Tip of the Tongue by Michael Anastassiades

Tip of the Tongue by Michael Anastassiades

Product news: this spherical lamp by London designer Michael Anastassiades looks like it is about to tip off the edge of its base.

Tip of the Tongue by Michael Anastassiades

Tip of the Tongue by Anastassiades is a pedestal table light consisting of a ball-shaped lamp and a cylindrical base.

Tip of the Tongue by Michael Anastassiades

Made from mouth-blown milk glass, the light source sits right on the edge of the polished brass base.

Tip of the Tongue by Michael Anastassiades

Anastassiades has also designed spherical lamps strung between walls on fine cables.

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Michael Anastassiades
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Dapto Anglican Church Auditorium by Silvester Fuller

Faceted white walls frame the entrances to this monochrome auditorium in rural New South Wales by Australian architects Silvester Fuller (+ slideshow).

Dapto Anglican Church Auditorium by Silvester Fuller

Silvester Fuller designed the auditorium building as a flexible events space for the Anglican church of Dapto, a small town south of Sydney.

Dapto Anglican Church Auditorium by Silvester Fuller

The building is sandwiched between the existing town hall and primary school, creating a community hub and meeting place that is close to the town’s church.

Dapto Anglican Church Auditorium by Silvester Fuller

“Locating the auditorium between these two facilities presented the opportunity to create a central hub, from which all the primary event spaces in both the new and existing buildings are accessed,” said the architects. “This hub becomes the campus meeting place.”

Dapto Anglican Church Auditorium by Silvester Fuller

Large pre-cast concrete panels give a textured surface to the exterior walls. These are painted black to contrast with the white entrances, which are clad with sheets of fibre cement.

Dapto Anglican Church Auditorium by Silvester Fuller

A paved terrace between the car park and the building leads visitors towards the main entrance, which comprises a concertina-style screen of glazed doors and windows.

Dapto Anglican Church Auditorium by Silvester Fuller

The doors can be folded back to the edges of the entrance, opening the hall out to its surroundings.

Dapto Anglican Church Auditorium by Silvester Fuller

The 500-seat auditorium is located at the back of the building and has an entirely black interior.

Dapto Anglican Church Auditorium by Silvester Fuller

The church auditorium was nominated in the religion category at the World Architecture Festival in Singapore earlier this month, but lost out to a mosque in Istanbul.

Dapto Anglican Church Auditorium by Silvester Fuller

Photography is by Martin van der Wal.

Here’s a project description from the architects:


Dapto Anglican Church Auditorium

Silvester Fuller’s Dapto Anglican Church Auditorium is the first of a new generation of buildings for the Anglican Parish of Dapto. The design is a response to the changing functional and social direction of the church and it’s relationship with the community.

Intended to complement nearby St Luke’s Chapel, the auditorium offers a theatre-like venue for a broader range of event types. No longer a place devoted solely to Sunday worship services, the new church building is required to support a range of events held in the morning, afternoon and evening, 7 days a week and catering to a broad spectrum of the local community.

Dapto Anglican Church Auditorium by Silvester Fuller

The organisational strategy for the site involved the relocation of vehicular traffic to the site perimeter, allowing for a fully pedestrianised centre. The new auditorium was then to be located on the site with minimal intervention to the existing buildings. For this reason the perimeter plan of the new auditorium is bounded by the two existing buildings; a preschool and church hall. Locating the auditorium between these two facilities presented the opportunity to create a central hub, from which all the primary event spaces, in both the new and existing buildings are accessed. This hub becomes the campus meeting place.

Dapto Anglican Church Auditorium by Silvester Fuller

Once the perimeter mass of the new building was defined, circulation spaces were carved out of the mass, informed by the flow of people from the parking areas to the building and subsequently in and around the two primary spaces; the auditorium and foyer. This subtraction of mass defines voids which connect these spaces to each other and the landscape. The secondary support spaces then occupy the remaining solid mass. The requirements of the individual spaces called for a delicate balance between generosity and intimacy, with some spaces open to the landscape and others completely concealed from it.

Dapto Anglican Church Auditorium by Silvester Fuller
Site plan – click for larger image

The external facade responds to two conditions: where the primary mass has been retained the facade surface is dark, earth-like and roughly textured. In contrast the subtracted void areas are bright, smooth and crisp surfaces identifying the building entrances and acting as collection devices. Once inside the building, the entry into the main auditorium is an inverse of the exterior, presenting recessed darkened apertures acting as portals which then open into the 500 seat theatre. The theatre is a black-box with a singular focus on the stage. There is provision for a natural-light-emitting lampshade to be built above the stage at a later date.

