Hasta La Ideas

Competition: Dezeen has teamed up with Danish architecture studio 3XN to give away three copies of the firm’s new monograph.

The giant hardback book is dedicated to the work completed by 3XN during its 27-year history so far.

It features the firm’s most recognisable work, such as the Blue Planet whirlpool-shaped aquarium and the regional headquarters for the United Nations in Copenhagen, plus the Museum of Liverpool.

A total of 32 projects are documented through photos by Adam Mørk, critical essays, case studies and interviews.

The monograph includes an introduction by architecture critic Christian Bundegaard, along with interviews with 3XN founder and creative director Kim Herforth Nielsen and head of competition department Jan Ammundsen.

Architect and writer Terri Peters comments in her introduction: “At 3XN, architecture is everywhere, it is always the starting point and the answer to complex client briefs. The studio is concerned with all of the things around a building, how people use spaces, movement through the building and views inwards and outwards. It becomes clear in visiting a 3XN project that the office takes care to design buildings for people, for users, for passersby, for visitors, for locals and for future generations.”

Visit the Idea Books website to see where the monograph, published by Archilife, is available in your country.

To enter this competition email your name, age, gender, occupation, and delivery address and telephone number to competitions@dezeen.com with “3XN monograph” in the subject line. We won’t pass your information on to anyone else; we just want to know a little about our readers. Read our privacy policy here.

You need to subscribe to our newsletter to have a chance of winning. Sign up here.

Competition closes 8 January 2014. Three 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.

The post Competition: three 3XN
monographs to be won appeared first on Dezeen.

This movie shows how a redundant Second World War bunker in the Netherlands was turned into a sculptural visitor attraction by slicing it down the middle to reveal its insides.

The bunker was built in 1940 to shelter up to 13 soldiers during bombing raids and the intervention by Dutch studios RAAAF and Atelier de Lyon reveals the small, dark spaces inside, which are normally hidden from view.

The movie shows a diamond wire saw being used to cut a straight section through the centre of the monolithic structure, and a crane lifting it away to create a narrow slit.

It took 40 days to slice through the solid concrete bunker, which was one of 700 constructed along the New Dutch Waterline, a series of water-based defences used between 1815 and 1940 to protect the cities of Muiden, Utrecht, Vreeswijk and Gorinchem.

“Our aim with the project was to question the policies on monuments by doing this intervention,” Ronald Rietveld of RAAAF told Dezeen, adding that the bunker was subsequently elevated from a municipal monument to a national monument and is now part of the New Dutch Waterline’s bid for UNESCO World Heritage status.

The designers also constructed a set of stairs to connect the nearby road to a path that leads through the centre of the bunker onto a wooden boardwalk raised above the flooded area.

“The pier and the piles supporting it remind them that the water surrounding them is not caused by e.g. the removal of sand but rather is a shallow water plain characteristic of the inundations in times of war,” said Rietveld in a statement about the project.

Visible from the busy A2 motorway, the bunker is part of a 20-year masterplan begun in 2000 to transform the Dutch Waterline into a national park. It was completed in 2010 but was officially opened last year and recently won the Architectural Review Award 2013 for Emerging Architecture.

Here’s a project description from RAAAF:

Bunker 599

In a radical way this intervention sheds new light on the Dutch policy on cultural heritage. At the same, it time makes people look at their surroundings in a new way. The project lays bare two secrets of the New Dutch Waterline (NDW), a military line of defence in use from 1815 until 1940 protecting the cities of Muiden, Utrecht, Vreeswijk and Gorinchem by means of intentional flooding.

A seemingly indestructible bunker with monumental status is sliced open. The design thereby opens up the minuscule interior of one of NDW’s 700 bunkers, the insides of which are normally cut off from view completely. In addition, a long wooden boardwalk cuts through the extremely heavy construction. It leads visitors to a flooded area and to the footpaths of the adjacent natural reserve. The pier and the piles supporting it remind them that the water surrounding them is not caused by e.g. the removal of sand but rather is a shallow water plain characteristic of the inundations in times of war.

The sliced up bunker forms a publicly accessible attraction for visitors of the NDW. It is moreover visible from the A2 highway and can thus also be seen by tens of thousands of passers-by each day. The project is part of the overall strategy of RAAAF | Atelier de Lyon to make this unique part of Dutch history accessible and tangible for a wide variety of visitors. Paradoxically, after the intervention Bunker 599 became a Dutch national monument.

