Designs of the Year Awards category winners announced

Design of the Year 2013 category winners

News: a folding wheel (above) and the UK Government’s redesigned website are among the seven category winners of the Designs of the Year Awards announced today by London’s Design Museum.

Design of the Year 2013 category winners

The seven winners include digital category winner Gov.uk (above), which brings together all the UK Government’s webpages into a single site, and the Morph folding wheel, winner of the transport category.

Ben Terrett, head of design at Government Digital Service, explained the design principles behind Gov.uk in an interview with Dezeen filmed at Design Indaba in Cape Town last month.

Design of the Year 2013 category winners

The architecture category was won by Tour Bois-le-Prêtre (above), a refurbished 1960s tower block in Paris designed by Frédéric Druot, Anne Lacaton and Jean-Philippe Vassal.

Design of the Year 2013 category winners

The winner in the furniture category is industrial designer Konstantin Grcic for his wooden Medici Chair (above) for Italian brand Mattiazzi, which he complemented this week in Milan with the launch of his Medici Stool and Table.

Design of the Year 2013 category winners

The Kit Yamoyo medicine container for developing countries (above) by ColaLife and PI Global won the product category, while John Morgan Studio’s identity for the Venice Architecture Biennale (below) was named winner of the graphics category.

Design of the Year 2013 category winners

Director Lisa Immordino Vreeland was chosen in the fashion category for her documentary on influential fashion columnist and editor Diana Vreeland (below).

Design of the Year 2013 category winners

The overall winner will be announced on 16 April at an awards ceremony in London.

The Designs of the Year Awards are given annually by the Design Museum in London and all the shortlisted designs are on show at the museum until 7 July.

Past winners include the Olympic Torch by BarberOsgerby and the Plumen 001 light bulb by Hulger and Samuel Wilkinson.

Here’s the press release from the Design Museum:


The Design Museum announces the seven category winners for the annual Designs of the Year Awards. The awards celebrate the best of international design from the last 12 months. The overall winner for the Design of The Year 2013 will be announced on Wednesday 16 April at an awards evening held at The Angler, South Place Hotel, London.

The seven category winners include GOV.UK, a new British government website which promises to revolutionise governmental online communications, bringing together different government websites into one single site making it a much easier and user friendly service. Other winners include the renovation and reimagining of a faded 1960s tower block in Paris, a landmark documentary an fashion icon Diana Vreeland, a reinvention of the wheel in the form of a unique folding wheel which can be applied to bicycles and wheelchairs and a chair constructed using the latest computer technology.

The Seven Category winners are:

» Architecture: Tour Bois-le-Prêtre, Paris – Designed by Frédéric Druot, Anne Lacaton and Jean-Philippe Vassal

» Digital: GOV.UK website – Designed by Government Digital Service

» Fashion: Diana Vreeland: The Eye has to Travel – Directed by Lisa Immordino Vreeland

» Furniture: Medici Chair – Designed by Konstantin Grcic for Mattiazzi

» Graphics: Venice Architecture Biennale identity – Designed by John Morgan Studio

» Products: Kit Yamoyo – Designed by ColaLife and PI Global

» Transport: Morph Folding Wheel – Designed by Vitamins for Maddak Inc.

Pete Collard, Curator of Designs of the Year comments: ‘Designs of the Year is the Design Museum’s authoritative review of the most innovative, forward-thinking and culturally relevant projects from the past twelve months. The work selected demonstrates the many ways in which design can transform our physical and cultural landscape.’

The seven winning designs will now compete for the overall Design of the Year 2013, to be announced on 16 April. The winning entries, along with all the shortlisted designs are on show at the Design Museum until 7 July.

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Coach Omotesando by OMA

OMA’s new Tokyo store for American accessories brand Coach is a glazed cube with a herringbone-patterned display system (+ slideshow).

Coach Omotesando by OMA

Inspired by the categorised wooden storage systems of Coach‘s original 1940s stores, Coach Omotesando features a modular shelving system that Rem Koolhaas’ OMA has developed for all of the brand’s new stores.

Coach Omotesando by OMA

Here, the shelves form a herringbone pattern that covers the glazed facade of the two-storey shop. Frosted glass panels were used to build the boxy shelves on the inside of the walls, while on the outside they form a system of horizontal louvres.