Dapto Anglican Church Auditorium by Silvester Fuller
Floor plan – click for larger image

A modest budget demanded construction simplicity combined with spatial clarity and efficiency, to produce a building that is easily understood whilst standing apart from its context. The new building aims to establish a new design direction and focus for the Parish and is envisaged as stage one of a master plan of growth.

Dapto Anglican Church Auditorium by Silvester Fuller
Diagrammatic section

Site: 9546 square metres
New building: 1155 square metres
Auditorium capacity: 500 people
Parking capacity: 118 cars, 10 bicycles
Design phase: 2008-2009
Construction phase: 2010-2012
Client: Anglican Parish of Dapto & Anglican Church Property Trust
Council: Woollongong City Council
Architect: Silvester Fuller
Project leaders: Jad Silvester, Penny Fuller
Project team: Patrik Braun, Rachid Andary, Bruce Feng

Dapto Anglican Church Auditorium by Silvester Fuller
North elevation – click for larger image
Dapto Anglican Church Auditorium by Silvester Fuller
East elevation – click for larger image
Dapto Anglican Church Auditorium by Silvester Fuller
South elevation – click for larger image

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“Eindhoven has design, it has science and it has industry”

Dezeen and MINI World Tour: the penultimate stop on our Dezeen and MINI World tour is Eindhoven. In our first video report from the city, co-founder of Dutch Design Week Miriam van der Lubbe explains how the small industrial town has become one of the leading centres for design and technology in the world.

Miriam van der Lubbe
Miriam van der Lubbe

“Eindhoven is actually a very small city compared to the big capitals in Europe or the world,” says van der Lubbe. “It’s a group of about seven villages that grew together into Eindhoven.”

Eindhoven
Eindhoven

It is also not a very pretty one. “The centre of Eindhoven really got destroyed [during the Second World War],” Van der Lubbe explains. “They built it up in the fifties and it became a really ugly city. In Eindhoven, it can only get better.”

Philips Light Tower, Eindhoven
Philips Light Tower, Eindhoven

Despite its size, the city has been a site for technological innovation since the industrial revolution, thanks almost entirely to Dutch electronics giant Philips.

The company was founded in Eindhoven in 1891 and, although it moved its headquarters to Amsterdam in 1997, its blue logo still adorns many of the buildings in the city.

Philips Klokgebouw building in Strijp-S, Eindhoven
Philips Klokgebouw building in Strijp-S, Eindhoven

Once Philips moved out, many people were afraid Eindhoven would become a “non-area”, Van der Lubbe says. In fact, the creative industries were quick to take advantage of the large amounts of cheap space Philips left behind.

Strijp-S, Eindhoven
Strijp-S, Eindhoven

One example Van der Lubbe takes us to is Strijp, a former Philips industrial complex that is now one of the central areas of Dutch Design Week.

Dezeen's MINI Paceman at Strijp-S, Eindhoven
Our MINI Paceman at Strijp-S, Eindhoven

“Strijp is a major part of Eindhoven centre actually,” says Van der Lubbe. “The owner of Strijp bought these industrial buildings and gave them to the creative people.”

Design Academy Eindhoven
Design Academy Eindhoven

An abundance of designers ready to take up these former industrial spaces graduate each year from Design Academy Eindhoven, which has gained a reputation as one of the foremost design schools in the world.

Former students include Hella Jongerius, Marcel Wanders and Tord Boontje and many graduates, such as Piet Hein Eek plus Andrea Trimarchi and Simone Farrasin of Formafantasma, choose to stay in the city.

Design Academy Eindhoven
Design Academy Eindhoven

Van der Lubbe, herself a Design Academy Eindhoven alumni, shares a studio in nearby Geldrop with fellow academy graduate Niels van Eijk.

“It grew out of Philips, because they saw that design was an important aspect of products,” she says of the school.

Design Academy Eindhoven
Design Academy Eindhoven

“It used to be that as soon as people graduated they left. But now they’re coming back because they see that there’s something going on here that’s interesting.”

