Compact balconies puncture the solid white facade of this social housing block in Mallorca by Spanish architects RipollTizon (+ slideshow).
RipollTizon designed the building for low income families in Palma de Mallorca’s Pere Garau neighbourhood. It contains 18 apartments, ranging between 35 and 68 square metres, and includes a mixture of one, two and three bedroom apartments.
The corner block forms a six-storey tower, but drops down to three storeys on one side to meet the height of surrounding buildings.
“The result is a solid column with excavated voids where the openings are presented as scenes stacked upon each other,” said architect Pablo Garcia.
The building is divided into two different halves – separating apartments for rent from those for sale. Each side have its own entrance, with separate elevators and staircases with perforated brickwork screens.
The apartments have simple interiors, with white walls and tiled floors, plus each one has its own private balcony.
“The excavated terraces are the intermediate elements that relate interior and exterior while offering a private scenery that is built-in the facade of each dwelling,” added Garcia.
The building replaces a former block of courtyard houses. It sits on a base of grey blockwork and gently projects out towards the street.
The project is located in ‘Pere Garau’ neighbourhood. The area was formerly characterised by blocks of single family houses with inner courtyards that followed a typical grid plan. Once the district became central in the city, amendments to the urban planning increased the building volumes significantly and changed the typology to collective housing.
The project takes part of this transformation by redefining a corner plot, resulting from the addition of two former houses, into a new public housing building. The building is conceived according to the new volume specified by the urban planning and playing within its established rules: building depth and cantilevers to the street (of which half of its total permitted area can be enclosed by walls).
The proposal takes advantage of this situation to generate the mechanisms needed to link the housing with their immediate surroundings through controlled openings ‘excavated’ in the building mass. The result is a solid volume with ‘excavated’ voids, where the openings are presented as scenes stacked upon each other.
A small universe of stories organised under no apparent order, and whose arrangement emerges from the dialogue that the building establishes with its urban context. The different rooms of the houses are arranged along a central stripe containing the service areas. The excavated terraces are the intermediate elements that relate interior and exterior while offering a private scenery that is built-in the facade of each dwelling.
Client: Institut Balear de l’Habitatge – IBAVI (Balearic Public Housing Institute) Location: Capità Vila St. – Can Curt St. Palma de Mallorca Architects: Pep Ripoll – Juan Miguel Tizón Project area:2.816,55 metres squared Budget: 1.156.320,90 EUR Start of design: 2008 Year of completion: 2012 Collaborators: Pablo García (architect) and Luis Sánchez (architect) Quantity surveyor: Toni Arqué Structural engineer: Jorge Martin Building services: David Mulet Contractors: Contratas y Obras S.A.
London Design Festival 2013: these round stools by Stockholm designer Kyuhyung Cho can be stacked thanks to a ring of holes around the edge of each seat.
Kyuhyung Cho designed the Poke Stool for British brand Innermost. It features four round legs and has eight holes in the seat. When not in use, the legs can be poked through the holes of another stool.
“The twist of each stool added creates a rhythm as the stack grows higher,” said Cho.
“The composition of different colours and variations to the rhythm lead us create our own structure, like a geometric sculpture,” he added.
The stools are available from Innermost in black, white, natural wood, red, yellow, green and blue. They are made from laquered timber and are 44 centimetres in height.
This 20-storey-high lift transports residents and visitors in the Maltese capital Valletta from the recently restored harbour to the top of the city’s fortified walls (+ slideshow).
International practice Architecture Project designed the lift as part of the regeneration of Valletta’s former port into a cruise ship terminal.
Photograph is by Sean Mallia
A lift was originally built on the site in 1905 to connect the port with the city, but became redundant and was dismantled in the 1980s.
Photograph is by Sean Mallia
The new lift has a larger footprint to cater for the increased number of people arriving at the converted Baroque warehouses that form the new harbour area.
The design of the lift tower references the massive sixteenth-century walls, which are subject to a conservation order and therefore could not be touched by the structure.
“The geometric qualities of the plan echo the angular forms of the bastion walls and the corrugated edges of the aluminium skin help modulate light as it hits the structure, emphasising its verticality,” said the architects.
Glazed lift carriages that offer views of the city and the Mediterranean Sea are shielded from the sun by the aluminium mesh skin, which also alludes to the industrial aesthetic of the original elevator.