Coach Omotesando by OMA

Once the store is open each box will be filled with an item from Coach’s latest collections, which include outerwear, footwear, jewellery, handbags and other accessories.

Coach Omotesando by OMA

A staircase is positioned at the centre of the store, connecting womenswear on the ground floor with menswear on the first floor. This area also features a modular shelving system, although here it is broken up into a rectilinear grid.

Coach Omotesando by OMA

Lighting is installed within the staircase tower, intended to create a central beacon that illuminates the store 24 hours a day.

Coach Omotesando by OMA

OMA first revealed designs for the display system during the summer. Since then the studio has installed a smaller version at a Coach kiosk within Macy’s flagship Herald Square store in New York.

Coach Omotesando by OMA

This week Dutch firm OMA has also revealed a collection of furniture for US furniture brand Knoll. See more architecture and design by OMA.

Coach Omotesando by OMA

Other notable shop designs on Dezeen include Peter Marino’s Louis Vuitton Maison on London’s Bond Street and Schemata’s flagship for Japanese fashion brand Takeo Kikuchi. See more shops on Dezeen.

Coach Omotesando by OMA

Photography is by Iwan Baan.

Here’s some more information from OMA:


Coach Flagship, Omotesando

Founded in 1941, Coach began as a leather goods retailer, displaying their products in a single row of library-like, wooden shelving that categorized their handbags and wallets. The brand’s repertoire has since expanded to include a full range of lifestyle merchandise including outerwear, footwear, jewelry, watches and sunwear, which are now sold in a variety of retail environments from specialty boutique to department store.

Coach Omotesando by OMA

Inspired by the clarity of Coach’s original, systematic filing retail strategy, OMA designed a modular display unit that is flexible enough to accommodate the specific needs of each product and retail environment. The spatial possibilities of this highly functional system reinforce Coach’s mission to represent ‘logic and magic.’ For the first iteration at a kiosk within Macy’s department store at Herald Square, acrylic display units were assembled into a floor-to-ceiling high, “V” shaped wall. Products appear to float amidst maintained views to the accessories floor beyond.

Coach Omotesando by OMA

Coach’s ninth Japan flagship is a two-story, corner site on Omotesando, a prominent retail corridor in Tokyo. In comparison to the increasingly decorative elevations that characterize Omotesando, OMA’s design integrates display into the façade, seamlessly communicating the brand’s presence from the inside out.

Coach Omotesando by OMA

The display units are stacked in a herringbone pattern of vertical and horizontal orientation to facilitate a range of curation scenarios. Dimensioned to accommodate Coach’s standard merchandising elements (ex. mannequins, busts, bags), the unit measures 1800 mm x 520 mm. Frosted glass that provides shelving within the store is further articulated to the façade as louvers.

Coach Omotesando by OMA

Viewed from the exterior, the double-height storefront presents an uninterrupted survey of Coach’s full collection in a single view, with a dedicated frame for each product. Viewed from the interior, the display unit’s translucency creates an active backdrop for merchandise, filtering Omotesando’s streetscape into the shopping experience.

Coach Omotesando by OMA

Above: display concept

In addition to the façade, OMA designed a floating tower of illuminated units that encase the store’s central stair, seamlessly connecting the women’s first floor and men’s second level. Consolidating the display on the facade and circulation creates a condition in which the shopper is continuously surrounded by product, while simultaneously liberating floorspace. In the evenings, the circulation tower illuminates the façade as a dynamic, 24-hour window display from within.

Coach Omotesando by OMA

Above: cross section

Status: Commission January 2012; Completion April 2013
Client: Coach, Inc.
Location: Tokyo, Japan
Site: Ground and second floor of new construction on Omotesando, Tokyo, Japan Program: 444.75 m2 / 4787.25 sf
Façade: 210 glass units Circulation Tower: 105 acrylic units
Partner-in-Charge: Shohei Shigematsu
Project Architect: Rami Abou Khalil
Team: Yolanda do Campo, Benedict Clouette with Jackie Woon Bae, Cass Nakashima, Phillip Poon, David Theisz
Local Architect and Engineer: Obayashi Corporation Façade Consultancy: Michael Ludvik
Interior Architecture: Nomura, Co., Ltd.

