Hasta La Ideas

Milan 2014: new design brand TOG‘s furniture can be customised using an app and makes choice “the only trend that is acceptable”, according to Philippe Starck who has created a range of products for the company (+ slideshow).

French designer Starck told Dezeen that he wants to do away with trends in favour of allowing consumers to create bespoke pieces, but still at an affordable price.

“The only way to see life is no more trends,” Starck said at the TOG launch in Milan last night. “The only trend that is acceptable is freedom, freedom to be different, freedom to choose what you want.”

“Everyone wants and needs mass production, because only mass production can raise the quality, raise the engineering and lower the price,” said Starck. “But the problem with mass production is that there are millions of pieces. People said ‘I am happy’, but millions of people have the same.”

His solution is to design and produce furniture that uses low-cost mass production but gives consumers the option to chose various elements, finishes and even produce add-ons for the furniture themselves.

“We have 15-20 custom options, in six months it will be 500, and 5000 next year,” explained Starck. “Mrs Jones in Australia can say ‘I want this chair’ but Mr Budu in Africa covers it in pearls. They make a deal, how much is it, $50? When they agree, we send the piece of furniture to Mr Budu who does his work and sends it back. It’s win win win. We make the best furniture, I hope. Mrs Jones has what she wants, she creates her own thing. And Mr Budu uses his creativity and makes a business, we don’t take any profit from that.”

“Like that you have the best of two worlds,” said Starck, who explained that there are four ways to order pieces from the collection – choosing from a panel of pre-made pieces, buying a “naked” product to customise at home, ordering direct from the factory or accessing a network of creatives for bespoke commissions via the TOG app.

“You have some sort of panel here to do it. Or you buy the product naked, in the flagship [store]. TOG will have the first one in São Paulo in four months. Or you can order it on the internet from the factory and say ‘I want this colour, and this colour, and this shape.’ We can also print images on so you can customise. You can also go to the flagship and do the same.”

Along with Starck, the brand has enlisted established designers including Sebastian Bergne, who has created a range of outdoor furniture, and Industrial Facility founders Sam Hecht and Kim Colin to design the first pieces in the range.

“TOG is the first company that has solved the paradox between the brain, the computer, the theory, the engineering, the high technology, the mass market, the mass production and the hand, the talent, the craftsmanship, the small artists, and you can make both,” said Starck.

Starck became involved with the TOG project through his friendship with the owners of Brazilian footwear company Grendene, who are behind the new brand.

“We are partners because the owners are huge industrial company in Brazil and I’ve helped them make shoes,” said the French designer. “There is no art director here, everything is about the freedom. That is why today we have started with some designers, because you have to start. After, people will arrive and chose the designer. It’s really a company of freedom.”

“My next collection for them will be even more designed for customisation,” he added.

TOG’s range is on show at Torre B, Piazza Gae Aulenti, in Milan until 13 April.

Here some information from TOG about the collection:

TOG

In occasion of Milan Design Week, on the 7th of April, a new design player comes to life. TOG is an innovative furniture brand and a creative community, combining the best of industry with its highest technology and the best of humanity with craftsmanship.

For TOG – ALLCREATORSTOGETHER – anyone can be creative: blending a bold and innovative approach to design and its imaginative process. TOG is an open source platform, a collaborative yet individualistic, irreverent and yet respective project able to adapt itself at everyone’s likings. TOG offers an already high quality product – design wise and production wise – together with a wide array of customisation options should the client wishes to make the item unique. TOG is creating a virtuous unique system where creators, clients, artists, artisans and industrials share the same values and the same goals, in the direction of an exceptional design made of dream and reality.

TOG is an oblique network where customers are asked to be involved if they wish, to take the leadership and become part of the practical, cheerful process of making and sharing new ideas for new customised objects. It is a collective escalation: TOG creative-team designs the piece of furniture; the company produces it. At this stage the client has the freedom to enjoy the distinguished design piece naked – as proposed by the company – or has a large range of choices, in house, in store or online to create their own personal mix of forms and colours through a large and various platform of possibilities. TOG enables its clientele to create a one off object according to their desires through photos printed on or through interventions of a wide range of selected artists and artisans.

