Hasta La Ideas

A triple-height gallery housing a collection of prized paintings is concealed behind the wooden shingle facade of this house in Stuttgart by German architecture studio (se)arch (photos by Zooey Braun + slideshow).

Located to the south of the city, the gabled four-storey Haus B19 was designed by (se)arch as the home for a family of five, but the architects were also asked to include a gallery where the occupants could present a collection of artworks by “old masters”.

Three of the house’s exterior walls are clad from top to bottom with handmade Alaska cedar shingles, which will naturally fade from a warm yellow colour to a silvery grey tone. Meanwhile, the south-facing rear elevation is glazed to offer views of the distant mountains.

The lofty gallery is positioned on the northern side of the building and is separated from living areas by a bulky concrete core that contains small rooms, utility areas and the main staircase.

A kitchen is one of the spaces contained within the concrete volume, and it features windows on both sides to allow views between the gallery and a large living and dining room on the southern side of the house.

Sliding glass doors allow the living room to be transformed into a loggia. This design is repeated on the first floor, where three bedrooms open to a balcony spanning the width of the building.

A selection of walls throughout the house are painted with a dark shade of pink, standing out against the exposed concrete of the central structure and the warm brown joinery of kitchen units, doors and bookshelves slotted into its recesses.

Clerestory windows bring light down into the gallery at eaves height, while a narrow skylight along the ridge of the roof lets daylight flood into a master bedroom on the uppermost floor.

The bathroom is on the first floor and includes a window offering residents a view down to the gallery when taking a bath.

Photography is by Zooey Braun.

Here’s a project description from (se)arch:

Haus B19, Stuttgart

The double pitch roof building is located in a peaceful residential area in the south of Stuttgart.

The building houses a family of five and offers living space on several levels and it creates space for a private exhibition area. The client has a collection of paintings with works by old masters and the gallery space is an adequate framework. The floor plan principle consists of a functional bar in the centre of the building. This divides the gallery space and family living. This massive concrete core, which extends over all four floors, includes serving elements such as stairs, kitchen, bathrooms as well as technical supplies.

This also creates an exceptional entree: behind the door, the porch extends into the gallery space, which rises to below the fully glazed roof ridge. The closed, painted in warm brown north face offers a serene setting for the paintings, which will be staged by the interplay of natural and artificial light. In combination with the brittle surfaces of the concrete bar, this dynamic sculpture emerges anywhere in the room and captivates with a delightful interplay.

The living room on the south side is communicative family meeting place, a room with fireplace and dining area. Floor-to-ceiling glass doors open it over the entire width of the building of the offshore loggia and provide a view into the landscape. Similarly, the private retreat rooms on the two upper floors benefit from the beautiful distant view of the Swabian Alb. Picturesque perspectives, however, offers the bathroom on the first floor, which holds a glass eye contact with the gallery. Openings in the serving rail provide visual references and link free gallery and living room together.

Structurally, the concrete core, which results from the massive garden level is covered by a solid wood construction, which describes the outer shell of the building. The outside of the timber construction is covered with wooden shingles. The shingles of Alaska cedar are split by hand and are not only extremely durable, they gradually get a silver-grey patina and envelop the house with its natural environment.

Location: Stuttgart
Client: private
Realisation: 2013
Floor space: 400 sqm

Architect: (se)arch architekten
Stefanie Eberding und Stephan Eberding
Project architect: Michaela Ruff

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walls and a triple-height art gallery appeared first on Dezeen.

The rounded forms of this house near Stuttgart by German studio J. Mayer H. conjure up images of a dinosaur’s head with big eyes and bared teeth (+ slideshow).

Named OLS House, the three-storey concrete residence is positioned on a sloping site in a suburban neighbourhood and functions as the home for a family of four.

The clients asked J. Mayer H. to bring the view of the nearby valley into the house, so the architects added a line of floor-to-ceiling windows that wrap around the front corners. This glazing and the railings in front look like the teeth of the building, while rounded windows on either side look like huge eyes.

The house was constructed from reinforced concrete, then coated with two different shades of render to emphasise the rounded forms of the walls and roof.