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Springs 3D-printed glasses by Ron Arad for pq

Milan 2013: London designer Ron Arad has created a range of 3D-printed spectacles and sunglasses for eyewear brand pq.

Speaking to Dezeen yesterday at the launch in Milan, Ron Arad explained: “The brand wanted to advertise the fact that it’s printed but I said let’s not go on about it. But it’s printed. It’s the first pair of glasses that I know about that is one piece of material; it’s monolithic. It’s polyamide.”

The frames are built entirely from nylon powder using selective laser sintering (SLS) technology, with hinges made by scores in the material rather than from additional metal parts. “It has a stem that’s flexible one way and stops the other,” said Arad.

Springs 3D-printed glasses by Ron Arad for pq

Above: Archway style from the Springs collection
Top: Angel style from the Springs collection

Each style is name after a station on the London Underground’s Northern line, including Old Street, Kentish Town and Golders Green. The Angel shades have droplet-shaped lenses, the Colindale models come with round lenses and the Highgate and Archway designs both feature an exaggerated bridge.

All frames are available in a selection of colours and the sunglasses some with tinted lenses in various shades. Arad has also designed a range of glasses that can be adjusted to fit any face for the same company.

Springs 3D-printed glasses by Ron Arad for pq

Above: Balham style from the Springs collection

Arad was one of the first designers to work with 3D printing in 1999. “In 1999 we had our first outing with what in those days was called rapid prototyping,” he said. “We did vases, lights and jewellery. There was a lot of excitement in the technology then, it was obvious it was on the cards and would be embraced by lots of people.”

Other 3D-printed designs released in recent months include American football boot studs and a dress for Dita Von Teese, while a race to create the first 3D-printed house is on between a canal house in Amsterdam, a plastic dwelling to be assembled in three weeks and a home modelled on a Möbius strip.

See all our stories about designs by Ron Arad »
See all more news about 3D-printed architecture and design »

Read on more more information from pq:


Pq eyewear designed by Ron Arad introduces Springs

Pq, the original eyewear brand designed by Ron Arad adds Springs, a new collection to the pq family this spring.

Springs are a one-piece, one-material, monolithic creature. The gill-like sides allow the arms to hinge inwards freely but restrict them from opening outwards beyond the perfect width and perfect pressure for the head. A progenitor to Angel, and Corbs, now they are just part of one growing Springs family.

Standing out from the crowd, they are as playful as they are individual. Seven new styles within the SPRINGS collection share the cleverly integrated vertebrae giving a fluid continuous line unbroken by hinges and extraneous details. These unique frames enjoy curvaceous shapes and volumes, and are lightweight yet highly durable.

Made in the UK, embracing technology to overcome the constraints of traditional production techniques, Springs are made using SLS (selective laser sintering), a technique pioneered by Ron since the early 1990’s.

Pq launched in 2012 as Arad asserted; ‘There are very few ideas in the world of glasses.’ Pq’s name emanates from two letters side by side in the alphabet which together resemble a pair of glasses.

Springs also includes the distinctive Corbs, the first in the family produced from solid and laminated acetate.

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Statoil regional and international offices by A-Lab

Five aluminium-clad volumes are stacked up like a pile of horizontal skyscrapers at this office complex outside Oslo by Norwegian studio A-Lab (+ slideshow).

Statoil regional and international offices by A-Lab

Above: photograph by Luis Fonseca

Located on the Fornebu peninsula outside the city, the building is a workplace for 2500 employees at Norwegian energy company Statoil, which asked A-Lab to design an iconic structure amongst the scenic landscape of the Oslo fjord.

Statoil regional and international offices by A-Lab

Above: photograph by Luis Fonseca

“Large office complexes like this are usually made out of one solid volume,” the architects told Dezeen. “Our concept was to deconstruct the ‘office machine’ into five smaller volumes.”

Statoil regional and international offices by A-Lab

Above: photograph by Luis Fonseca

The five 140-metre-long wings are piled up in a criss-crossing formation, with two at the bottom, two in the middle and a final one at the top. The blocks overlap one another at the ends, but the shape still creates cantilevers of up to 30 metres.