The post Movie shows concrete bunker cut in
half by RAAAF and Atelier de Lyon appeared first on Dezeen.

Curving iridescent structures resembling the scaled bodies of a pair of dragons slump over the top of this new wing created by French studio Agence Jouin Manku at an office campus outside Paris (+ slideshow).

Agence Jouin Manku was asked to design a new amenities wing for the headquarters of Société Foncière Lyonnaise, France’s oldest property company, which is housed within a converted 1920s factory building on the banks of the Seine in Boulogne-Billancourt.

Entitled In/Out, the new wing comprises a curving three-storey building that revolves around a tube-shaped concrete tower. Blocks extend out from both sides of the tower and are both topped with curving structures clad with shimmering stainless-steel shingles.

“The roof is designed like a shell made of scales,” Aude Planterose of Agence Jouin Manku told Dezeen. “We can’t ignore the reference to an animal; it could be a beetle or a dragon.”

The iridescent tiles appear green when viewed straight on, but change colour from blue to purple when viewed at an angle.

“The building changes each time that you look at it,” said Planterose. “These tiles are perfect for facade or roof, and it is actually the same technique used for the slate tiles you find on all Parisian rooftops.”

Below the tiles, the glazed exterior walls are screened with vertical timber slats that vary in density depending of the lighting requirements of the rooms behind, which include cafe and restaurant facilities for the offices, as well as new boardrooms and a 200-seat auditorium.

A staircase connecting the floors of both blocks is contained within the central concrete tower, while a footbridge creates a link between the new and old buildings at first-floor level.

Agence Jouin Manku also renovated the lobby of the original building, adding new seating areas and a large oval reception deck.

This space leads through to a courtyard, where the architects have constructed a glazed pavilion supported by a lattice of branch-like wooden beams that meets the ground at only one point.

Photography is by Thierry Lewenberg-Sturm.

Here’s a project description from Jouin Manku:

IN/OUT by Agence Jouin Manku

An office “campus”, for Société Foncière Lyonnaise, an ambitious architectural project including the transformation of the lobby with the construction of a glass microarchitecture as well as the creation of a new wing.

80 years of history

Built in 1927 by the architect Adolphe Bocage, this building, a landmark of the golden age of industry, had long been used to produce telephone control units. Located on the banks of the Seine, the site, with nearly 7 acres and a 6-storey building, used to hold the lMT society (le Matériel Téléphonique). The building soon became a symbol of industrial innovation.

The site had been designed in keeping with the great principles of the Modern Movement in architecture using simple geometrical shapes, and reinforced concrete. In 1976, Thomson-CsF took control over lMT, who, at the time, employed 10 000 people.

In 1988, seventy years after its construction, Thomson Multimedia transformed the factory into offices and set up its headquarters in the building, until 2009. SFL then decided to restructure the building, aiming for it to become a benchmark in the tertiary sector, focusing on innovation as well as on wellbeing at work. It is this ambitious decision that gave birth to the major IN/OUT project.

The site’s new organisation

After our first commission to design a series of spaces for the Mandarin Oriental hotel in Paris, Société Foncière Lyonnaise (SFL), has asked us once again to embark on another adventure. This time, they have commissioned us to design a new amenities wing of their ambitious In/Out office campus, a landmark office project that is re-defining work spaces in France which houses a cafe, restaurant, board rooms, an auditorium as well as various technical spaces and the lobby, with his pavilion, of the historical building.

The IN/OUT project involves an office campus of more than 387 500 square feet. It is located on a former industrial site in Boulogne, at the West of Paris, on the right bank of the Seine River. This factory, which used to manufacture telephone tools in the 1930s, underwent a complete rehabilitation done by DTACC Architecture, such as many industrial sites in Boulogne.

Visitors enter the historical building and are welcomed into a large vast space similar to a hotel lobby. At the entrance lies a large oval desk that leads visitors to what used to be an exterior courtyard. In the courtyard one discovers a surprising micro-architecture: a glass pavilion that is held up by a series of intertwined and woven wood beams. An ethereal floating lattice which at one point swoops down and gently balances on the floor below on just one point. This new glass canopy in the central courtyard, creates a natural transition between the lobby of the historical building and the amenities wing.