Here’s a project description from Architecture Project:
Barrakka Lift Project
This recently completed twenty storey high panoramic lift is located on the edge of Malta’s historic fortified capital city of Valletta. The sixteenth century fortified walls of the town that once served to keep enemy ships at bay are now subject to a conservation order and provide a stunning new access into the town for the large number of residents and visitors travelling from the water’s edge over the powerful landward enceinte of fortifications and into the heart of the city.
Photograph is by Sean Mallia
The recent restoration of Baroque waterside warehouses into a thriving cruise ship terminal prompted the re-activation of a lift that had been built to connect the harbour with the town in 1905 during Valletta’s heyday as a trading port. This old lift, that contained two lift cabins each with a capacity of 12 passengers, was abandoned and eventually dismantled in the 1980s.
Today, the heavy demands of accessibility to the town require a much larger footprint than previously, and therefore the renewed connection has a larger visual impact, whereas, on the engineering level, rigour was needed as attachment to the historic walls was not possible.
The geometric qualities of the plan echo the angular forms of the bastion walls and the corrugated edges of the aluminium skin help modulate light as it hits the structure, emphasising its verticality. The mesh masks the glazed lift carriages, recalling the forms of the original cage lifts, whilst providing shade to passengers as they travel between the city and the Mediterranean Sea.
Architecture: Architecture Project (AP) Date: 2009-2013 Client: Grand Harbour Regeneration Corporation plc Value: €2 million Location: Lascaris Ditch, Valletta, Malta Lighting design: Frank Franjou
In this movie by film studio Stephenson/Bishop, Japanese architect Sou Fujimoto explains how he tried to combine nature and architecture when designing this year’s Serpentine Gallery Pavilion, which is open for three more weeks in London’s Kensington Gardens.
Built on the lawn outside the Serpentine Gallery, Sou Fujimoto‘s cloud-like pavilion comprises a grid of white poles that ascend upwards to form layered terraces with circles of transparent polycarbonate inserted to shelter from rain and reflect sunlight.
“From the beginning I didn’t think ‘I’d like to make a cloud’,” says Fujimoto, explaining how he tried to design a structure that would fit in with its surroundings. “I was impressed by the beautiful surroundings of Kensington Garden, the beautiful green, so I tried to create something that was melting into the green.”
“Of course the structure should be artificial so I tried to create something between architecture and nature; that kind of concept has been a big interest in my career so it is really natural to push forward with that concept for the future,” he adds.
Fujimoto also speaks about how he wanted to combine inside and outside space within the structure. “The transparency is quite important for me because you can feel the nature, the weather and the different climates, even from inside the pavilion,” he says.
Fujimoto is the youngest architect to design a Serpentine Gallery Pavilion. “It is kind of a dream for younger architects to be selected so I was excited, but at the same time it was kind of a big pressure ,” he said. “But I started to enjoy the whole situation and the whole challenge and for me, it was was a nice experience for the project to be abroad in a different situation than Japan.”
A collection of 1950s and 1960s products by designers including Dieter Rams, Arne Jacobsen and Dietrich Lubs for German electricals brand Braun are on display at the new Paul Smith store in London (+ slideshow).
Audio 1 compact system with record player (white version), 1962, and ‘kangaroo’ system audio stand, 1967, by Dieter Rams at Paul Smith Albemarle Street
Collectors of Braun Design products das programm curated a selection of vintage Braun products in fashion designer Paul Smith‘s recently extended store on Albemarle Street in London’s Mayfair district.
Record player by Dieter Rams, 1960
The emphasis of the small exhibition, titled White, is mainly on audio products such as radios, turntables and speaker units.
Atelier 3 / L 40 compact system and box speaker by Dieter Rams, 1962
“We’re showing 45 pieces, mostly 60s audio but also including some classic household designs,” said das programm director Peter Kapos.
PC4 record player by Dieter Rams, 1965
Dieter Rams was appointed director of Braun’s in-house design department in 1960 and began applying the standards established by the Ulm School of Design a year earlier.
RT 20 tischsuper table radio by Dieter Rams, 1961
Under his direction the company became renowned for producing rational and functionalist designs, which are widely credited as Apple creative director Jonathan Ive’s aesthetic reference for the computer company’s products.
“The influence of Braun Design on Apple design is well documented,” Kapos told Dezeen. “From the 2001 iPod onwards, Apple has been helping itself to all kinds of bits and bobs, producing a curiously accelerated collage of Braun Design.”
