Hadid‘s design features a fluid decoration embedded in the acrylic and plexiglass form, which appears as ripples that seem to drain into the legs.
First shown in May 2012, the original Liquid Glacial Tables comprised a coffee table and a dining table made from two sections that fit together. The latest version is 260cm long, 160cm wide and 74.5cm tall and has four legs.
“I have always been interested in the concept of fluidity,” said Hadid. “Using all the advances in design, material and construction technologies, we are now able to achieve even greater results in the work.”
Here’s some more information from David Gill Galleries:
Zaha Hadid presents Prototype Liquid Glacial Table at David Gill St James’s, October 2013
David Gill is delighted to present the next evolution of Zaha Hadid’s series of Liquid Glacial tables. The latest version, entitled, Prototype Liquid Glacial table, will be unveiled at David Gill Galleries, St James’s, on October 15 2013 and the show will run until 16 November.
The Prototype Liquid Glacial table is dramatically visual – the flat table top appears transformed by the subtle waves and ripples evident below the surface which seem to pour into an intense vortex that forms the table legs. Like the previous Liquid Glacial tables this new table is milled and hand polished to create an exquisite finish. The design embeds surface complexity and refraction within a fluid dynamic.
When it was launched in May 2012, the Liquid Glacial collection was acclaimed by collectors and press alike and the table was shortlisted by the Design Museum as one of the ‘Best Designs of 2012’.
“I have always been interested in the concept of fluidity,” says Hadid. “Using all the advances in design, material and construction technologies, we are now able to achieve even greater results in the work.”
For the first two weeks of the exhibition, a scale model of a ‘super yacht’ designed by Zaha Hadid for yacht builders Blohm and Voss will be on show. Zaha Hadid’s fluid design language has not been applied in the world of yacht design before and the manufacturers are presenting an entirely new concept to potential yacht owners.
Prototype Liquid Glacial Table Dimensions: 260 x 160 x 74.5cm Material: Acrylic / Plexiglas
Walls of weathered stone and timber surround this gabled family retreat by British studio McLean Quinlan Architects on the Devon coastline in south-west England (+ slideshow).
McLean Quinlan Architects located the building against a slope, in a position that offers views of both the surrounding countryside and the ocean.
Wooden panels clad the long sides of the building, while the gabled ends are constructed from stone and the pitched roof is covered with grey slate.
The architects intended this materials palette to reference the aesthetic of American summer houses. “The clients had in mind initially elements of a New England beach house, and so external materials of green oak boarding were used together with the local stone,” said architect Kate Quinlan.
A protruding stone wall marks the house’s entrance, leading through a heavy wooden door to a “mud room” used for drying wetsuits and storing wet-weather clothing such as overcoats and wellington boots.
An open-plan kitchen, living room and dining area occupies most of the ground level, and includes a children’s play area, a large larder for storing food and a laundry space.
A staircase spans the width of the house, leading up to a first floor containing five bedrooms and three bathrooms – offering plenty of space for guests. A second staircase is hidden amongst the closets, ascending to an attic with two extra bedrooms.
The house in located a small village on the North Devon Coast. It was built as a holiday home for the family, and designed to maximise the number of bedrooms and open living space.
The site is accessed down a long drive and the building is tucked up against the slope of the site to make the most of the long views down to the sea from the upper levels.
A stone gable end is the first glimpse you get of this building with a dark industrial chimney dark against grey stone.
The clients had in mind initially elements of a New England beach house, and so external materials of green oak boarding was used together with the local stone.
The resulting building is simple in form. A neat pitched volume coupled with a generous entrance porch.
This provides a formal entrance and provides direct access to a large mud room for drying wetsuits wet from days out surfing, and drying out muddy boots from walking the costal paths.
The building is split down the centre by a central stair. On entering the hall opens up to a double height space with views of the garden.
The main living space is open plan, with a separate games space for the kids and the practical necessities of a large larder and laundry.
Up the open tread stairs, on the first floor the spit volumes separate the master bedroom suite from the main bedroom wing.
Here there is a long corridor with a single pane window at the far end leads to 4 double bedrooms.
Half way along is a ‘secret stair, tucked amongst the linen cupboards, which winds up to take you to to two further attic bedrooms above.
News: British designer Thomas Heatherwick has been commissioned to design a string of metro stations for Beijing and is also bidding to develop two new stations on the London Underground.
Thomas Heatherwick, who is currently travelling with London Mayor Boris Johnson on a trade mission to China, has so far been appointed to work on two stations for the Chinese capital, which plans to add 125 miles to its underground rail network, but could develop an entire line with as many as 20 stations, according to a report in the Evening Standard.