TOG pulls together the best of humanity with craftsmanship, along with the best industry development with its highest technology: TOG tries to solve a strong paradox that is to offer all the advantages of democratised production – that grants high quality and service – with the best of human craftsmanship that grants the uniqueness. TOG guarantees the quality of its products in terms of design and manufacturing also creating a support for other people’s creations. It means giving profit to the customisers without TOG taking any profit. TOG is social conscious: for example various communities and local Yawanawa and Varzea Queimada Brazilian tribes, are involved in the creative customising process – for example developing decorated slip covers in straw or pearl chains for a chair by translating their traditional patterns and techniques in contemporary design elements.

At TOG, there is no style but freedom, therefore customisers are from all areas, ethnics and diverse backgrounds. TOG suits everyone’s taste.

TOG is not just a brand on the market: TOG sets up a global system, a web community of customers, enthusiasts and professionals sharing ideas via a user-friendly brand new app. TOG, that will allow cheerful exchanges with various medias including video, and that soon will also lead to a community award. TOG is communicative and interactive, is industrial yet crafty, traditional and ground-breaking, and its visual campaigns are fresh and surprising. TOG is a new approach to the design industry at large.

TOG maximises logistics and transports with less volume, but also reconciles the advantages of mass production with individual and distinct acknowledgement, it’s eco-responsible.

At the Torre B in Milan, TOG will introduce 21 families of products. The first collection includes a creative rooster of high quality designers, such as Sebastian Bergne, Jonathan Bui Quang Da, Sam Hech + Kim Colin, Ambroise Maggiar, Nicola Rapetti, Dai Sugasawa and Philippe Starck.

The main shareholder of TOG is the brazilian industrial group Grendene, already the world’s largest footwear producer using mostly plastic as its field of expertise. With the launch of TOG, Alexandre Grendene, a visionary in the sector, enlarges the circle of activities of the GROUP. It was logical for TOG to develop its entire production in Italy: the worldwide centre of design with the best engineers and best manufacturers. The Grendene brothers Alexandre & Pedro are very proud to invest in Italy, their home country of 3 generations ago. Their grandfather had left Padova, Veneto, in order to set up vineyards in Brazil. Coming back to invest in Italy is also a natural personal and cultural choice for them.

TOG’s high ambition is to bring back together dream and reality, volume and uniqueness, theory and practice through high quality designed furniture that can be customised by everybody.

TOG believes that anybody can be creative. Its goal is to create a virtuous collaborative system where designers, clients, artisans and industrials share the same values and goal.

The post Customisable furniture means
“no more trends” says Philippe Starck appeared first on Dezeen.

Milan 2014: German brand e15 will launch a collection of floor, table, pendant and wall lamps at this year’s Salone Internazionale del Mobile, including lights made from copper discs and X-shaped extruded aluminium (+ slideshow).

Six designers have created five families of lights for the e15 collection.

Hamburg-based Eva Marguerre and Marcel Besau have created North, a collection of lights each made from two circular brushed copper or powder coated steel discs, joined at just one point on their circumference.

The lights reflect abstract geometrical forms or phases of the moon depending on which angle they are viewed from and are available as pendant lights, wall lights and floor lights. The powder-coated steel versions come in white and yellow.

Palo by Michael Raasch is a horizontal disc-shaped light diffuser that slides onto a slim vertical stand, enabling its height to be set as desired.

Palo is made from steel and powder-coated aluminium in white or black, and comes with an optional marble base in white Carrara or black Marquina marble. It is available as a floor or table light.

Also by Michael Raash, Span is a horizontal, x-shaped pendant suspended from either end. It’s made from extruded aluminium in sections of up to 3000mm and can be used for uplighting or downlighting, making it suitable for working or dining. White and black finishes are available.

The collection also features new floor, table and wall versions of Mark Holmes’ Seam Light Series, as well as the Colour lamp designed by Daniel Rybakken and Andreas Engesvik in 2010.

The e15 lighting collection will be launched on Tuesday at Salone Internazionale del Mobile, Hall 16 Stand E53, alongside furniture by German designer Jörg Schellmann and accessories by Philipp Mainzer, Mark Braun and Jan Philip Holler.

The products will also be exhibited at the e15 showroom, Via Tortona 31, from 8 to 13 April.

Here’re some more information from e15:

e15 Lighting

In Milan e15 celebrates the debut of e15 lighting, a progressive lighting collection of strikingly simple lights consistent with the brand’s artistic point of view. Consisting of five distinct lighting families, the lights bridge between residential and contract applications featuring enduring design with innovative quality construction, energy efficient LED technology and sufficient light output.