L 460 wall-mountable round speakers by Arne Jacobsen, 1967
Other Braun Design members are also represented in the collection. The oldest piece in the store is Hans Guglelot’s combined record player and radio from 1955, and homeware designs by Reinhold Weiss and Gerd Alfred Müller are also on show.
G 11 table radio by Hans Gugelot, 1955
The items will be displayed in the recently opened store until 7 October and Kapos will be giving tours of the exhibition in its final week – more details here.
Audio 1 compact system with record player (white version), 1962, and ‘kangaroo’ system audio stand, 1967, by Dieter Rams
Amidst the architectural and cultural ruins of post-war Germany, industrial designers considered their role in the task of reconstruction. In 1953 the Ulm school of design opened. It taught that rationally organised objects of daily use might serve as models for a more rational social form and thereby guide the maelstrom of productive forces to a more acceptable result. They called this utopian project ‘systems design’. The following year, the Braun Company approached the Ulm school with a brief to modernise their audio line. Designers Otl Aicher and Hans Guglelot, lecturers at the school, established the Braun style and produced the blueprint for a comprehensively integrated programm of household electronics.
The Ulm school is represented in the exhibition by two pieces: Gugelot’s G 11 / G 12 record player and radio combination, issued in the 1955 the inaugural year of Braun Design, and Gugelot and Rams’ SK 4 phonosuper of the following year. This pair of foundational objects are the first encountered by the visitor.
Prüfplatte A 1, unattributed, ca 1960
An in-house design department was established at Braun in 1960; Dieter Rams was appointed its director in 1961. You can see from the pieces on the bridge shelf how the Ulm style was both retained and transformed in the products issued after the services of Ulm freelancers had been dispensed with. Post-1960 Braun designs remain orderly and rational, according to functionalist principles. But the first designs’ rather Scandinavian-modern references to nature are replaced by a more severe and emphatically industrial material vocabulary.
Just as important was the transformation in the interrelation of individual designs. The Braun audio designs of the 1960s were no longer conceived as single items related to others in the programm by a more or less common aesthetic. Now, the program was thought of as a single integrated system consisting of functionally compatible elements under a fully unified aesthetic regime. In this way the entire Braun programm of the 1960s unfolded as a unitary modular system.
KF 21 coffee machine by Florian Seiffert, 1976
The examples presented in the main space have been selected to express the formal and functional unity and systematicity of the 60s Braun program. The audio designs of this period, all by Dieter Rams, may be divided into two groups: light weight turntables, small radios and speaker units, and larger more substantial system elements. The largest of these at the far end of the room is the Audio 1 integrated system sitting on the ‘kangaroo’ modular stand. Despite the formal variety, the distinctive characteristic of 1960s Braun Design is its overarching coherence. It all ‘locks’ together.
It’s interesting to think that at this time Dieter Rams was also drawing furniture designs on the same principles for production and sale by Vitsoe, then Vitsoe+Zapf. The idea was that audio design, furniture design (and toaster design for that matter) should fuse into a single interlocked whole – a total rational environment that we might imagine extending outwards to the design of buildings, districts and cities…
KM 3 mixer system by Gerd Alfred Müller, 1957
Because space is limited the emphasis of the exhibition is placed on audio products. However, the Braun program of the 1960s also encompassed extensive kitchen, misc. household, lighter, dry shaving and photography ranges. The pair of ‘Das Braun Programm’ posters by the till presents something of this scope.
As in the audio segment, these products related to every other as parts of a rational, aesthetically unified whole. Indeed, the graphic design of these posters itself, in its systematic arrangement on a grid, contributes to this unity, as did the design of every other piece of Braun printed material from packaging down to guarantee cards and instructions for use – see as examples the KF 1000 headphone and MX 1 111 child’s toy.
ABK 20 wall clock by Dietrich Lubs, 1985
Presented on the bay of shelves are a few iconic examples of Braun household products. Of these, Reinhold Weiss’ HL 1 multiwind desk fan and KMM 1 coffee grinder are particularly important. Weiss joined the Braun Company as a graduate of the Ulm School in 1960 and continued to practice systems design according to its original idea. Ram’s designs tended to be simple cubular forms. A tension between rational rigour and idiosyncrasy in the arrangement of control elements provides ‘interest’. Weiss’ designs, on the other hand, are both more fully abstract and three dimensional. The device is broken down into functionally discrete units – base, stem, motor block, fan head, cowl – that are then articulated as sculptural elements, a series of volumes, densities, textures and masses. The result is at once functionally and constructionally concrete, and highly abstract.