A discrete entrance is positioned on one side and leads directly into the centre of the house. Here, a curving concrete staircase winds between the floors, leading up from spas and utility rooms on the ground floor to living and dining rooms on the first floor and bedrooms on the top floor.

Each room is outlined by curving partitions and furniture is built into the walls, creating functional storage areas for residents.

The middle floor opens out to both a balcony along the front of the building and a terrace at the rear, while the second floor also features a small sheltered balcony.

German architect Jürgen Mayer H. founded J. Mayer H. Architects in 1996. One of the studio’s best-known designs is the Metropol Parasol, a giant latticed timber canopy in Seville, while other projects include a knobbly observation tower between Turkey and Georgia and a foster home for children and adolescents in Hamburg, Germany. See more architecture by J. Mayer H.

Photography is by David Franck.

Here’s some more information from the architects:

OLS HOUSE near Stuttgart, Germany

The new house is on a plot of land near Stuttgart, on a hillside with a generous view of the valley. The owners wanted a new home that would bring this view to life even inside of the building. The house is in a residential area with conventional developments, most of which date from the 1960s.

The new, 4-person family home is divided into an elevated ground floor with entrance area, utility room and spa, and a second floor with an open, flowing floor plan containing the living, dining and kitchen areas. Full-height glazing provides a free view of the valley and terrace looking over the garden area. Upstairs are the sleeping areas, dressing rooms and bathrooms. The central design element is a sculptural staircase that connects all three levels.

The house was built as a reinforced concrete construction. The facade consists of one heat-insulating compound system and an aluminum and glass facade. Slats and anti-glare sheeting provide integrated sun protection, protecting it against heat. All of the lightweight partition walls inside are made of drywall. The floor is a seamless layer of screed. The roof with the deep, recessed balcony was built with pre-weathered zinc plate cladding and is fitted with solar panels.

Team: Juergen Mayer H., Marcus Blum (Project Architect), Sebastian Finckh, Paul Angelier, Hugo Reis, Julian Blümle

Project: 2009-2011
Completion: September 2011
Client: Private

Architect on Site: AB Wiesler + Michael Gruber, Stuttgart
Structural Engineer: Gunter Kopp, Leutenbach/ Nellmersbach
Service Engineers: IB Funk und Partner, Leutenbach
Building Physics: Kurz&Fischer GmbH, Winnenden

Function: Private House, near Stuttgart, Germany
Site area: 891 sqm
Building area: 306 sqm
Total floor area: 488 sqm
Number of floors: 3
Height of the building: 10,43 m
Structure: reinforced concrete, brick, roof: steel
Principal exterior material: EIFS, glass, zinc, rooftiles
Principal interior material: wood, plasterboard, creative floor
Designing period: 08/09 – 04/10
Construction period: 04/10 – 09/11

Above: site plan

Above: ground floor plan

Above: first floor plan

Above: second floor plan

Above: long section

Above: front elevation

Above: side elevation

Above: rear elevation

Above: side elevation

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J. Mayer H. appeared first on Dezeen.

Wine bottles are displayed in rainbow-coloured cages in this wine shop in Stuttgart, Germany, by local studio Furch Gestaltung + Produktion (+ slideshow).

The branch of Weinhandlung Kreis had no storage area, so Furch Gestaltung + Production was asked to squeeze 12,000 bottles of wine into the 70-square-metre space.

They came up with a new shelving system by welding wire-grid mats into cubes.

Each cube has slots for 25 bottles of wine, and each slot can hold almost any shape of bottle. Clip-on holders display selected bottles in an upright position.

The grids are made of powder-coated steel in a spectrum of colours, with orange, red and yellow arranged around the shopfront and blue, green and grey in the sales room downstairs.

“The shelf disappeared and storage became shop,” explain the architects. “This shop should consist just of wine and no furniture – similar to a spreadsheet, which is full of data without wasting any space on structure.”

The only other item of furniture is the small tasting bar by the window.

Other wine shops we’ve featured on Dezeen include a shop that hides its goods behind wine bottle-shaped shutters and a shop in Zurich that uses built from the crates used to transport the bottles.

