Bronze balconies project from trio of brick housing blocks by Alison Brooks Architects

Balconies with bronze frames break up the brick exterior of these three housing blocks in northwest London by Alison Brooks Architects – a finalist for this year’s Mies van der Rohe Award.

Ely Court by Alison Brooks Architects

Brooks’ London firm designed Ely Court to create 44 new homes as part of the South Kilburn Estate Regeneration Masterplan – one of the largest regeneration schemes in London.

The 6,509-square-metre complex is made up of three residential blocks named Terrace, Link block and the Flatiron arranged around a garden square.

Ely Court by Alison Brooks Architects

Alison Brooks Architects responded to a number of post-war buildings surrounding the site, including a 1960s housing block, Victorian semi-detached villas, a Salvation Army centre and a former pub.

“The design is driven by a contemporary reinterpretation of the block-and-street urban grain that characterised the area before its post-war redevelopment with residential blocks set in open space,” said the architects

Ely Court by Alison Brooks Architects

Facing onto Chichester road, the four-storey Terrace block includes a mix of single-level and duplex flats. Their design is intended to reference the 19th-century mansion blocks of neighbouring Maida Vale.

On the front, metallic bronze frames create porches and covered terraces above.

Ely Court by Alison Brooks Architects

For the upper two levels of apartments, balconies are recessed into the brick facade to offer privacy to the residents.

These balconies also feature in the eight-apartment Mews, which runs parallel to the Terrace, to offer views to the green area in between.

Ely Court by Alison Brooks Architects

“The more active street elevations ensure that public spaces are all well overlooked by windows, residents’ balconies and roof gardens,” said the firm’s founder Alison Brooks.

The serrated roof of the Mews block allows plenty of sunlight into the mix of two, three and four storey residences.

Ely Court by Alison Brooks Architects

Located in the corner of the triangular site, the Flatiron block connects to the old pub and faces onto the both the street and the green space between.

Ely Court by Alison Brooks Architects

Inside, each of the flats has a tall ceiling of 2.6 metres and full-height glazed doors that create bright and spacious homes.

Ely Court by Alison Brooks Architects

Commissioned by the London Borough of Brent and Catalyst Housing, Ely Court is half social and half private housing, generally exceeding the London Housing Design Guide standards.

Ely Court by Alison Brooks Architects

“The scheme demonstrates the ability of a local authority to lead the process of enlightened city building, by commissioning and delivering housing of the highest calibre to integrate previously segregated communities,” said Brooks.

Ely Court by Alison Brooks Architects

Ely Court marks the first of three projects that the Alison Brooks Architects is set to complete for the South Kilburn Estate Regeneration Masterplan.

Ten other practices are also working on the £8.2 million regeneration programme that aims to transform the area over the course of 15 years, and provide 2,400 new homes.

Ely Court by Alison Brooks Architects

Other projects by the firm include a giant inhabitable smile using cross-laminated tulipwood, a suburban housing development in Essex and two tapered extensions to a house in north London.

Photography is by Paul Riddle.

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Paul Cocksedge mines the floor of his studio for latest furniture collection

After being evicted from his studio to make way for a new property development, London designer Paul Cocksedge reacted by excavating material from the floor to produce a new series of furniture.

Cocksedge will present five new works at the Fondazione Luigi Rovati during Milan design week, created by digging up both the concrete floor of his workspace and what he found underneath.

He sees the collection as a celebration of “the tension and creative energy” of the Hackney building he has occupied for the last 12 years, which was once a Victorian stable. He calls it EXCAVATION: Evicted.

“Wanting to commemorate my time there, I decided to delve further into the building and uncover what was underneath the surface,” he explained.

“After carrying out extensive scans of the foundations, I drilled down into the floor to uncover the levels hiding underneath.”

“The resulting findings epitomise London’s multi-layered history, with the initial concrete hiding Victorian bricks left over from the building’s former life as a stable,” he added.

One of the highlights of the series is a round glass table, with a base made from concrete columns of varying sizes. The pieces become shorter towards the centre of the piece, and each one has colourful aggregate set into it.

Another table is made up of a rectangular glass top supported on two large upright discs. On one side is the concrete floor surface, while the other side displays the brick floor of the old stable.

The collection also includes a third table with a solid round base and a shelving unit supported on cylindrical columns.

Cocksedge hopes the work will cause people to reflect on the uncertainty affecting creative centres around the world, caused by rising property prices and socio-political upheavals.