It’s interesting to compare Weiss’ functionalism with that of his colleague Gerd Alfred Müller, whose iconic KM 3 food processor sits on the top shelf. Müller articulates the functional elements of the device – motorblock/gearing/tool – with great clarity as distinct strata imposed upon a flowing organic form, a horizontally ordered series of cuts. This form encloses the bowl; notice how its lip aligns with the top edge of the gearing block. A distinctive feature of 1960s Braun Design is the fine balance struck between difference and identity. Rams, Weiss and Müller drew up designs with very distinct characters that nevertheless belonged unambiguously to a single programm.
Tonearmwaage tone arm scale by Dieter Rams, 1962
The period of Braun Design is defined as 1955 – 1995, beginning with the first of the modernist designs and ending when Dieter Rams stepped down as Director of the Design Department. However, our exhibition focuses almost entirely on designs issued before 1968. In 1968 the Gillette Company acquired a controlling share in Braun and thereafter stopped the economically irrational practice of cross-subsiding product lines. In particular, profits from the dry shaving sector, which made up the largest part of company earnings were no longer permitted to offset losses incurred by the grandiose design folly that was the Braun audio program.
Interesting as it was, outside a small group of German middle class intellectuals there just wasn’t the demand for it. Post-68 Braun Design was increasingly led by market research, which very quickly brought about the demise of the functionalist adventure in systems design. To be sure, great designs still continued to be produced at Braun after 1968. See for example the astonishing KF 21 coffee filter on the plinth opposite the shelves. But these tend to stand out as singular designs. Shaped by marketing requirements, what remained of the programm increasingly found itself reflecting existing conditions. Perhaps, the expansive ‘kangaroo’ system stand (of which only a small part is shown here) represents the last attempt at designing in a truly utopian mode, that is, one that reaches beyond what presently exists to something qualitatively new…
Under the present stewardship of Proctor and Gamble, owners of the Gillette Company, Braun continues to extend the company tradition of offering products of the highest quality in terms of design and manufacture. Its offering is now almost entirely restricted to personal grooming. Recently, a number of interesting discontinued products of the Braun Design period have been re-issued. Amongst these are Rams’ DW 30 digital watch of 1979, Dietrich Lubs’ AB 30 vs alarm clock and Rams and Lubs’ superb ET 66 calculator. These are displayed for sale in the till area.
London Design Festival 2013: Lebanese designer Najla El Zein has sent us this movie showing her 5000 spinning paper windmills being installed in a doorway at the V&A museum in London (+ movie).
In the movie, Zein says that the installation aims to make visitors feel and hear that they are transitioning between two spaces. “It defines an exaggeration of a specific sensorial moment that each one of us experiences throughout our daily lives,” she says.
“The wind portal tries to grasp and emphasise common emotions and senses that are often forgotten,” she adds.
The film also shows the designer creating each of the windmills by hand-folding paper and fixing them in place with hand-sculpted wooden joints. Each windmill is then attached to the vertical poles with 3D-printed clips.
A computerised wind system controls which windmills spin at any time by letting air escape through tiny holes in the uprights. “Different speeds of wind were programmed, resulting in different speeds, sounds and feelings,” explains the designer.
Later in the film, visitors can be seen walking through the two parted gates, which although static, appear to be shut when viewed from certain angles. “According to the angle you are positioned, one would perceive the gate as being closed. As soon as you approach it the gate seems to open up,” Zein says.
Photography and films are courtesy of Najla El Zein Studio.
Here’s a full project description from the designer:
The Wind Portal
The Wind Portal is a walk-through installation that represents a transition space from an inside to an outside area. It defines an exaggeration of a specific sensorial moment that each one of us experiences throughout our daily lives.
Wind and sound are the elements that makes us understand our environmental context.
The Wind Portal installation is shaped as a monumental gate of eight metre-high and composed of thousands of paper windmills that spin, thanks to an integrated wind system.
The aim was to make visitors feel, hear and become aware of transitioning through two spaces.