E15 also showcases three unique products by German designer Jörg Schellmann and a collection of elegant and functional accessories with character for dining and living in premium materials.

After its premiere at Cologne, the e15 accessory collection will be presented internationally for the first time, featuring enduring design in combination with high grade materials and innovative, handcraft production methods.

With diverse lighting requirements in mind, a range of floor, table, pendant and wall lights in pure materials and colours elegantly define a comprehensive collection featuring e15 lighting. Five lighting families designed by internationally renowned designers Daniel Rybakken and Andreas Engesvik, Mark Holmes, Eva Marguerre and Marcel Besau as well as Michael Raasch reflect e15’s brand ethos of high grade materials paired with extraordinary craftsmanship.

Emitting beautiful atmospheric light NORTH is an expressive floor, table, pendant and wall light with distinct underlying simplicity, designed by Hamburg-based design duo Eva Marguerre and Marcel Besau. Minimalism, theatricality and architecture illustrate the essence of COLOUR by Norwegian designers Daniel Rybakken and Andreas Engesvik. In its refined simplicity free of conventional aesthetics, the light COLOUR expands the field of sculpture and light.

With sculptural structure and accurate folds the SEAM light series by Mark Holmes follows the principle of reduced components and focuses on the element of light itself. SEAM is made of firmly bonded, folded sheet aluminium, available as a floor, table and wall light. By German designer Michael Raasch, the light PALO elegantly offers smart solutions for floor, table or bed side reading. The slim light diffuser in cylindrical form simply slides onto the linear stand. The visible cord lends a casual and dynamic edge to the precise form of PALO while accommodating individual positioning for down lighting at desired points. An optional marble foot adds a luxurious touch.

Simplicity is the allure and strength of the SPAN pendant light, also designed by Michael Raasch. Balanced from two suspension points, the unique X-shaped extruded aluminium section is made exclusively for e15 and incorporates a diffuser. SPAN radiates plentiful light suitable for dining or working environments.

The post Lighting by e15
to debut in Milan appeared first on Dezeen.

Milan 2014: Dutch design studio Droog has adapted pieces from the 8000 objects in Amsterdam’s Rijksmuseum to create a studio space for Milan design week (+ slideshow).

Spaces set up at Droog‘s Rijksstudio m2 exhibition will include an entrance, bedroom, kitchen, living room and dining room.

The walls and ceiling will be decorated with Dutch graphic designer Irma Boom’s wallpaper, referencing works in the museum’s collection by the likes of Vermeer and using the colour palette she developed as part of the 2013 Rijksmuseum renovation and rebrand.

An eighteenth-century tapestry will be transformed into wallpaper, while a painting with birds and clouds will become part of a reflective gradient wall in the bedroom.

The furniture and homeware range created as part of the installation takes its lead from historical artifacts and pieces within paintings in the museum’s collection.

A bathtub, a daybed, a writing desk, a mirror, a nightstand and a candleholder are executed in wood and leather.

Droog is also launching products previewed at Milan last year that are now in production. The collection takes colours, shapes and details from traditional artworks and uses contemporary materials such as rubber and titanium to create contemporary products.

The AA Glasses mimic the form of five historic glasses in the Rijksmuseum whose makers are unknown. They are available in transparent, or matte black for blind tastings.

Table Skin is a silicone cast of traditional Dutch ribbons and piping embroidery, used to form a durable, waterproof and easy-to-clean table cloth.

The collection also include a 3D-printed napkin ring by Studio Droog that resembles a pleated Tudor ruff.

As well as these, Droog will present new products from its New Original series referencing iconic Chinese products such as the Tea for One and Tea for Two teapots by Richard Hutten.

The exhibition will be open at Via San Gregorio 29 in Milan from 8 to 13 April.

The post Droog adapts Rijksmuseum collection
for Milan exhibition appeared first on Dezeen.

A pavilion with a spiked roof by Australian firm Tonkin Zulaikha Greer Architects rises above the landscaped site of the new National Arboretum on the outskirts of the Australian capital, Canberra (+ slideshow).

The pavilion is one of two buildings designed by Tonkin Zulaikha Greer Architects for the project, developed in partnership with landscape architects Taylor Cullity Lethlean. The designers transformed an area of bushfire-damaged land to create a botanical garden displaying a collection of endangered trees and plants.