High Tech Campus, Eindhoven
High Tech Campus, Eindhoven

There is still an emphasis on science and technology in Eindhoven. Van der Lubbe takes us to the High Tech Campus on the outskirts of the city, where many technology companies are based, as well as Eindhoven University of Technology.

Having design, industry, science and technology in such close proximity is the key to Eindhoven’s success, says Van der Lubbe.

Eindhoven University of Technology
Eindhoven University of Technology

“There is a huge opportunity for Eindhoven because it has all these aspects in it,” she says. “It has the academic world, it has science, it has the creative world, it definitely has industry.”

“The potential of what is here is just starting to come out and there is so much more that can actually happen here. I really believe that.”

Evoluon, Eindhoven
Evoluon building, Eindhoven

We drove around Eindhoven in our MINI Cooper S Paceman. The music in the movie is a track called Family Music by Eindhoven-based hip hop producer Y’Skid.

You can listen to more music by Y’Skid on Dezeen Music Project and watch more of our Dezeen and MINI World Tour movies here.

 

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and it has industry”
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“The future is a small, ugly town in the south of Holland” – redirect

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in the south of Holland” – redirect
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“The future is a small, ugly town in the south of Holland”

Marcus Fairs' Opinion column about Eindhoven following Dutch Design Week

Opinion: on his return from Dutch Design Week, Dezeen editor-in-chief Marcus Fairs argues that “something special is happening” in Eindhoven, a dowdy post-industrial sprawl that was recently named “the most inventive city in the world”.


I’ve seen the future and it’s a small, ugly town in the south of Holland.

I’ve been in Eindhoven for Dutch Design Week for the past few days and the energy, creativity and imagination I’ve come across has been a revelation. Not only designers but entrepreneurs, civic leaders, restauranteurs and musicians are buzzing with an excitement and optimism that is both rare and genuine. They feel something special is happening in their city.

The trip is part of our Dezeen and MINI World Tour and even though this is the smallest and least attractive of the cities we’ve visited this year – other stops have included New York, Singapore and London – it’s been by far the most interesting.

“The potential of what is here is just starting to come out,” says designer Miriam van der Lubbe in our first MINI World Tour report from the city. “And there’s so much more that can happen here”.

I’m by no means the first person to notice that there’s something going on in Eindhoven. In 2011 the city was named the world’s most Intelligent Community of the Year by the Intelligent Community Forum. In July this year, Forbes magazine named Eindhoven as “hands-down the most inventive city in the world”.

That accolade was based on research by the OECD, which found that the area leads the world in “patent intensity” – the number of patent applications per capita – a recognised way of measuring innovation. Eindhoven files 22.6 patents for every 10,000 people. San Diego, which is second on the list, files only 8.9.

It’s an incredible turnaround for a city that, in the eighties, feared it was staring into the abyss when Philips, the electronics giant that was the dominant economic and social force in Eindhoven, as good as abandoned the city with the loss of 30,000 jobs (out of a total population of around 200,000). Things were so bad the city seriously considered changing its name – “eind” is Dutch for “end” – lest people take it too literally.

Fearing the fate of Manchester, where the loss of heavy industry blighted the city centre for years, Eindhoven moved quickly to reinvent itself, giving abandoned Philips buildings to creative people who, true to the local spirit of hard work and cooperation, self organised and got on with building their own future.

Local authorities and developers around the world now commonly use such “creative seeding” to add buzz to an area to aid gentrification (and ultimately sell real estate) but in Eindhoven there appears to be a more equitable social construct to the way this is carried out.

Annemoon Geurts, the founder of Kazerne, a new creative industries hub in a former barracks in the city centre, told me that the city had offered her non-profit organisation an “erfpacht”, or social lease, on the building, meaning it would benefit from the value they added during their tenure. And with a 40-year lease, something that would be unheard of in short-term, money-grubbing London, they have an incentive to make long-term improvements.

Eindhoven’s design credentials are well known. Dutch Design Week (unofficial slogan: “What you see here today is what you’ll see in Milan in two years”) is one of the best curated and most vibrant design weeks. Design Academy Eindhoven is a serious contender for the title of world’s best design school and an increasing number of its stellar alumni (Piet Hein Eek, Kiki van Eijk, Joost van Bleiswijk and Formafantasma to name just a few) have remained in the city, running thriving studios.