“There will be a chance to think about the whole line as an entity, as a character and my interest would be how you could make that feel more distinctively Beijing,” he told the paper.
Heatherwick has also made an informal bid to work on the extension to the Northern Line in London, which if approved would see new stations constructed in Nine Elms and Battersea.
Movie: Swedish designers Front have created a whisky-serving set for whisky brand Ballantine’s 12 that can be stacked into a balancing tower. In this Dezeen movie, Front’s Sofia Lagerkvist explains how the project was informed by a visit to the Ballantine’s production facilities in Scotland.
Called Ballance, Front‘s sculpture for Ballantine’s 12 year-old blended whisky comprises an oak coaster, whisky glass, copper ice container, water jug and a copper spoon that fit together to create a seemingly precarious stack. The five individual pieces can be taken apart and used to serve whisky.
“We were invited by Ballantine’s to create an object that celebrates the ritual of drinking whisky,” explains Lagerkvist in the movie.
“We have made hand-crafted objects that we have balanced on top of each other in a seemingly magical way. We really wanted to create a magical element to our object because we wanted to wake people’s curiosity about the whisky.”
Lagerkvist goes on to explain that several elements of the sculpture are informed by the whisky-making process itself.
“We went to Scotland to see the intricate production of making whisky,” she says. “We made a coaster that is a reference to the oak barrels that they use in the production.”
She adds: “The copper container, which is for the ice, relates to the copper stills.”
The square water jug is a reference to the distinctive shape of the Ballantine’s 12 bottle, Lagerkvist says, while for the whisky glass itself Front sought the advice of Ballantine’s master blender Sandy Hyslop.
“We asked the master blender what kind of glass he would prefer, what would be the ultimate glass for him,” Lagerkvist explains.
“He described a glass with a rounded bottom that you can keep in your hand, which warms the whisky and contributes to the flavour. It also has a slightly tapered top, which keeps the aroma close to the nose.”
Dezeen Watch Store: the popular touch-screen Mutewatch is now available for just £149 (was £199) for a limited time only.
Mutewatch was conceived when company founder Mai-Li Hammargren was living with a boyfriend who worked night shifts. Just as she was getting to sleep in the morning, her alarm would go off and wake him up. The solution? A personal, silent alarm clock that’s worn around the wrist.
The minimal-meets-retro aesthetic is inspired by the Rubik’s Cube and classic Swedish design and includes an integrated touch-screen that allows the wearer to swipe across the display and activate the timer and alarm functions. The silent alarm can be set to short or long vibrate.
The time is set by tapping directly on the digits, and alarms can be erased by ‘pinching’ the screen. The touch-screen can also be activated by movement – a simple flick of the wrist will immediately reveal the time.
There is an inbuilt USB port hidden within the strap, and the watch is fully charged within two hours. The device warns the wearer when the battery level is low and will automatically enter hibernation mode.
Mutewatch also includes a fully adjustable wristband and is available in five colours: ivy green, nova purple, indigo blue, pure black and charcoal grey.
A woodland landscape scene is hidden within a pattern of coloured polka dots on the exterior of this house extension in Moers, Germany, by Düsseldorf studio MCKNHM Architects (+ slideshow).
MCKNHM Architects made three separate additions to the single-storey family home, adding a second storey on the rooftop, a sauna and guesthouse in the garden, plus a combined workshop and garage at the site’s entrance.
The architects named the project CMYK House as a reference to the colour model used to create the dotty facade of the roof extension and guesthouse.
The mixture of cyan, magenta, yellow and black dots give the walls a halftone pattern. At close range, the dots can be made out individually, while from a short distance they blend together in a camouflage pattern and further away they form an image of a deer in a forest.
“The colour scheme of the pixilated image is intentionally reflected by the landscaping, consisting of wildflower meadows,” said the architects. “From a middle distance, the human eye interpolates the colours and a shaded and textured surface of brown and green seems to appear, leading to a camouflage effect.”
The architects chose to conceal an image of a deer within the facade, as a reference to hunting trophies that were once displayed inside the house.
“The father of the client was a hunter and the house was filled with stuffed animals at the time the son took it over,” explained the architects.
The original house was built without any views of the nearby lake, so the combined sauna and guesthouse was positioned to face onto the water and opens out to a generous terrace.
The rooftop extension accommodates a small office and lounge, also with views of the lake.
A timber-clad garage and workshop was the final addition.