Statoil regional and international offices by A-Lab

Above: photograph by Luis Fonseca

“Deconstruction into smaller volumes optimises the distribution of light conditions and views for each lamella,” explain the architects, comparing the structure to that of a leaf. “[It] also makes a more flexible and resilient ‘office machine’, as each office lamella works as an individual unit that can more easily adapt to changing needs.”

Statoil regional and international offices by A-Lab

Above: photograph by Trond Joelson

A glazed atrium is positioned at the centre of the building and serves as the main entrance to each block. At ground level, this area functions as an indoor plaza for lunches and informal meetings, and is overlooked by balcony corridors on the floors above.

Statoil regional and international offices by A-Lab

Offices are located in each three-storey wing and feature modular ceiling systems that allow spaces to be easily sub-divided. Most of these spaces are column-free, as the stacked construction creates additional supports.

Statoil regional and international offices by A-Lab

A-Lab, led by architects Geir Haaversen and Odd Klev, won a competition in 2009 to design the Statoil regional and international offices. The studio had already been working on another project nearby: the IT-Fornebu Portalbuilding business centre at the former Oslo Airport. See more architecture by A-Lab.

Statoil regional and international offices by A-Lab

We’ve featured a few structures that appear to be piles of smaller buildings. Others include a stack of four house-shaped apartments, a hotel that looks like a pile of houses and a skyscraper made of around ten separate buildings.

Statoil regional and international offices by A-Lab

Above: photograph by Trond Joelson

Photography is by Ivan Brodey, apart from where otherwise stated.

Read on for more information from A-Lab:


Statoil regional and international offices
Fornebu, Norway

The new Statoil regional and international offices at Fornebu is result of an open competition won by Norwegian architects a-lab in February 2009, with completion of the building the autumn of 2012.

Statoil regional and international offices by A-Lab

Above: photograph by Trond Joelson

Statoil is a Norwegian energy producer, the 57th largest company in the world by revenue, with about 30,000 employees in 37 countries. 2500 of these now work in this unique office building, with a spectacular view over adjacent park areas and the fjord of Oslo. The iconic structure seeks to reflect Statoil’s role as an innovative and internationally pioneering petroleum company as well as giving a new identity and pulse to the local environment.

Statoil regional and international offices by A-Lab

Above: photograph by Trond Joelson

The Fornebu area, a previous site for Oslo’s main airport, is undergoing a radical transformation into an urban area, with commercial and residential buildings and public recreation areas.

Statoil regional and international offices by A-Lab

Above: photograph by Trond Joelson

A key challenge of the design was to balance size and architectural expression with its surroundings, whilst at the same time introducing new impulses that enliven the park and commercial area. More specifically: how does one design a 65.000/117.000 m2 commercial building complex to make it blend with the idyllic shoreline of Fornebu?

Statoil regional and international offices by A-Lab

A large part of the site has been transformed into a publicly accessible park and promenade along the fjord. The new office building stands on the site of the old airport’s multi-storey car park. The structure consists of five office lamellas of identical size, stacked on top of each other. The concept minimizes the environmental footprint of the building and gives a generous amount of space to the park.

Statoil regional and international offices by A-Lab

Each lamella is 3 stories high, 140 meters long and 23 meters wide. The modules are oriented differently to optimize internal daylight conditions and views towards the fjord landscape. Inside, the modules create a communal atrium, with an “urban plaza” connecting many of the social functions on the ground floor. The design is rooted in the democratic principle of bestowing all users of the building with excellent working conditions that include stunning views and good light conditions.

Statoil regional and international offices by A-Lab

The building design draws on the oil industry’s own construction forms and techniques. The steel superstructure enables the different modules to cantilever up to 30 meters. Escape stairs and services are concentrated in four giant concrete cores, which also stabilize the superstructure. The façade consistes of about 1600 prefabricated elements with integrated windows, insulation and solar-shading, a highly energy efficient solution with no visible fixings in the entire facade.

Statoil regional and international offices by A-Lab

The central atrium is covered by a high-tech, “propeller-shaped” glass roof – the first of its kind in Scandinavia. The geometry can be described as a “soap-bubble”, finding the smallest surface area to close the volume between the modules. Considering the extra weight from snow, this construction was one of the most complex challenges of the project.