This new amenities wing is nearly 40 000 sq ft.including the interiors. This building was further developed in collaboration with the engineering office TESS for the structural elements and the skin of the building and with architectural agency DTACC for the technical development and architectural execution.

The amenities wing

Agence Jouin Manku has conceived the new amenities wing (nearly 40 000 sq ft.), as well as the interior design of the wing. The building has been further developed in collaboration with the engineering office TESS and DTACC. The new wing also holds a series of services and amenities, alongside the workspaces within the ‘Bocage’ building (thus completing the IN/OUT campus). The wing holds: a 103 seats cafe, a 462 seats restaurant, a 200 seats auditorium, as well as corporate board rooms, lounges, 2 large terraces and a fitness centre.

A dynamic shape, symbol of an avant-garde building

How can workspaces in big companies be improved? What is missing? This interrogation has guided the design of the amenities wing. Agence Jouin Manku decided to create a very different atmosphere to complement the ‘Bocage’ building. This gives employees a healthy balance between formal and informal, as well as between work and play, an idea at the heart of the In/Out Campus.

The structure of the ‘Bocage’ building evokes nostalgia, professionalism and rigour. In contrast, the new wing has been conceived as a building of contemporary architecture, designed around the idea of movement and flow. Its shape has been made to create a series of intertwined spaces. The building is organised around the idea of passage: passing of people, light and air. It is also a place which evokes movement, production, action and dynamism.

The concrete heart: the centre of the building

The building is organised around a central tower, made of bush hammered concrete, which holds all vertical circulation. The choice to use concrete for the centre of the building was to create a coherence and dialogue with the neighbouring ‘Bocage’ building, which is made of the same material and clearly shows its original industrial character. Two wings revolve and wrap around the central tower, but they never meet. Their architectural lines are softer and each wing is a curved form, made of curved glass and vertical wood cladding. The spaces between the concrete centre and the wood wings are filled with glass, which allows light to penetrate almost everywhere in the building, vertically or horizontally.

On the outside, the density of the vertical wood cladding increases and decreases, depending on its position, and which indoor space it corresponds to. The pattern starts out smoothly, then its texture, created by adding chamfers, changes. These edges catch light differently and create a sense of depth on the facade. Inside, the main materials are wood, bush hammered concrete, plaster and curved glass. The curved wood that wraps a large part of the interior adds to the sense of warmth, while the simple use of glass and concrete add a crisp modernity to the project. A footbridge connects the two buildings. This bridge, made of white painted steel and wood, makes access easy between the two buildings, and acts as a symbolic link betweenthe two architectural signatures, and the birth of a common project.

An architecture inspired By nature: an inside out and outside in design

Inspired by the Saint-Cloud park, the Seine river and the lush nature just close to the site, the amenities pavilion has been designed to allow these elements to penetrate the building, as well as to create spaces that would allow one to enjoy the gardens and terraces, created as an extension of the building. The flowing shapes of the project recall the movements of nature. To underline this idea, the roof of the wing has been designed as a coloured envelope wrapping the building. The coloured stainless steel tiles were chosen for their particular iridescent character. In front view, the tiles are green, but their colour changes as the angle and light move. This gives the building a dynamic and always changing character, echoing the variations in the sky and sunlight.

The insides

The interior design and furniture have been thought out as a continuation of the outside lines of the building. While the central concrete core holds the curved staircase that links the various levels of the building, each level opens out on spaces filled with light: simple yet warm spaces, spaces that open out on terraces and gardens, as well as spaces that invite one to discover the next room. The circulation is therefore fluid, and the connection between each space is harmonious. Employees can thus enjoy each space, and will always be invited to discover the next one.

The transformation of the lobby: a micro architecture at the heart of the ‘Bocage’ building

On the outside, the ‘Bocage’ building still looks like an industrial fortress from the 1930s. Yet inside, gently perched in the space of the old atrium, Agence Jouin Manku has designed a ‘soft’ space, filled with light, which is one of their trademarks.