“Intended as the last creative work to come out of the space, the pieces celebrate London’s reputation as a home for creativity – a status that is increasingly under threat as artists are displaced from their studios by property developers and rising rents,” he said.

“By creating pieces from the very fabric of one of London’s disappearing creative spaces, I hope to remind of the transient nature of both creative workers, and the places they inhabit.”

“My Hackney studio will also accompany me to my new workspace, in the form of a work made from retrieved material,” he added.

Paul Cocksedge moved into the studio in 2002, the same year he graduated from the Royal College of Art with his popular Styrene pendant lamp made out of heat-shrunk plastic cups.

He was joined in 2004 by partner Joana Pinho. Big projects since then have included furniture created by freezing metals and a table folded from a single sheet of steel, although they have had commercial success with products including bicycle lights and the Vamp speaker adaptor.

The EXCAVATION: Evicted project was supported by New York’s Friedman Benda gallery and philanthropist Beatrice Trussardi.

It will be on show at the Fondazione Luigi Rovati, at Corso Venezia 52, from 4-9 April to coincide with Milan design week.

Photography is by Mark Cocksedge.

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Luciano Kruk staggers board-marked concrete holiday home across sandy dune

This board-marked concrete holiday house by Luciano Kruk steps over a sand dune in a coastal town near Buenos Aires, offering its summer residents views of a pine and acacia forest beyond.

House in the Dune by Luciano Kruk arquitectos

Argentinian studio Luciano Kruk Arquitectos designed House in the Dune to fit the site’s uneven topography, which slopes steeply away from the street towards a pine forest at the back.

House in the Dune by Luciano Kruk arquitectos

“The house merges into its surroundings by following the terrain’s natural forms and through the partial burying of its volume under the slope,” said the studio.

House in the Dune by Luciano Kruk arquitectos

One of the client’s key requirements for the 165-square-metre residence – which used by his family in summer but rented out when not in use – was that the social space be the most prominent area.

Accordingly, the architects placed the kitchen, living and dining rooms alongside the entrance on the highest level. These rooms open to a deck area for barbecuing, a swimming pool and a garden, which are set on top of the bedrooms and bathrooms on the level below.

House in the Dune by Luciano Kruk arquitectos

Large windows placed on the front and back of the top floor offer uninterrupted vistas through to the shrubbery and pine trees at the rear of the residence. On the shorter sides, rough concrete walls extend past the windows to maintain the residents’ privacy.

“This wider setback, the mostly blind side walls, and the facades’ permeability both at the front and the back made it possible to achieve a space configuration that is private enough and that provides shelter from the outside views, which would undermine the house’s intimacy,” the architects explained.

House in the Dune by Luciano Kruk arquitectos

The house’s concrete walls are imprinted with the outline and texture of the pine planks used as formwork. The technique, which is often used by the firm in its coastal architecture, creates a rugged appearance and is designed to help reduce maintenance.

An outdoor staircase made of concrete parts the two concrete volumes, leading from the deck to the wooded area below.

House in the Dune by Luciano Kruk arquitectos

Inside the house, a second staircase links the social and private areas, and cuts between the living room and the kitchen-cum-dining area.

On the lower floor the staircase also separates the master bedroom and en-suite from two secondary bedrooms with a bathroom in between at request of the client.

Each of the bedrooms open onto a patio partially covered by the overhanging roofs, which help to shade the ample glazing during hours of strong sunlight.

House in the Dune by Luciano Kruk arquitectos

Founded by Luciano Kruk in 2012, the Buenos Aires-based firm has completed a series of board-marked concrete holiday homes along Argentina’s coastline, including one in a seaside resort near Buenos Aires and another with a rooftop pool that offers sea views.

Photography is by Daniela Mac Adden
.


Project credits:

Architects: Luciano Kruk
Colaborators: Josefina Perez Silva, Andrés Conde Blanco, Leandro Rossi, Dan Saragusti, Darío Cecilian, Federico Eichenberg, Giorgio Lorenzoli

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Matthew Mazzotta's Cloud House receives a rain shower when occupied

A cloud hanging over this shed-like pavilion in Missouri rains onto the roof whenever someone sits inside.

The aptly named Cloud House was created by artist Matthew Mazzotta, and is installed at Farmer’s Park in Springfield.