We’ve also featured a self-service interactive wine bar in New York and a sandstone winery that is partially submerged in the ground.

See all our stories about wine shops »
See all our stories from Stuttgart »
See all our stories about shops »

Photographs are by Zooey Braun.

Here’s some more from the architects:

Wine merchant Kreis, Stuttgart, Germany
Completed August 2012

The Store

The client, a high profile sommelier and wine merchant, had to move locations and came to us with a request for a ‘different’ wine-store with a strong design which reflects the modern and fresh spirit of a new generation of wine makers.

The predominant requirement was to place six or twelve bottles of about 1200 different types of wine (about 12,000 bottles altogether) and a small tasting bar on an area of about 70m2, spread over two levels and with no space for storage.

From the outset it was clear that this was not manageable with traditional wooden shelving, crates or boxes. The use of space has been optimised for the benefit of the product – the shelf disappeared and storage became shop. This shop should consist just of wine and no furniture – similar to a spreadsheet, which is full of data without wasting any space on structure.

An important aspect was the exact positioning and organisation of the various types of bottles in the shelf. A vertical sort sequence was developed, derived from the columns in a spreadsheet. Each element can carry 25 bottles, with the carries attached five cartons of wine can be stored in each of them.

The usual romantic and idealised aesthetic of wine culture – oak furniture; earthy hues – was reinterpreted according to the cool self-conception of many young winemakers, which is also reflected in many of the new labels on bottles. It quickly became clear that the manually crafted installation we first had in mind had to be replaced with a industrially produced serial product to match the required standards of precision, function and aesthetics.

386 ‘fourpointeight’ shelves were installed in a range of 21 colours: to soften the hard-edged industrial product, to give it some lightness and warmth, to create a sense of orientation and eventually to provide the location with some attention to the public.

These elements thus serve as a storage area, the visually appealing presentation of wine happens via a metal carrier, which lets the individual bottle float in front of the grid. To stage the installation the surrounding walls were rendered with black lime plaster, backlights were installed to add depth and the resin floor was made bright to let the light appear from below. A small tasting bar was installed in a display window. Customers can sit on a bench in the window and enjoy a glass of wine and some regional ‘tapas’.

The shelving element – ‘fourpointeight’ – Steel wire 4,8 mm, powder-coated:

4 prefabricated wire-grid mats, welded in two levels, are connected upright with 5 reclined wire-fans to create a spatial wire structure with the dimensions 520mm (w) x 520mm (h) x 350mm (d). The wire mats act as statically effective layers – the 5 wire-fans connect them to each other. These fans are equipped with runners, which enable the shelf to accommodate 98% of all established bottle formats elegantly. One of these elements can carry 25 bottles of wine. A circumferential wire with bend edges adds style and lightness.

The powder coating provides protection (the shelf from corrosion, the bottles from damage) and colour, but also dampens against vibration and clanging. The robot-welded steel wire piece fourpointeight was developed up to serial production in cooperation with our manufacturer. They are added modularly to each other with a connector consisting of two metal semi-shells, which are bolted together.

Ground floor plan – click above for larger image

fourpointeight can be endlessly added to each other in pixel logic, gaps and cantilevers are possible. Spatial structures can be built up to a height of six elements (statically certified). The carriers for the individual bottles are made of bent sheet metal, which are suspended from the grid and secured against inadvertent dislocation with an O-ring.

Basement plan – click above for larger image

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Furch Gestaltung + Production appeared first on Dezeen.

Shoes are balanced on bolts across a chunky chipboard wall at this Stuttgart shop by designer Daniele Luciano Ferrazzano (+ slideshow).

A series of boxes create clustered seating and display areas in the centre of the store and are constructed from the same wooden boards with bitumen-coated mats over their surfaces.

Light bulbs are attached to bicycle wheels and cast circular shadow patterns over the walls and ceiling.

The store owner keeps limited edition and rare shoes in a long narrow chest below the main display wall, where he can show them to other collectors.

See more projects featuring chunky chipboard »

Here’s some text from Ferrazzano:

Suppa is Stuttgarts first pure sneaker boutique, made for sneaker lovers, sneaker collectors and for those who value individuality and exclusivity. SUPPA is a Boutique which has a selection of limited and rare sneakers and a small collection of accessoires. The interior concept is minimalist but with a high attention to detail. The focus is directed on the essentials – Sneakers!