The pointed pavilion is situated on a plateau called the Event Terrace, which was excavated below the ridge of a nearby hill to minimise the impact of the built structures on the landscape. Its dramatic roofline was designed to provide a focal point, creating a building that can be used as a venue for events including parties, weddings and ceremonies.

“[The pavilion’s] roof shape is a defined contrast to the rolling topography of the site,” said the architects. “The pointed roof will be an emphatic pause in the sweep of the Arboretum’s landscape in this precinct.”

The roof projects over a curving balcony that rises from the sloping hillside and provides an outdoor extension with panoramic views towards the city, lake and nearby mountains. A framework of plywood box beams supports the zinc-clad roof, which is flanked by concrete wings housing bathrooms and service areas.

Nearby, a visitor centre with a shallower pitched roof marks the entrance to the park. This contains facilities for visitor information and orientation, education spaces, a shop and a cafe.

The curving shape of the zinc-clad roof was designed to emulate the ribbed structure of leaves and complement the undulating forms of the natural topography.

“The architecture develops the long-standing tradition of significant garden buildings as transparent enclosures with dramatic internal volumes and sense of indoor-outdoor connection,” the architects explained.

A cutting in the hillside lined with rock-filled cages leads into the building’s multipurpose central atrium, which has a vaulted ceiling supported by wooden beams that resemble tree branches.

A fan-shaped arrangement of pointed glass panels set into the geometric roof structure near the main entrance introduce daylight into the the flexible space, which opens onto the Event Terrace at the opposite side.

Both the pavilion and the visitor centre overlook a turfed amphitheatre and a series of gardens, events spaces and 100 strips of forest that will mature over time. Sculpted terraces and a stream descend down the hillside towards a valley, which contains a dam to provide recycled water to the gardens.

Photography is by Brett Boardman unless otherwise stated.

Here’s a project description from Tonkin Zulaikha Greer Architects:

National Arboretum Canberra

TZG, in association with landscape architects Taylor Cullity Lethlean, won an Australia wide competition for the National Arboretum, on a 290ha. site of bushfire-damaged land north of Canberra’s Lake Burley Griffin. The Arboretum is a collection of 100 forests, each home to a single internationally-endangered species. The species are chosen from the many thousands that are threatened world-wide, and curated according to colour of foliage, pattern of bark/leaf, filigree of branches, scent and texture, and suitability to local growth conditions.

A simple formal geometry, developed from Griffin’s water axis, interacts with the landform on which it is laid. 250m wide forest bands are defined by native-planted clearings leading to the lake. Each Forest offers an immersive experience of a single species. Each Forest holds a viable population, creating a seed bank for each species’ native land, so that vulnerable and endangered species are preserved.

Defined gardens and event spaces are surrounded by the forests. With the provision of services, pavilion shelters and toilets these spaces have the potential to be booked for a wide range of events.

The spaces also provide opportunities for themed gardens, sponsored plantings and temporary exhibits, performances, artworks and garden designs. The 1400m long Central Valley forms a focal clearing at the centre of the site, with a sculpted series of terraces linked by a cascading stream and a fully-accessible pathway.

The linear water feature feeds as the main water storage facility, located at the foot of the Central Valley the Arboretum. The dam and other water tanks will have a total capacity of 20 megalitres of recycled water, and will be a demonstration of water sensitive landscape design, showcasing contemporary design and ecological water recycling technology.

The Arboretum was opened to commemorate Canberra’s centenary in 2013, with all 100 forests planted. The forests are complemented by the Village Centre visitor’s centre, the Margaret Whitlam Pavilion reception centre, a regional Playground and the first of the many gardens planned for the site. A full road and pedestrian circulation system is operational, and a site-wide interpretation strategy underlines the projects long-term ecological benefits.

Village Centre

The Village Centre is the main point of arrival for the National Arboretum Canberra, and provides a full range of visitor facilities to complement the outdoor experiences of the Arboretum. The Centre’s architecture develops the long-standing tradition of significant garden buildings as transparent enclosures with dramatic internal volumes and a strong sense of indoor-outdoor connection. Importantly, the strong presence of the building acts as a focus for the Arboretum while the trees are immature.

The exterior of the building is a sculptural form in the site’s rolling topography, contrasting low stone-clad wings with a high arching roof clad in weathered zinc, the form of which is inspired by the fronds of the adjoining forest of Chilean Wine Palms, and by the ribbing of many tree leaves. The interior subtly recalls the branched forms of mature trees.