When the father of the client bought the plot of land besides an open gravel pit south of Moers, Germany in the late fifties, it was still unclear if the mine would be converted into a landfill of garbage or a lake. Luckily, the family ended up with a villa at an idyllic lake that is surrounded by a forest.
Because of the possible landfill at the time of construction, the house was orientated away from this now beautiful nature reserve: An existing garage was blocking the view towards the lake. The extensive paved driveway was situated between the house and the fantastic nature setting. Inside the house, none of the spaces provides a view of the lake.
Context
The new addition is set to solve these problems. The approach towards the site places three pavilions onto the park-like property. They are positioned in a way to achieve new spatial qualities in-between the old building and new additions, helping to connect the lake with the existing house.
At the same time the old house with its white plaster façade and its black double pitched roof, that evoked a sense of melancholy and displays a certain stuffiness in its German fifties zeitgeist needed a more fresh addition. Therefore, the extension is also supposed to add a friendlier and playful atmosphere.
Three pavilions
The workshop and garage is moved and situated as an autonomous pavilion towards the entrance of the site. A second pavilion accommodates a sauna and guesthouse, which is assigned to the existing house and directly orientated to the lake through an open terrace. A third pavilion is situated on top of the roof of the old house, extending the existing attic into a workspace and lounge with a beautiful lake-view.
Concept diagram
Façade
All new additions are clad with a special façade, made up from a building textile that features a colourful but also camouflaging print that was developed through a very close and intensive design process with the client. The print fulfils a number of tasks: It is an image that is very roughly pixilated by a halftone pattern, which is exaggerated in a way, that by close distance the façade only displays big dots in the Cyan, Magenta, Yellow and Kay colour realm.
Concept diagram
These dots create a pattern, which is also a reminiscent to the petticoats of the fifties, adding a playful colour palette and graphic to the existing situation. The colour scheme of the pixilated image is intentionally reflected by the landscaping, consisting of wild flower meadows.
From a middle distance, the human eye interpolates the colours a shaded and textured surface of brown and green seems to appear, leading to a camouflage effect. The additions seem to blend within the colour palette of the site.
Only from far distance at the lake, the image will appear: A forest landscape with a deer, a classic and conservative German motive giving an ironic touch to the existing building and a reference to its history, as the father of the client was a hunter and the house was filled with stuffed animals at the time the son took it over.
The interior spaces are highly flexible the pavilions feature a ‘multi-wall’ that is designed as a ‘hollow’ 1,20m thick wall or woodblock, which functions as a storage that is accessible from both inside and outside. The sauna-pavilion has a ‘multi-cube’ that houses the actual sauna and also a space for technical equipment, a wardrobe and bathroom fixtures on the outside. Through these interventions, the space becomes highly flexible and also open, the space is one continuum, there are no doors separating the bathroom from the Sauna.
The concept of the building is creating a new experience on the site and adding something very playful and friendly. At the same time the building is blending into its natural environment. In this sense the addition mediates the genius loci of the existing building and the natural environment the architecture is not an alien anymore it becomes more natural.
Some measures were taken to not only blend the house visually into its context but also to provide a tactile sense of dematerialisation that is reflected in the actual construction. All building details aim to hide the physical thickness of the construction and create a very light to paper thin appearance quality. The parapet flashing is set behind the façade, visible doors and windows are encased in a metal siding which peaks to a millimetre thick tip that hides the real wall thickness, the textile façade is wrapped around the corners and has a very minimal aluminium frame.
BIG worked with landscape firm Topotek1 and artists Superflex to create the kilometre-long park wedged between residential areas in the north of the Danish capital, which was completed last year.
The designers scattered copies of miscellaneous street furniture from 60 different nations across a brightly coloured carpet of grass and rubber – read more about the project in our previous story.
This new book published by Arvinius + Orfeus offers a behind-the-scenes look into the design and construction of the space.
Images by photographers including Iwan Baan document the process and show the completed landscape project in the context of the neighbourhood.
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Competition closes 13 November 2013. Five 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.
Product news: this daybed by design studio Outofstock is shaped to reference landscape elements (+ slideshow).
Outofstock‘s Landscape daybed has a backrest designed to look like a mountain peak, which joins to a flat cushioned surface. This cushion includes three pleated pockets that resemble waves breaking on a beach.
“Landscape is a daybed inspired by land topography elements,” said the designers. “Its form and pleated details is derived from our observational study of various sitting and lounging postures.”
With legs outstretched or tucked up, users can chose which pocket to warm their feet in.