The wind portal tries to grasp and emphasise on common emotions and senses that are often forgotten.
Its architectural shape works as an illusion effect where, according to the angle you are positioned from, one would perceive the gate as being closed. As soon as you approach it the gate seems to open up.
The installation blends in different technologies and materials such as hand-folded paper windmills, hand-sculpted wooden joints, 3D printed clips, and a complex wind and light computerised system.
Different flows of wind are programmed resulting into different speeds, sounds and feelings. The light, which seems to play with the wind flow, gives us an impression of a breathing piece. Indeed, the gate breathes in and out, where wind is its main source of life.
Studio team: Najla El Zein, Dina Mahmoud, Sara Moundalek, Sarah Naim Lighting designer and automation: Maurice Asso and Hilights
Swedish firm Tengbom has designed a ten square-metre wooden house for students.
Linda Camara and Pontus Åqvist of Tengbom architects worked in collaboration with students from Lund University in Sweden to create the living unit, which is meant to be “affordable and sustainable”.
“Through an efficient layout and the use of cross-laminated wood as a construction material, the rent is reduced by 50 percent and the ecological impact and carbon footprint is also significantly reduced,” said Camara.
Inside the unit there is a small kitchenette with shelving and green storage cupboards, a small bathroom and a loft for sleeping that is accessed via small wooden steps fixed to the wall.
Two window shutters on the lower level can be folded down to use as a dining table and a desk. Under the loft area there is a hammock.
“The main issue was to design really smart units with no unnecessary space,” Camara told Dezeen. “Only well-designed space is afforded when designing for small living.”
The unit is constructed from cross-laminated wood that was sawn and shaped by timber firm Martinsons and mounted on site by Swedish building firm Ulestedt.
“Since this is a fairly new material on the Swedish market, we wanted to show the qualities, such as the possibilities to make the non-rectangular forms,” Camara said. “It is easier to make round corners than sharp 90-degrees.”
In 2014, 22 of the student units will be built and ready for students in Sweden to move into.
A student flat of only 10 square metres is currently exhibited at the Virserum Art Museum in the county Småland, Sweden.
Tengbom Architects has designed a student flat for students which is affordable, environmental-friendly and smart both in terms of design and choice of materials. The project is a collaboration with wood manufacturer Martinsons and real estate company AF Bostäder.
To meet the needs of students in a sustainable, smart and affordable way was the key questions when Tengbom in collaboration with students at the University of Lund was designing this student flat of 10 square meters. The unit is now displayed in Virserum Art Museum. In 2014, 22 units will be built and ready for students to move into.
To successfully build affordable student housing requires innovative thinking and new solutions. The area in each unit is reduced from current requirement, 25 square meters to 10 square meters through legal consent. This truly compact-living flat still offers a comfortable sleeping-loft, kitchen, bathroom and a small garden with a patio. Through an efficient layout and the use of cross laminated wood as a construction material the rent is reduced by 50 % and the ecological impact and carbon footprints is also significantly reduced.
Energy efficiency is a key issue when designing new buildings. Choosing right material and manufacturing methods is vital to minimise the carbon emission and therefore wood was chosen for its carbon positive qualities, and as a renewable resource it can be sourced locally to minimize transportation. The manufacturer method was chosen because of is flexible production and for it’s assembling technique which can be done on site to reduce construction time.
By exhibiting this well planned and sustainable student flat we want to challenge the conventional views and show new ways of thinking. What is good living? What materials can we use? To meet the future in a sustainable way we must be innovative in all aspects and have the courage to break new ground, says Linda Camara at Tengbom Architects.
Perforated walls and sliding timber doors feature in this stable in Uruguay by architect Nicolas Pinto da Mota (+ slideshow).
Nicolas Pinto da Mota designed the stable for the owner of a horse farm in Soriano, western Uruguay.
Wooden beams are left exposed on the underside of a gently sloping steel roof, which shelters eight concrete horse pens and a central corridor.
A veterinary area and a storage room for saddles are located at one end of the building, along with extra storage space.
Narrow timber doors are set at intervals along the concrete brick walls of the building, giving each horse a direct exit to the paddocks outside.
“Measurements, sizes, provisions and heights are a consequence of the needs thoroughbred horses have to circulate and move,” architect Nicolas Pinto da Mota said.
At night, light shines through the brickwork perforations, which gradually increase in size across the facade.