Carefully sited below the ridgeline, the building forms a unified composition with Taylor Cullity Lethlean’s dramatic sculpting of the site’s Central Valley, the 6 Hectare Event Terrace and the small Pavilion, now under construction and a counterpoint to the Village Centre.

The building occupies the northern end of the Event Terrace, overlooking the landform of the Central Valley and the adjoining planted forests. It connects the central carpark with the major Play Space, and the Event Terrace, grassed Amphitheatre, Gardens and pedestrian pathway networks.

From the car park, visitors enter the Arboretum through the new building, passing through the dramatic Entry Cutting formed through the ridgeline knolls, planted with forests of white-flowering crepe myrtle. The heart of the building is its main vaulted space, which flexibly accommodates a range of functions, including exhibitions, events, retail, a café and programmed activities. It focuses on the dramatic views southeast to Lake Burley Griffin and the city of Canberra, and opens to the north and south to the sweep of the Event Terrace. Service spaces are screened by stone walls in extended low-cost wings, tying the building into its landform.

The building incorporates a range of energy-saving measures, supporting the environmental value of the Arboretum as a whole, with a very low-energy envelope and structure. All water is captured. Low energy lighting and mechanical systems are used throughout. The dramatic, low energy timber structure was fully computer dimensioned and prefabricated in Tasmania and quickly erected on site. Each rafter is a pure circle arc, but each of a different diameter to respond to the curve of the site. The resultant 3D shape is a complex non-geometric volume, with no repeated elements. The choice of timber reduces embodied energy by nearly 90% compared to steelwork, and the stone walls have an equally low energy profile. The roof is comprised of conical pre-cast concrete columns supporting a structure of engineered laminated Tasmanian Oak and pine beams and rafters.

The building was designed by architects Tonkin Zulaikha Greer and constructed by Project Coordination. It was developed as part of the Arboretum “100 Forests” master plan, won in competition in 2004 by landscape architects Taylor Cullity Lethlean and urban designers Tonkin Zulaikha Greer.

Location: Canberra, ACT
Client: ACT Government
Completed: 2005-2012
Builder: Project Coordination, project manager David Carr
Project team: Peter Tonkin, John Chesterman, Juliane Wolter, Tamarind Taylor, Wolfgang Ripberger, Trina Day, Roger O’Sullivan
Landscape Consultant: Taylor Cullity Lethlean
Roof: pure zinc sheet, hand formed standing seam joints
Ceiling Sound Insulation: Acoustisorb fabric finished panels
Gabion and mortared stone walls: Wee Jasper porphyry
Windows and roof glazing: double glazed sealed units with very high performance solar glass with a low emissivity coating
Cooling and air conditioning system: extensive natural ventilation complemented by underfloor hydronic heating and low-energy airconditioning.
Water system: 90,000 litre underground tank, all water recycled for toilet flushing and plant watering
Floor: Honed and sealed in-situ concrete, with the required slip grade

The Margaret Whitlam Pavilion

The Margaret Whitlam Pavilion will be an important facility for the National Arboretum Canberra, related to the Visitor Centre and the spectrum of activities planned for the Arboretum.

The Pavilion is located on the south-western tip of the U-shaped Events terrace, looking across the future grassed Amphitheatre to the Visitors Centre and out to the Central Valley and the city of Canberra beyond. Its axis aligns with the Captain Cook water jet, continuing Griffin’s structuring of the city by focal radiating axes. The building is kept below the landscaped ridge to the west, so that it is subordinate to the landform, whilst its roof shape is a defined curve in contrast to the rolling topography of the site. The pointed curve of the roof will be an emphatic pause in the sweep of the Arboretum’s landscape in this precinct, and a dramatic statement when viewed from the main car entry adjoining Tuggeranong Parkway.

The building includes a main internal space suitable for functions of up to 120 people, including cocktail parties, weddings, dinners, music and other performances and ceremonial events. The space opens eastwards to an outdoor terrace projecting over the lip of the slope, and north and south to smaller linking terraces, each with fully-openable glass doors. The eastern terrace captures a panorama of the city and its surrounding mountains, with the sweep of the lake and the Parliament flagpole as a focus.

The structure is an innovative pre-fabricated arrangement of steel beams and insulating composite panels, clad externally in zinc, matching the ribbed roof of the Village Centre to the north. Low wings of off-form concrete house service functions.