But designers on their own can’t achieve much; if they aspire to more than just being another wannabe on the design-fair circuit they need an infrastructure of industry, R&D and other creative disciplines around them with whom they can make bigger ripples.

And Eindhoven has these in abundance. ASML, the world’s biggest semiconductor manufacturer, is based in Eindhoven. A drive through even the dullest industrial estate in the city reveals companies specialising in cryogenics, photovoltaics and biotechnology. RPI Paro, the advanced print-on-demand printing facility that produced our Print Shift magazine, is based in Eindhoven. So is Shapeways, one of the leading 3D printing companies, who we interviewed for the Print Shift project.

In fact many of the world’s leading 3D-printing companies are clustered in what is known as the high-tech Eindhoven-Leuven-Aachen-Triangle (ELAt), as we discovered when we visited the region earlier this year. Here, high-tech, knowledge-based industries account for 20% of GDP.

These complimentary sectors tend to open their doors to creative minds, rather than turning them away, ripping them off or viewing them with suspicion, as is the common experience other cities including London. Designers in the city talk of an openness towards new ideas and a willingness to experiment that permeates industry, academia and the city government itself.

The procurement of Eindhoven’s new corporate identity expresses this collaborative spirit: rather than go to a safe-pair-of-hands graphic designer, the city assembled a “Virtual Design Studio” of ten different creative businesses to figure it out.

Interdisciplinary collaboration – so often an empty cliche – appears to be an everyday reality in Eindhoven and they even have a special term for it. Proeftuin, which literally means “experimental garden” or “test bed”, is a form of collaborative working between people of different disciplines that has been adopted by the city. Proeftuin was used to generate the city’s (alas, unsuccessful) bid strategy for European City of Culture 2018 and would also have formed a key part of cultural activity in 2018, had it won.

It almost seems to be a precondition for designers exhibiting at Dutch Design Week that their projects display meaningful (rather than PR-driven) collaboration with a university research department, an online platform or even a multinational brand.

The attitude is most perfectly encapsulated by Dutch Design Week ambassador Daan Roosegaarde’s concept for removing smog from urban skies using an “electronic vacuum cleaner”, which he revealed in Eindhoven this week. Here a designer, researchers and politicians came together to address a real problem and found that between them they had the ingredients to do something about it.

In this case Eindhoven cannot claim these elements as its own: Roosegaarde is based near Rotterdam; the university is in Delft and the politicians are in Beijing. But Eindhoven can stake a convincing claim to the spirit, and that spirit offers a bright future.

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Dezeen Mail #175

Allendale House rendering by Peter Guthrie

Our interview with rendering guru Peter Guthrie leads this week’s Dezeen Mail newsletter, followed by Gehry and Foster’s Battersea collaboration plus all the latest news, jobs, competitions and reader comments from Dezeen.

Read Dezeen Mail issue 175 | Subscribe to Dezeen Mail

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Green8 by Agnieszka Preibisz and Peter Sandhaus

Architects Agnieszka Preibisz and Peter Sandhaus have unveiled a conceptual skyscraper for Berlin with a twisted figure-of-eight structure that curves around elevated gardens and is held up by cables.

Green8 twisted skyscraper by Agnieszka Preibisz and Peter Sandhaus

Agnieszka Preibisz and Peter Sandhaus, who are both based in Berlin, developed the design to contribute to a new masterplan being put together for the eastern quarter of the city.

“The state of society in the twenty-first century requires that we develop new visions for living in densely populated inner cities,” Preibisz told Dezeen. “This process inherently triggers an essential confrontation of material and social values, and so there is a nascent yearning for an architecture that offers a high degree of potential for community.”

Green8 twisted skyscraper by Agnieszka Preibisz and Peter Sandhaus

Describing the building as a “vertical garden city”, the architects have planned a network of gardens and greenhouses that would slot into the two hollows of the figure-of-eight, intended to serve a growing desire among city dwellers for self-sustaining gardening.

Residences would be arranged to encourage neighbours to interact with one another, fostering a sense of community that the architects compare to social networks.

Green8 twisted skyscraper by Agnieszka Preibisz and Peter Sandhaus

“While in social networking, the border between the public and the private spheres is being renegotiated, architecture and urban planning of cities such as Berlin lags behind these significant social and demographic changes,” they explain.

Named Green8, the tower is designed for a site on Alexanderplatz. The architects are now consulting with an engineering office to assess the viability of the structure.