Statoil regional and international offices by A-Lab

Above: photograph by Luis Fonseca

A communication tower in the communal atrium is the centre of the building’s social life; everyone passes through the atrium to and from work. In this way, spontaneous encounters and exchanges are fostered, which are very desirable for an international knowledge-based company such as Statoil.

Statoil regional and international offices by A-Lab

Above: site plan – click for larger image

The office building has a high degree of flexibility to ensure that it can easily be adapted to changing future needs. A specially developed ceiling allows workspaces with separate units as small as 3×3 meters, each with access to power, sprinklers, ventilation and lighting. An interior almost free of columns makes it possible to easily adjust the number and size of workstations and meeting rooms according to a project or the tenant’s shifting needs.

Statoil regional and international offices by A-Lab

Above: ground floor plan – click for larger image

The characteristic building is highly cost effective and has a calculated energy use of just 103 kWh/m2/yr. This is achieved through several methods, including using heat from the remote centralised heat source, 85% energy recycling and of course a well-insulated and airtight skin: The triple-glazed façade panels have an u-value of 0.6 and the air tightness of the construction aids reaching the very low energy consumption figures for the buliding.

Statoil regional and international offices by A-Lab

Above: first floor plan – click for larger image

The construction of the building above ground was completed in less than 20 months, with a total of 2500 people from 30 countries having worked on site. Due to the very short construction period, most of the building, including steel and concrete superstructure, facades and glazed structures, was prefabricated off-site. Northern Europe’s biggest mobile crane was used for the assembly of the steel trusses.

Statoil regional and international offices by A-Lab

Above: third floor plan – click for larger image

Thanks to thorough planning, advanced BIM-modeling and a fruitful solution-oriented dialogue, the team of the architects, client and owner, construction companies and all subcontractors were able to complete the complex design on schedule. The result is a building where the owner, contractor, architects, construction companies and user of the building have all expressed great satisfaction with the project.

Statoil regional and international offices by A-Lab

Above: sixth floor plan – click for larger image

Although an untraditional office building, the new Statoil offices represent typical Scandinavian values by emphasizing democratic values and social equality. Both placement and orientation reflects optimized adaptation to its surroundings. Inside, the warm oak interior and cool aluminum reflects the soft northern daylight in different ways, and create a much appreciated contrast in the aspect of accessibility and universal design.

Statoil regional and international offices by A-Lab

Above: basement floor plan – click for larger image

Name: Statoil regional and international offices
Location: Fornebu, Bærum, Norway
Completion: Autumn 2012
Construction: 20 months
Developer: IT Fornebu Property AS
Client: Statoil ASA

Statoil regional and international offices by A-Lab

Above: office floor plan options – click for larger image

Total area: 117 000 m2 (65,500 m2 total office area + 51,500 m2 underground parking)
Cost: NOK 1.5 billion
Architects: a-lab (Arkitekturlaboratoriet AS)
Interior architects: a-lab (No) and Momentum Arkitekter (NO)
Landscape architects: Østengen og Bergo (NO) -concept, and Rambøll Norge (NO) -detail
Construction: Skanska (above-ground commercial building) / PEAB (foundation and underground structure)
Annual energy consumption, estimated: 103 kWh/m2
Average R-values (insulation): Windows (including frames) 0.8 W/m2K. Façades 0.18 W/m2K , roof 0.15 W/m2K
Energy source: District heating (85 % heat recovery)

Statoil regional and international offices by A-Lab

Above: section – click for larger image

Materials:
Superstructure: pre-fabricated reinforced concrete and steel elements
Façades: glass and aluminium

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Kelly by Claesson Koivisto Rune for Tacchini

Milan 2013: top-heavy chairs by Swedish studio Claesson Koivisto Rune are currently on show at Milan’s Salone Internazionale del Mobile.

Kelly by Claesson Koivisto Rune for Tacchini

Inspired by the block colours and simple shapes found in the work of American minimalist artist Ellsworth Kelly, Claesson Koivisto Rune has upholstered the pair of padded Kelly chairs in vivid tones.