The interior of the Pavilion complements in feel and detail the ecological focus of the Arboretum. The limed plywood lining and the use of special elements in hardwood highlights the value of trees as sources of material and as carbon storage. The space has been extensively modelled for acoustics, suiting amplified and natural voice and music.

Low-energy services and water recycling complement the sustainable focus of the Arboretum, and ensure the Pavilion’s on-going operational feasibility.

The building was designed by architects Tonkin Zulaikha Greer and constructed by Manteena. It was developed as part of the Arboretum “100 Forests” master plan, won in competition in 2004 by landscape architects Taylor Cullity Lethlean and urban designers Tonkin Zulaikha Greer.

Location: Canberra, ACT
Client: ACT Government
Completed: 2005-2013
Builder: Manteena
Project team: Peter Tonkin, John Chesterman, Juliane Wolter, Wolfgang Ripberger, Roger O’Sullivan
Steel Structure: steel portal frames with Kingspan composite panels
Roof: pure zinc sheet, hand formed standing seam joints
Ceiling: perforated acoustic-lined plywood, hoop pine veneer with limewash
Windows and door glazing: double glazed sealed units with very high performance solar glass with a low emissivity coating
Cooling and air conditioning system: extensive natural ventilation complemented by underfloor hydronic heating and low-energy air conditioning
Water system: shared underground tank with Village Centre, all water recycled for toilet flushing and plant watering
Floor: honed and sealed in-situ concrete, with the required slip grade

The post National Arboretum in Canberra boasts
pointed pavilion and curvy visitor centre appeared first on Dezeen.

This metal-clad house in Chiba, Japan, was designed by architect Yuji Kimura to fill its site, meaning a car-parking space and balcony had to be slotted within its boxy volume (+ slideshow).

Yuji Kimura gave House in Chiba a galvanised steel exterior, punctuated by an assortment of square windows. A mesh door slides open to reveal the parking space in one corner, while a secluded balcony is located directly above.

The balcony is enclosed on all sides, but open to the sky. It also has a mesh floor, which allows light to enter both of the house’s two storeys.

“[The house] was planned to be a shape that surrounds the entire site, provided that the balcony and parking lot also serve as lighting,” said Kimura.

Residents enter the house through the garage, which leads through to bedroom and bathroom spaces on the ground floor. According to Kimura, these spaces require the least natural light.

Living, dining and kitchen areas occupy one double-height space on the level above so they can receive the most sunlight. Glass screens slide back to open this space out to the balcony.

The kitchen features a stainless steel counter, while the living space is filled with furniture on wheels that allows the occupants to easily change the layout.

A ladder provides access to a mezzanine loft that, like the rest of the house, features wooden flooring. The architect expects this to be used for storage.

Photography is by Takumi Ota.

Here’s a description from Yuji Kimura Design:

House in Chiba

This house has the appearance of a simple box, shaped like a factory, where large and small square holes create a visual rhythm that opens at random. The site is located in a corner lot where the two roads of a quiet residential area of Chiba Prefecture where suburbs cross.

The request from the owner when planning:
1. Bright and Large Living
2. Balcony with Privacy
3. Simple and appearance like a factory

In order to secure privacy, the house takes in light from the road side with no obstacles. It was planned to be a shape that surrounds the entire site, provided that the balcony and parking lot also serves as a lighting.

Since the whole is a simple big box-shaped, by setting the bare dare joints such as bolts and rail, a garage gate and gate is prevented from too much minimal. Moreover, the arrangement of square holes of various sizes, such as are open to random, the opening is making a visual rhythm.

A bedroom being only the sleeping purpose and spending most of time in living and dining room, a bedroom and a bathroom were placed in the first floor, a dining room and a living room were placed in the sunniest place of the second floor. Provided with a large opening in the living room, so that is out on the balcony.

There is also a sliding door with storage space in the kitchen back side, refrigerator, washing machine, household goods are placed in it.
The atrium part, by providing a loft that can be up and down the ladder, and in consideration for storage.

Location: Chiba, Japan
Design: Yuji Kimura Design
Site area: 84.10 sqm
Building area: 41.13 sqm
Total area: 82.26 sqm
Structure: timber

The post House in Chiba by Yuji Kimura hides a garage
and balcony behind its walls appeared first on Dezeen.