The daybed is produced by Danish brand Bolia and it comes in three different colours with matching bolster cushions.
Kit Yamoyo, an “aidpod” that won plaudits for the way its packaging slotted into the gaps between bottles in a Coca-Cola crate, is being repackaged to reduce costs and increase the number of retailers that stock the product.
“For our supporters who find this move disappointing, I ask you please to keep focussed on the greater good,” said social entrepreneur Simon Berry, who announced the move in a blog post yesterday. “Our primary purpose is not to win awards.”
Berry, whose ColaLife organisation developed Kit Yamoyo, wrote: “We listen, we learn and we act. What our customers, in poor, remote rural communities are telling us is that many of them cannot afford the subsidised price tag. So the pressure is really on to seek every means to reduce costs.”
“Only 8% of retailers have ever put the kits in Coca-Cola crates to carry them to their shops,” he wrote. “This feature wasn’t the key enabler we thought it would be.”
The kit’s plastic blister packaging featured a removable film cover and a contoured container shaped to fit between cola bottles in a standard crate.
Referring to the numerous design accolades the product has garnered, Berry added: “I’d like to think we’d got these awards because of how the components of the Kit Yamoyo product and the packaging work so well together to meet the real needs of caregivers/mothers and children. The way the packaging is integral with the whole kit design, acting as a measure for the water needed to make up the ORS [oral rehydration salts], the mixing device, the storage device and cup.
“But deep down I suspect that it’s the fact that it fits into Coca-Cola crates that really gets the international community so excited. We totally understand this, that was our own starting point and that’s what got us really excited too. Initially.”
The new packaging (left) and the original crate-friendly packaging (right).
However Berry has concluded that putting the kit in a standard screw-top plastic jar would make it both cheaper to manufacture and more appealing to both retailers and consumers.
“At this point, the natural thing to do would be to relax and bask in the glory of all of this fabulous recognition of our work on something so meek as an anti-diarrhoea kit,” wrote Berry. “We are not designing sexy gadgets or cars after all.”
The kit contains sachets of oral rehydration salts, zinc, soap and an instruction leaflet, with the packaging doubling as both a measuring device to mix the solution and a cup from which to drink it.
It provides effective treatment for diarrhoea, which kills more children in Africa than HIV, malaria and measles combined. The product has been trialled in poor villages in Zambia, where 25,000 kits have been sold.
The original packaging was designed to slot into gaps between bottles in Coca-Cola crates.
Berry admitted in a radio interview last month that he was rethinking his distribution strategy and now feels that the reliance on Coca-Cola distribution has become a hindrance to adoption. “Interestingly, a move in this direction – away from the Coca-Cola crate – may help to make us more interesting to certain parts of the public health world who have seen the current Kit Yamoyo as a niche product that can ONLY be distributed in Coca-Cola crates,” he wrote on the ColaLife blog.
“This is not the case – the current Kit Yamoyo doesn’t have to go into Coca-Cola crates – but having a product format that does NOT fit into Coca-Cola crates may make the Kit Yamoyo more appealing to many in the public health sector.”
The new screw-top jar is made of preformed PET, which Colalife then adapt using their own mould. The product will continue to be distributed via crates in some markets.
Japanese architect Kazuyo Sejima has added a circular courtyard and a renovated timber shed to her series of galleries on Inujima island, Japan.
A-Art House
Sejima, the female partner of architecture studio SANAA, has been working on the Inujima Art House Project since 2010, when she and art director Yuko Hasegawa opened three galleries and a small pavilion in the island’s village.
A-Art House
The two new buildings, entitled A-Art House and C-Art House, will join F-Art House, S-Art House and I-Art House to create a series of spaces that can host coinciding exhibitions.
A-Art House
Clusters of artificial flower petals decorate the acrylic walls of A-Art House, giving a colourful backdrop with shades of pink, orange and yellow to the open-air courtyard that makes up the space.
A-Art House
Instead of a precise circle, the structure has gently fluted walls that bulge outwards, creating an outline reminiscent of a flower shape. A rectangular opening forms an entrance through one of the walls, while silver stools offer a pair of seats for visitors.
C-Art House
C-Art House, the second of the two galleries, occupies a renovated nineteenth-century timber shed near the coastline.
C-Art House
The structure of this building is revealed inside, where ageing wooden trusses are supported by modern timber columns. Timber panels line the walls, while a panoramic screen provides a surface for film screenings.
C-Art House
To tie in with the opening of the new galleries, all five spaces are presenting a combined exhibition where each space is dedicated to the work of a different artist.
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