Visitors enter the building and are welcomed into a vast space, similar to a hotel lobby. at the entrance lies a large oval desk, which leads visitors to what used to be an indoor atrium. In the newly created courtyard, one discovers a surprising micro-architecture: a glass canopy, held up by a series of intertwined wood beams, an ethereal floating lattice, which at one point swoops down and gently balances above the floor.

This structural frame was a complex element that required the expertise of TESS, an engineering firm with whom Agence Jouin Manku regularly works.

This lobby is the new heart of the ‘Bocage’ building. It is a central meeting point between different spaces. It also invites visitors or employees to have a break. Both simple in its design and complex in its realisation, the glass pavilion foretells the bold amenities wing designed by the agence Jouin Manku.

The vertical circulation spaces

The other major architectural work is the transformation of the office spaces, especially through the vertical circulation spaces and service points, which now stand on the inside corners of the courtyard.

This has created new circulation spaces around the lobby. In the upper floors, natural light now floods largely into the workspaces. Corridors and stairs are highlighted by a strong yellow colour. This creates a contrast with the rest of the building and encourages one to use the stairs as well as the elevators.

Conclusion

IN/OUT is an ambitious architectural project by DTaCC architecture and agence Jouin Manku; together, they created two unique buildings for SFL. The campus offers a new approach to workspace based on the ideas of sharing, wellbeing and collective activities. The renovation and construction have greatly improved the campus’ amenities, for the benefit of the future users. This project also transforms a typical scenery of the Seine river.

The post Office building by Agence Jouin Manku
has dragon-like scales appeared first on Dezeen.

Ma Yansong of Chinese studio MAD presents a masterplan for Nanjing, China, where buildings are designed to look like mountains and public spaces overlap with the natural landscape, as part of the Shenzhen and Hong Kong Bi-city Biennale of Urbanism\Architecture.

The Nanjing Zendai Thumb Plaza proposal is the latest in a series of projects by MAD based on Yansong’s Shan-Shui City concept – an urban strategy based on a style of Chinese landscape painting and named after the Chinese words for mountains and water.

The masterplan, which encompasses an area of approximately 60 hectares, envisions an assortment of buildings and spaces that mediate between the city’s urban centre and its surrounding landscape of mountains and lakes.

“We need to rethink how to define the boundary between the nature and the urban on this piece of empty plot in the new city development area,” says MAD. “Is it possible to combine the high-density city with the atmosphere of the nature to create an energetic urban public space for the future, so people will reconnect their emotion with the nature?”

Expected to complete by 2017, the masterplan includes a set of high-rise buildings with unique curving profiles intended to avoid the “height competition” associated with most skyscrapers.

At ground level, pathways and plazas will be integrated with a mixture of manmade and natural landscaping.

Yansong is exhibiting a scale model of the proposal at the Border Warehouse in Shenzhen for the Shenzhen and Hong Kong Bi-city Biennale of Urbanism\Architecture 2013.

Here’s a project description from MAD:

Ma Yansong Featuring ‘Nanjing Zendai Thumb Plaza’ in Bi-City Biennale of Urbanism\Architecture 2013 in Shenzhen

Ma Yansong presented his work, ‘Shanshui Experiment Complex’ in the Border Warehouse of Bi-City Biennale of Urbanism\Architecture 2013 in Shenzhen. This is an artwork in-between architecture model and landscape installation, created based on MAD’s latest project, ‘Nanjing Zendai Thumb Plaza’. The total area of this urban design project is about 600,000 sqm and it is expected to be completed in 2017.

The historic city Nanjing is famous for the mountain and water landscape around the city, as well as its modern prosperities. With the culture, nature and history considered, we need to rethink how to define the boundary between the nature and the urban on this piece of empty plot in the new city development area. Is it possible to combine the high-density city with the atmosphere of the nature to create an energetic urban public space for the future, so people will re-connected their emotion with the nature?

The installation approaches those issues by creating a green open space spreading on the ground level of the city, where the natural and man-made landscape cross over with each other, existing in different dimensions both indoors and outdoors. The clear boundary of the site thus becomes blurred. While walking to their urban destination, people will feel as if they are sometimes walking in the nature. Above that, a series of buildings rise in the fog with flowing lines, changing smoothly as integrity, resolving the vertical power and the height competition, and the city skyline that used to be controlled by technology and power is now back to the artistic mood of faraway-so-close that our ancients have perceived in the nature.