Green8 twisted skyscraper by Agnieszka Preibisz and Peter Sandhaus

Here’s a project description from the architects:


Green8 Concept

How Do We Want To Live?

While trying to answer the query of how and where to house, many modern families today are torn between the desire for a pulsating urban life and the craving for a lifestyle in harmony with nature.

Our identification with and our desire for a free and urban life style defined by short distances to work, excellent public transportation, and proximity to cultural and commercial amenities, does not need to end with the decision to start a family or with retirement from active professional life.

Current trends towards a ‘sharing-spirit’ and a new participation in the community life counteract the anonymity and isolation in the metropolis. While in social networking, the border between the public and the private spheres is being renegotiated, architecture and urban planning of cities such as Berlin lags behind these significant social and demographic changes.

The unease with the global imperative of continued growth propagated by financial markets, seems to be spreading. Confidence in industrial food production finds itself nowadays significantly eroded. At the same time also the mass production of organic and healthier food has its limits and fails to appease growing groups of customers.

The longing for self-sustaining gardening and for knowing about the origins of what one is eating, are the most important reasons for the current boom in urban gardening.

What do these developments mean for architecture and urban planning? How do we want to live and house in the future?

As an integrative solution to this dilemma, the architects Agnieszka Preibisz and Peter Sandhaus are proposing project Green8 for a vertical garden city on Alexanderplatz in Berlin.

The residential high-rise structure is based on a business model of a cooperative collective. It envisions a self-determined community encompassing all generations. With its generous greenhouse and community spaces Green8 offers to organise not only the food production but also the sport and leisure activities, as well as the care of children and seniors.

Green8 reflects a dream come true: living in the centre of the city with breathtaking panorama views, while having one’s own vegetable garden at one’s doorstep.

Thanks to its cooperative and integrative principles, this housing concept is economically efficient. This form of home ownership is free from many constraints of real estate or land speculation, and the long term costs are lower than those of conventional homes.

Green8 is not a house. It is a life form.

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and Peter Sandhaus
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Three houses in Meco by DNSJ.arq

Portuguese studio DNSJ.arq has completed a cluster of three white houses on the outskirts of a small town in southern Portugal (+ slideshow).

Three houses in Meco by DNSJ.arq

Located just outside Aldeia do Meco, the first of the three houses was designed by DNSJ.arq as a home for the clients, while the other two function as rentable holiday homes.

Three houses in Meco by DNSJ.arq

Two of the houses are located on a flat section of the site close to the street and the third house is positioned behind them, slightly further up the hill.

Three houses in Meco by DNSJ.arq

Architect Nuno Simões said the team decided to arrange each house in a different composition, “almost like a jazz improvisation.”

Three houses in Meco by DNSJ.arq

“We decided to make the bigger house for our client – in the hilly side of the land with the swimming pool – and the other smaller two for rent,” Simões told Dezeen.

Three houses in Meco by DNSJ.arq

“The two smaller houses, which have a more congested situation, were for living mainly on the patios, while the larger house faces a small river with a glimpse of the ocean,” he added.

Three houses in Meco by DNSJ.arq

Each house has brick walls that coated with white render, as well as poured concrete floors. All three open out to patios on two levels and feature their own private swimming pools.

Three houses in Meco by DNSJ.arq

A garage connects the two smaller houses. A pathway leads to the third house, which is twice as big and boasts more bedrooms and a spacious kitchen.

Three houses in Meco by DNSJ.arq

Photography is by Fernando Guerra.

Three houses in Meco by DNSJ.arq

Here’s a short description from the architects:


Three Houses in Meco

The intervention that is proposed is located within the urban perimeter of Aldeia do Meco. It is a narrow strip towards sunrise/sunset, flat up to about half of the land and thereafter acquiring an pending until the river bordering the west.

Three houses in Meco by DNSJ.arq

The settlement program includes the construction of three houses, two for rent and a residence for the owners.

Three houses in Meco by DNSJ.arq

The first two houses are grouped together (Casa 1 and Casa 2) on the flat part and closer to the street and settled the other house (Casa 3) on the ground to the west.

Three houses in Meco by DNSJ.arq

This house adapts to the topography, adjusting to the presence of existing trees, and enjoying the views through a system of terraces that extend the house outdoors. Unlike Casa 3, Casa 1 and Casa 2, more exposed to neighbouring buildings, enjoy a more intimate relationship generated by a system of courtyards.