Cloud House by Matthew Mazzotta

The structure is built from reclaimed wood in the form of a typical gabled profile, with its two ends completely open.

A cloud-shaped element made in resin sits over the corrugated metal roof, supported by a pipe.

When a person sits on one of the two rocking chairs under the shelter, pressure sensors in the floor are activated.

They trigger pumps to transport water from an underground storage tank up into the cloud, which releases the liquid through tiny holes to simulate rain.

Cloud House by Matthew Mazzotta

Those inside can hear the “warm pleasant sound” of the drops hitting the tin roof, and watch the water permeate through the window lintels to feed plants growing in the sills.

The roof has hidden gutters that collect real rainwater, which is funnelled down through the walls to the tank so it gets constantly recycled.

Cloud House by Matthew Mazzotta

“Any water that hits the roof – from either natural rain from the sky or rain that has been harvested into the storage tank, and then brought back up to the cloud again – will be collected in the gutters hidden in the eaves of the roof,” Mazzotta told Dezeen.

“It is a very concealed system,” he added.

Cloud House by Matthew Mazzotta

However, during extended dry spells when the tank doesn’t get refilled, the artificial cloud will also not rain.

To construct the house, cladding materials were reclaimed from a nearby abandoned farm by a group of Amish builders.

Cloud House by Matthew Mazzotta

The cloud was created from a three-dimensional image file produced by scanning a maquette, then sculpted from EPS foam using a seven-axis robotic arm.

Seventeen parts were assembled around an aluminium armature, before being seamed and hardened with acrylic resin.

Cloud House by Matthew Mazzotta

An American artist and MIT graduate, Mazzotta has gained recognition for his whimsical kinetic installations, like a house in Alabama that folded open to provide seating for an open-air performance space.

Others that have used precipitation as references in their installations include Micasa LAB, which designed a weather-forecasting lamp that forms an indoor cloud to warn of grey skies outside, and rAndom International – the studio behind the popular Rain Room that has found a permanent home at LACMA.

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A Hilarious Compilation of Outrageous Stories Told on the Graham Norton Show

Most Outrageous Couch Stories Ever, Best of The Graham Norton Show..(Read…)

Twin Toddlers Escape From Their Cribs To Have Overnight Party

This is some timelapse Nest nursery cam footage of twin two-year olds Andrew and Ryan Balkin breaking out of their cribs at night to rage and throw a pillow party…(Read…)

Time-saving shaving!

If products are frequently used together, they can be clubbed together, right? This very idea lead to the spork, the toothbrush with the gum scrubbing pads, and now… the Evolutionary Brush, by Legacy Shave.

This shaving brush has a rather unique twist to it, allowing it to snap right onto any pressure based shaving cream/gel can. Since all cans have a standard fixture for the nozzle, the Evolutionary brush ditches the can’s original nozzle and fits right in its place. Then all you do is push the button down and cream/gel appears directly on the brush-end of the attachment, not just saving time, but also making your shaving process rather convenient. Applying the gel on your face is actually a whole lot easier too, since instead of using brushes that come with small, hard-to-grip handles, you simply hold onto the shaving cream can for a much better grip. Easy peasy, shaving’s a breezy!

Designer: Legacy Shave

BUY IT HERE: $11.99 $15.00

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Surrealism Photograph in Black and White

Marc Ward est devenu photographe car il avait besoin d’un moyen de documenter sa peinture et ses sculptures. Aujourd’hui photographe professionnel, il s’amuse à réaliser d’étonnants collages avec ses clichés. L’objectif de l’artiste est d’assembler des composants d’images et de les mélanger afin de raconter une histoire unique.

















Playful Illustration by Barbara Dziadosz

Nous vous présentions récemment le travail de l’illustratrice Barbara Dziadosz dans le cadre du partenariat entre Fubiz et Nissan pour le lancement de la nouvelle Micra. Elle nous offre une nouvelle illustration ludique inspirée du slogan de la campagne #PlayitYourWay. L’artiste a imaginé un groupe d’amis autour d’un plateau de jeu de société, tel qu’un Monopoly, où le pion est constitué par la voiture. Le tout avec ses traits presque enfantins.





Buy: "Resist Persist Insist" T-Shirt




With all proceeds from the sale of this T-shirt going to organizations supported by Design for Progress (Planned Parenthood, Everytown for Gun Safety, the ACLU, the Southern Poverty Law Center, Human Rights Campaign, EarthJustice, and the National……

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