This project consists in extending a set of buildings in which there is a horse farm. The farm already had some sheds and other precarious constructions based in the typical scheme of nave with gable roof.
These constructions prefigured the first approximation to the scale and typology of the new building. Neutrality and a certain lack of leadership give the building the chance to dialogue and establish a wise relation with the context.
Also there is an exploration in the technique, which gives a step forward based on the traditional brick constructions.
The choice of the materials and the axial disposal of the program where chosen to provide the horses a stable way of life. The program contemplates two different areas: an area of boxes and another of veterinary and saddles room.
Measurements, sizes, provisions and heights are a consequence of the needs thoroughbred horses have to circulate and move. This where taken into account to determine the height and the structure measurements of the building.
Customer: Alvaro E. Loewenthal Structure: Enginee. Fernando Saludas Construction team: Della Mea Camblong S.A. Project year: 2011 Construction years: 2012-2013
Neon words and symbols embellish the exterior of this temporary wooden pavilion inside the new Library of Birmingham by designers Morag Myerscough and Luke Morgan (+ slideshow).
Designer Morag Myerscough collaborated with artist and designer Luke Morgan to install the pavilion in the new library in Birmingham, England, which was completed earlier this summer by Dutch studio Mecanoo.
The pavilion will host an 18-week programme of workshops with artists, film makers and book makers, and is aimed at challenging people’s perceptions of what libraries can offer.
“The pavilion is meant to be something of a ‘curiosity box’ which closes on Sunday night, undergoes transformation the following day and then when the doors open on Tuesday has become a totally new space depending on what that week’s resident has planned,” said Myerscough.
Brightly coloured words such as “delight”, “discover” and “fantasy” adorn flags attached to the top of the structure and originate from workshops the designers held with youth arts group Birmingham 2022.
“We wanted to greet visitors with a smile and a celebration of the word,” added Myerscough. “It encourages conversation and fun.”
Large openings let light permeate the roof of the pavilion, which is made up of peaks with different sizes and proportions.
A large table surrounded by colourful metal stools forms the central workspace, while exposed wooden battens on the interior walls double up as shelves for displaying images and objects.
Centrepiece of the dramatic lobby of the new Library of Birmingham is a temporary pavilion created by Morag Myerscough and Luke Morgan. The Pavilion is a multifunctional structure designed to house an 18 week programme of creative residencies for the Discovery Season. Artists, film makers, book makers and a range of other creatives will set up home in The Pavilion for a week at a time, making new work and offering a variety of free activities for visitors. The Discovery Season curated by Capsule is a dynamic mix of exhibitions, activities and performances, with the aim to challenge perceptions of what a library can be.
Entirely hand-crafted, The Pavilion has been designed to reflect the diverse and often radical Discovery Season creative residency programme including. The timber single-storey structure is topped with a neon ‘crown’ of signs emblazoned with words that originated from workshops held with youth arts group Birmingham 2022.
Myerscough, Morgan and two assistants hand-painted the exterior walls with symbols used in on-line communication, embracing digital with an analogue technique. “We wanted to greet visitors with a smile and a celebration of the word,” she says. “It encourages conversation and fun.”
The interior of the timber box structure has been kept as simple and raw as possible, allowing each resident to change the space as much as they wish. Battens can be used as ad hoc shelves, while the ceiling is made from wooden slats which provides views of the neon rooftop signs and delivers a striking internal dappled lighting effect.
Two sides of the structure feature full-height double doors while the others have large windows. These can either be swung open for transparency or closed to create a more intimate environment for projected installations, in stark contrast to the Library’s vast lobby space.
“The Pavilion is also meant to be something of a ‘curiosity box’ which closes on Sunday night, undergoes transformation the following day and then when the doors open on Tuesday has become a totally new space depending on what that week’s resident has planned,” Myerscough adds.
The Pavilion was erected on site in just two weeks, and was designed to make best use of a space directly opposite the Library’s main entrance. It snugly fits between concrete pillars, working within tight spatial restrictions imposed by the Library’s fire protection system.
As part of the Discovery Season, Studio Myerscough also hosted a week-long residency using the intricate interlocking aluminium patterns of the cladding for the Mecanoo-designed Library as inspiration to create a new A to Z font with the people of Birmingham. Designed to be completely demountable, it is hoped that a new home for the Pavilion will be found at the end of the Discovery Season.
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