how it’s perceived here,” said Gerards. “[But] I don’t mind that much that people don’t know us here. There are 400 million people living in west and central Africa and we are world famous there. You see people wearing us everywhere.”
Jeude Couleurs Winter 2013 collection. Photograph by Freudenthal Verhagen
Vlisco was founded in 1846 and its signature fabrics, made using a 21-stage process involving wax-based batik techniques, soon found favour in Africa, where they were bartered by Dutch traders en route to Indonesia, which was the intended market.
The company started to develop bold, colourful prints for African customers and today has a symbiotic relationship with the region, where its products have become part of local folklore.
Unseen Summer 2013 collection. Photograph by Barrie Hullegie
“In west Africa we’re more than just design; we’re also [part of the] culture,” said Gerards. “People claim and adopt our products. When we have a fashion show in a city such as Lagos it’s a huge event.”
Hommage L’Art Spring 2013. Photograph by Koen Hauser
Vlisco, together with fabric brands it owns in Ghana and the Ivory Coast, produced 65 million yards of fabric in 2012. Its key markets are Cote d’Ivoire, Ghana, Togo, Benin, Central African Republic and Democratic Republic of Congo, as well as central and west African customers in major cities around the world.
Dazzling Graphics Spring 2011collection. Photograph by Fritz Kok
The Vlisco Group, which employs 2,700 people worldwide, was bought in 2010 by British investment group Actis, which plans to help the brand double its business by 2015. It had a turnover of €225 million in 2011, an increase of 20% on the previous year.
Vlisco Unfolded exhibition at Dutch Design Week 2013
The Vlisco Unfolded exhibition tells the story of the company and presents its products to the international design community for the first time.
Here’s the transcript of the interview with Vlisco’s creative director Roger Gerards:
Marcus Fairs: What is Vlisco?
Roger Gerards: Vlisco is a design brand based in this area of Eindhoven. We make textiles for west and central Africans living around the world. Besides the design we also manufacture in Holland. We have 800 people making our textiles.
Marcus Fairs: How did the company start?
Roger Gerards: More than 160 years ago a [Dutch] family bought a cotton printer. They had family in Indonesia and they started to make products for Indonesia using a batik technique. From 1900 on these products were also sold in west Africa and in this long relationship from then until today we’ve been making products for west African and central African consumers.
Vlisco Unfolded exhibition at Dutch Design Week 2013
Marcus Fairs: How did the design of the fabrics evolve?
Roger Gerards: The imagery slowly changed from very Indonesian batik styles to our current DNA, which is very outspoken drawings and very bold colours which we developed ourselves. The product is the result of a lot connections, history and craft. Until today we still work with the wax batik technique, and we are the only company in the world doing that.
Marcus Fairs: Describe how the company is perceived in Africa.
Roger Gerards: What’s beautiful about the Vlisco brand is that in west Africa we’re more than just design; we’re also [part of the] culture. People claim and adopt our products. When we have a fashion show in a city such as Lagos it’s a huge event. People fly in from Canada, Dubai, all Nigerians from the whole world want to see the Vlisco fashion show. I always feel New York better in Lagos than in New York.
Vlisco Unfolded exhibition at Dutch Design Week 2013
Marcus Fairs: It’s strange that you’re so unknown in Europe. Does that bother you?
Roger Gerards: There’s a huge contradiction between how the brand is perceived in west Africa and how it’s perceived here. I don’t mind that much that people don’t know us here. There are 400 million people living in west and central Africa and we are world famous there. You see people wearing us everywhere.
Marcus Fairs: Who designs the fabrics?
Roger Gerards: An important part of the company is that we have our own design department. We train our own designers because the technique and the DNA is so exceptional, you can’t compare it with other companies. We have to train our own designers. So we have 20 textile designers from around the world and we have 30 people assisting them. Besides that in the Netherlands we have 700 people working in manufacturing.
Vlisco Unfolded exhibition at Dutch Design Week 2013
Marcus Fairs: How are the fabrics made?
Roger Gerards: The manufacturing process is quite long. It takes 21 steps to make the product, and it takes two weeks from when the white cloth enters the factory to when it’s finished.
Marcus Fairs: You said this would be the “first and last” time you’ll exhibit at Dutch Design Week. Why are you doing it?
Roger Gerards: There are several reasons. Most importantly because we are in this area. People know Dutch design from the past, like Rietveld, very clean, very sober and very reflective. We are very outspoken, decorative – and we’re Dutch design. It’s totally made in a Dutch environment. We developed a new brand strategy in the last few years and we wanted to express that we are happy with the results. We are really growing a lot because of it and we’re doing a lot of design developments and collaborations and I want to share this with the Dutch Design Week audience.
Vlisco Unfolded exhibition at Dutch Design Week 2013
Marcus Fairs: Why have you collaborated with Studio Job on a limited-edition print?
Roger Gerards: I wanted to work with Studio Job because their design language and outspokenness and I feel a big concoction between what we are doing and what they are doing. All the fabrics that are worn by west Africans, they are very grande, very grotesque, very outspoken. It’s about couture and having presence. I think Studio Job is also very iconic and outspoken. As we both are Dutch designers it’s very good to make this connection. We made a limited edition fabric for this occasion but also he is using our fabrics for projects he is doing.
Marcus Fairs: Will you do more collaborations with contemporary designers?
Roger Gerards: Yes we want to do more and more. There is a list of designers we are going to work with.
Vlisco Unfolded exhibition at Dutch Design Week 2013
The bulbous lower level of this residence in Thailand by local studio Architectkidd looks like it’s being squished by the rectilinear storey above it (+ slideshow).
Architectkidd designed contrasting forms for the two floors of Kirimaya House in Khao Yai, north east of Bangkok.
“The site of the house in a wide open and horizontal landscape led us to re-think how typical houses are constructed,” said the architects.
Covered in vertical wood shingles around the top, the long first floor sticks out further on one side than the other.
The round volume beneath is clad using locally-fired clay tiles that are slightly staggered on top of each other to create the curving form.
Windows are cut out from the blob-like shape in horizontal strips, where the tiles curve inward to meet the frames.
The building is entered through double doors beneath the overhang of the first floor, which covers a stepped terrace that is used as a space for yoga.
Guest bedrooms, bathrooms and storage rooms are located within the ground-floor blob.
A central staircase leads to an open-plan living area in the cuboid above, which leads out on a terrace on one side of the blob’s roof.
The master bedroom is housed in the end of the cantilever, with the diagonal steel supports for the floating section breaking up the view through the full-height windows.
Photography is by Luke Yeung and Manassak Senachak.
Here’s some more information from the architects:
Two contrasting structures are joined to form this private residence in Thailand.
The house located 150 kilometres north east of Bangkok, near Khao Yai. The site of the house in a wide open and horizontal landscape led us to re-think how typical houses are constructed.
Instead of repetitive structures and vertical enclosures containing interior functions, we were interested in how the interior spaces of the house – with their different uses, dimensions, levels and orientation – could respond differently to the surrounding outdoor spaces.
Each floor of the house has a distinct layout, geometry and structure. The upper floor contains the main living and bedroom areas that have a specific direction toward the outside views. In contrast, the lower floor is a circular space that is omni-directional in its orientation and responds to the different ways that people can approach the house by car and by foot.
While each floor is distinct, they are co-dependent with each other, with the upper floor resting on and cantilevered from the lower floor. The lower floor, being close to the surrounding landscape, is built up from locally-fired clay tiles that are laid horizontally and stacked.
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