Three houses in Meco by DNSJ.arq

Important starting point was the impossibility of any sophistication constructive opting for current building systems.

Three houses in Meco by DNSJ.arq

The banality of the building grew into a minimal architectural lexicon composed of white unequal volumes, but similar in nature. This game was complemented with the austerity of the chosen materials.

Three houses in Meco by DNSJ.arq
Site plan – click for larger image
Three houses in Meco by DNSJ.arq
Site section – click for larger image
Three houses in Meco by DNSJ.arq
House one and two ground floor plans – click for larger image
Three houses in Meco by DNSJ.arq
House one and two first floor plan – click for larger image
Three houses in Meco by DNSJ.arq
House one and two elevations – click for larger image
Three houses in Meco by DNSJ.arq
House three basement plan – click for larger image
Three houses in Meco by DNSJ.arq
House three ground floor plan – click for larger image
Three houses in Meco by DNSJ.arq
House three first floor plan – click for larger image
Three houses in Meco by DNSJ.arq
House three elevation – click for larger image

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by DNSJ.arq
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Cafe Ki by id

Table legs extend up to look like tree trunks and branches at this cafe in Tokyo by Japanese studio id (+ slideshow).

Cafe Ki by id

The interior, graphics and products were designed by id for the Ki cafe, named after the Japanese word for tree.

Cafe Ki by id

The monochrome space features black steel poles that resemble the shapes of bare trees.

Cafe Ki by id

The poles form the legs of the tables, which sit on a wooden floor.

Cafe Ki by id

Hats and coats can be hung from the branch-like hooks.

Cafe Ki by id

Small plates of sugar in the shape of transparent leaves sit on the surfaces.

Cafe Ki by id

The bricks of the facade are painted white, while a black graphic showing the cafe name is printed onto the large windows.

Cafe Ki by id

Here is more information from the designers:


Cafe Ki opened in Setagaya-ku, Tokyo in Japan, designed by Japanese design office id. Ki means a tree in Japanese. It is a cafe where coffee and pastries can be enjoyed in a space like a yard or a forest.

Cafe Ki by id

The pure white space enhances the coffee colored trees. The “tree” standing inside the café takes a role as a table leg made of steel. Hats and coats can be hung on the highly extended table legs.

Cafe Ki by id

Although a large number of people can sit around the big table, it can maintain a sense of comfortable distance while sharing the table with a different group since wooden branches help to divide the space on the table.

Cafe Ki by id

Moreover, the leg of the table randomly stands and those who sit down can freely choose a place where to sit. The grove where trees are randomly standing brings a deeper impression from front to back than actually it is.

Cafe Ki by id

Japanese design office id designed for Café Ki not only the interior but also, the graphics, uniform, website and original products.

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Niemeyer’s Brasília photographed by Andrew Prokos

These night shots by New York photographer Andrew Prokos capture some of the buildings designed by late Brazilian architect Oscar Niemeyer in Brasília (+ slideshow).

National Museum of the Republic
National Museum of the Republic

Andrew Prokos topped the Night Photography category at this year’s International Photography Awards with the series, which documents buildings such as the National Congress of Brazil and the Cathedral of Brasília after dark.

National Congress of Brazil
National Congress of Brazil

“I became fascinated by Oscar Niemeyer’s buildings as works of art in themselves, and the fact that Niemeyer had unprecedented influence over the architecture of the capital during his long lifetime,” said Prokos.

National Congress of Brazil
National Congress of Brazil

Niemeyer, who passed away last year, completed a series of civic and government buildings in the Brazilian capital over the course of his career, following the appointment of Juscelino Kubitschek as president in 1956.

Cathedral of Brasília
Cathedral of Brasília

As well as the congress building and cathedral, Niemeyer also designed the Palácio do Planalto – the official workplace of the president – as well as the National Museum of the Republic and Itamaraty Palace.

Palácio do Planalto
Palácio do Planalto

“I found the city fascinating from a visual perspective,” Prokos told Dezeen. “At its best the Niemeyer architecture is elegant and inspired; at the other end of the spectrum there are structures that are straight out of the Soviet era.”

Itamaraty Palace
Itamaraty Palace

See more of Niemeyer’s architecture in our earlier slideshow feature.

Praça Duque de Caxias
Praça Duque de Caxias

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by Andrew Prokos
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