“Tar” cover transports the road into the shop. They give a first impression of how the shoe works on the street.

A second sitting area with built-in magazine table provides a communication platform in the middle of the room.

The shoes will be presented on an eight-meter-long wall. They are placed on screws, which can be removed at any time. The grid/layout of the shoes can be changed according to an event or sneaker release.

Under the shoe wall is a consistent sideboard – as a further display area. The sideboard, or the “treasure chest”, is loaded with special editions and rare models (owner’s private collection), which invites sneaker lovers to talk and exchange.

The shop window is a combination of presentation space and seating/bench. The built-in heater provides a warm seating in winter time

The floor lamp RIM LAMP is part of the lighting concept.

A small but fine selection of accessories is offered at three, “Butler”. The butlers are stylized stick figure made of curved round pipe.

Daniele Luciano Ferrazzano or DLF PRODUCTDESIGN

Project Scope: Project Management – concept, design, interior design and lighting installations, Corporate Design (Interior) and corporate behavior, construction management and interior design – to turnkey handover.

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by Daniele Luciano Ferrazzano appeared first on Dezeen.

Polygonal timber plates give this pavilion at the University of Stuttgart a skeleton like a sea urchin’s.

Top and above: photographs are by Roland Halbe

The pavilion was constructed for a biological research collaboration between the Institute for Computational Design (ICD) and the Institute of Building Structures and Structural Design (ITKE), who also invited university students to take part.

Above: photograph is by Roland Halbe

Plywood sheets just 6.5mm thick were necessary to create the domed structure, which is fastened to the ground to prevent it blowing away.

Above: photograph is by Roland Halbe

The exterior plywood panels are slotted together using finger joints, in the same way as minute protrusions of a sea urchin’s shell plates notch into one another.

Photography is by ICD/ITKE, apart from where otherwise stated.

Here’s a more technical description from the researchers:

ICD/ITKE RESEARCH PAVILION 2011

In summer 2011 the Institute for Computational Design (ICD) and the Institute of Building Structures and Structural Design (ITKE), together with students at the University of Stuttgart have realized a temporary, bionic research pavilion made of wood at the intersection of teaching and research. The project explores the architectural transfer of biological principles of the sea urchin’s plate skeleton morphology by means of novel computer-based design and simulation methods, along with computer-controlled manufacturing methods for its building implementation. A particular innovation consists in the possibility of effectively extending the recognized bionic principles and related performance to a range of different geometries through computational processes, which is demonstrated by the fact that the complex morphology of the pavilion could be built exclusively with extremely thin sheets of plywood (6.5 mm).

BIOLOGICAL SYSTEM

The project aims at integrating the performative capacity of biological structures into architectural design and at testing the resulting spatial and structural material-systems in full scale. The focus was set on the development of a modular system which allows a high degree of adaptability and performance due to the geometric differentiation of its plate components and robotically fabricated finger joints. During the analysis of different biological structures, the plate skeleton morphology of the sand dollar, a sub-species of the sea urchin (Echinoidea), became of particular interest and subsequently provided the basic principles of the bionic structure that was realized.

The skeletal shell of the sand dollar is a modular system of polygonal plates, which are linked together at the edges by finger-like calcite protrusions. High load bearing capacity is achieved by the particular geometric arrangement of the plates and their joining system. Therefore, the sand dollar serves as a most fitting model for shells made of prefabricated elements. Similarly, the traditional finger-joints typically used in carpentry as connection elements, can be seen as the technical equivalent of the sand dollar’s calcite protrusions.

MORPHOLOGY TRANSFER

Following the analysis of the sand dollar, the morphology of its plate structure was integrated in the design of a pavilion. Three plate edges always meet together at just one point, a principle which enables the transmission of normal and shear forces but no bending moments between the joints, thus resulting in a bending bearing but yet deformable structure.