The post MAD’s Nanjing masterplan features buildings
designed to look like mountains appeared first on Dezeen.

News: wellness entrepreneur Nell Waters is attempting to raise £146,000 on crowdfunding website Kickstarter to build a prototypal ecological urban bathhouse from shipping containers in San Francisco.

Waters wants to create an “urban bathhouse for healthy hedonists” that could pop up on any available lot in the city and operate autonomously from the municipal power and water supplies.

The design of the SOAK spa was developed by San Francisco design studio Rebar, and consists of stacked containers arranged around a courtyard that house changing rooms, toilets, a lounge, a sauna, hot tubs and a roof deck.

“This container-spa joins the wave of tactical urbanism currently happening in San Francisco and other cargotecture projects that have created a local zeitgeist around the recognisably corrugated exterior,” said the project team in a statement. “No city is better positioned to launch this first iteration of the mobile, pop-up spa.”

A small garden next to the entrance would lead to an internal courtyard housing the reception, enclosed showers and two cold plunge buckets. Stairs would provide access to the roof lounge and an additional hot tub.

Rainwater would provide half of the spa’s water, while greywater would be filtered through plants and particle filers and used to irrigate a garden on the rear patio. All of the water used would be heated by solar hot water heaters and photovoltaic panels on the roof.

“The challenge that we set out in developing this proof of concept prototype is to use absolutely the least amount of water possible, use the least amount of energy possible – we try to catch as much as we can from the sky,” explained Blaine Merker from Rebar in a video on the project’s Kickstarter page.

The project team has engaged engineers to analyse the spa’s energy performance and, if it achieves its funding target by 1 January 2014, will work on refining the structural criteria of the containers and assessing water usage with the aim of realising a two-container prototype sometime in 2014.

More details from the project’s co-ordinators follows:

Soak – an urban bathhouse for healthy hedonists

Designed to be modular and self-contained, the urban bathhouse called SOAK identifies with a changing urban landscape and literally pops-up where there is interim use for creative activity, simultaneously taking advantage of lower real estate costs and incubating activity in up-and-coming neighbourhoods. With its unique anti-spa ethos, SOAK creates an experiential bridge between the ancient practice of ritual ablutions and a modern approach to wellness that makes “soaking” a social practice.

SOAK provides a dynamic space for personal wellness, connected experiences, and healthy hedonist gatherings. Built from repurposed shipping containers, the structure of SOAK helps reframe an answer to the question: what is wellness? In part, SOAK’s aim is to change the way we think about water-intensive day spas, instead substituting a creatively designed ecological bathhouse for a modern, urban environment. This container-spa joins the wave of tactical urbanism currently happening in San Francisco and other cargotecture projects that have created a local zeitgeist around the recognisably corrugated exterior. No city is better positioned to launch this first iteration of the mobile, pop-up spa.

Inspired by saunas in Amsterdam, Japanese bathing culture, and San Francisco’s former Sutro Baths, SOAK’s founder, Nell Waters, consulted designers about building a truly ecological urban bathhouse. Was there a way to scale back the opulent use of natural resources? Could they redefine the meaning of wellness through the materials used? Could social interaction replace meditative silence? At SOAK, sustainability, sociability, and healthy hedonism are the guiding principles.

Its structure demonstrates its flexibility. Two shipping containers surround an interior courtyard, one housing the changing facilities, lounge and restrooms, the other housing the hot tubs, a roof deck and sauna. The bathhouse seamlessly transitions between interior space and garden, inviting visitors to soak in the heat, cool off under a cold plunge bucket in the garden, rest among the plants, and lounge with a view of the city on the roof deck. Greywater from hot tubs, sinks and showers is collected and filtered through surge tanks, purifying plants and particle filters. Filtered water is then used to irrigate the siteʼs permanent garden.

Take the urban bathhouse concept to its extreme, and you get SOAK: a pop-up spa inside of shipping containers. Mobile, autonomous, and sleek. One step further and you get something more. An urban bathhouse for healthy hedonists. SOAK hired the San Francisco based Rebar Design Studio and principal Blaine Merker to design the urban bathhouse because of their smart creative process, and award winning reputation.

The post Ecological urban spa made from shipping
containers planned for San Francisco appeared first on Dezeen.