Unlike traditional lightweight construction, which can only be applied to load optimized shapes, this new design principle can be applied to a wide range of custom geometry. The high lightweight potential of this approach is evident as the pavilion that could be built out of 6.5 mm thin sheets of plywood only, despite its considerable size. Therefore it even needed anchoring to the ground to resist wind suction loads.

Besides these constructional and organizational principles, other fundamental properties of biological structures are applied in the computational design process of the project:

Heterogeneity: The cell sizes are not constant, but adapt to local curvature and discontinuities. In the areas of small curvature the central cells are more than two meters tall, while at the edge they only reach half a meter.

Anisotropy: The pavilion is a directional structure. The cells stretch and orient themselves according to mechanical stresses.

Hierarchy: The pavilion is organized as a two-level hierarchical structure. On the first level, the finger joints of the plywood sheets are glued together to form a cell. On the second hierarchical level, a simple screw connection joins the cells together, allowing the assembling and disassembling of the pavilion. Within each hierarchical level only three plates – respectively three edges – meet exclusively at one point, therefore assuring bendable edges for both levels.

COMPUTATIONAL DESIGN AND ROBOTIC PRODUCTION

A requirement for the design, development and realization of the complex morphology of the pavilion is a closed, digital information loop between the project’s model, finite element simulations and computer numeric machine control. Form finding and structural design are closely interlinked. An optimized data exchange scheme made it possible to repeatedly read the complex geometry into a finite element program to analyze and modify the critical points of the model. In parallel, the glued and bolted joints were tested experimentally and the results included in the structural calculations.

The plates and finger joints of each cell were produced with the university’s robotic fabrication system. Employing custom programmed routines the computational model provided the basis for the automatic generation of the machine code (NC-Code) for the control of an industrial seven-axis robot. This enabled the economical production of more than 850 geometrically different components, as well as more than 100,000 finger joints freely arranged in space. Following the robotic production, the plywood panels were joined together to form the cells. The assembly of the prefabricated modules was carried out at the city campus of the University of Stuttgart. All design, research, fabrication and construction work were carried out jointly by students and faculty researchers.

The research pavilion offered the opportunity to investigate methods of modular bionic construction using freeform surfaces representing different geometric characteristics while developing two distinct spatial entities: one large interior space with a porous inner layer and a big opening, facing the public square between the University’s buildings, and a smaller interstitial space enveloped between the two layers that exhibits the constructive logic of the double layer shell.

PROJECT TEAM

Institute for Computational Design – Prof. AA Dipl.(Hons) Achim Menges Achim Menges
Institute of Building Structures and Structural Design – Prof. Dr.-Ing. Jan Knippers
Competence Network Biomimetics Baden-Württemberg

CONCEPT & PROJECT DEVELOPMENT
Oliver David Krieg, Boyan Mihaylov

PLANNING & REALISATION
Peter Brachat, Benjamin Busch, Solmaz Fahimian, Christin Gegenheimer, Nicola Haberbosch, Elias Kästle, Oliver David Krieg, Yong Sung Kwon, Boyan Mihaylov, Hongmei Zhai

SCIENTIFIC DEVELOPMENT
Markus Gabler (project management), Riccardo La Magna (structural design), Steffen Reichert (detailing), Tobias Schwinn (project management), Frédéric Waimer (structural design)

Click above for larger image

PROJECT SPONSORS

Main sponsors: KUKA Roboter GmbH, Ochs GmbH
Sponsors: KST2 Systemtechnik GmbH, Landesbetrieb Forst Baden-Württemberg (ForstBW), Stiftungen LBBW, Leitz GmbH & Co. KG, MüllerBlaustein Holzbau GmbH, Hermann Rothfuss Bauunternehmung GmbH & Co., Ullrich & Schön GmbH, Holzhandlung Wider GmbH & Co. KG

Click above for larger image

PROJECT DATA

Address Keplerstr. 11-17, 70174 Stuttgart
Date of completion: August 2011

Click above for larger image

Surface: 72m²
Volume: 200m³
Material: 275 m² Birch plywood 6,5mm Sheet thickness

See also:

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Pavilion by Alan Dempsey and Alvin Huang	Swoosh Pavilion at the Architectural Association	The Termite Pavilion at Pestival