Kelly by Claesson Koivisto Rune for Tacchini

The rounded seat and back of the first chair appear to be formed from one section that is pinched at the place where they join.

Kelly by Claesson Koivisto Rune for Tacchini

A giant square back with rounded corners and a rectangular seat of the same width make up the larger chair.

Kelly by Claesson Koivisto Rune for Tacchini

Designed for Italian furniture brand Tacchini, both models have thin metal legs and bracing that look like they rest lightly against each other.

Kelly by Claesson Koivisto Rune for Tacchini

The legs of the bigger chair are stabilised with two crossed rods at the back, while the smaller seat has a single bar that spans beneath the seat to join the secondary struts on each side.

Kelly by Claesson Koivisto Rune for Tacchini

Tacchini is showing the furniture at the Salone Internazionale del Mobile, stand C25 hall 16, until Sunday.

Kelly by Claesson Koivisto Rune for Tacchini

The Swedish designers are also presenting a kit-of-parts for a prefabricated Scandinavian house in Milan this week.

Kelly by Claesson Koivisto Rune for Tacchini

See more design by Claesson Koivisto Rune »
See all our coverage of Milan 2013 »
See our Milan 2013 map »

Claesson Koivisto Rune sent us the text below:


Kelly seating family

Inspiration does not follow straight lines. Only in hindsight does it appear logical. But one thing is true: Inspiration is inspirational.

Kelly by Claesson Koivisto Rune for Tacchini

One inspired artist is American Ellsworth Kelly. And that inspired us.

Kelly by Claesson Koivisto Rune for Tacchini

But it takes more to create inspired product design than an inspired Swedish designer. It takes two to play. This crazy, weird, childish, beautiful, wonderful play-doh-graphic universe is just the kind of inspiration that you can only develop into serious furniture together with an inspired manufacturer. And we’re so happy we’ve got Tacchini, the Italian friend willing to play.

Kelly by Claesson Koivisto Rune for Tacchini

It’s not art, it’s just design. But that’s what we do. With joy. Enjoy.

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Medici collection by Konstantin Grcic for Mattiazzi

Medici collection by Konstantin Grcic for Mattiazzi

Milan 2013: industrial designer Konstantin Grcic is showing angular wooden stools and tables for Italian brand Mattiazzi at the Salone Internazionale del Mobile.

Medici collection by Konstantin Grcic for Mattiazzi

Grcic‘s stools and side tables are held up by an angled support that is stabilised by two more legs jutting out on either side, with all three tapering towards the ground. Two wings form the seats of the stools, while the slightly taller tables are topped with disks.

Medici collection by Konstantin Grcic for Mattiazzi

Both items have been developed to follow the design of Grcic’s Medici chair, which was first released last year and has been shortlisted for the Design Museum’s 2013 Design of the Year prize. The wooden pieces are painted in red or yellow, or stained dark brown to enhance the grain.

Medici collection by Konstantin Grcic for Mattiazzi

Along with the Medici collection, Mattiazzi is debuting seats inspired by camping furniture by Jasper Morrison and stools with T-shaped backs by Industrial Facility at their stand at the Salone Internazionale del Mobile – E23, Hall 20. Grcic will also be exhibiting his bench system based on Mies van der Rohe’s Barcelona chair at the trade fair.

Medici collection by Konstantin Grcic for Mattiazzi

See all our stories about design by Konstantin Grcic »
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IJburg Villa by Marc Prosman Architecten

This timber-clad house by Dutch office Marc Prosman Architecten was one of the first to be constructed on an artificial island in IJburg, Amsterdam (+ slideshow).

IJburg Villa by Marc Prosman Architecten

As one of six man-made islands that make up the IJburg district, East Rieteilanden is a residential neighbourhood where approximately 80 new homes are in development.

IJburg Villa by Marc Prosman Architecten

Each residence on the island is given a similar-sized plot and is shaped by a series of construction guidelines. “The maximum size of the building has resulted in a uniformity of volumes on the island,” Marc Prosman Architecten‘s Martien ter Veen told Dezeen.

IJburg Villa by Marc Prosman Architecten

For IJburg Villa, the architects designed a rectilinear two-storey volume with rectangular recesses creating an entrance porch and first-floor balcony.

IJburg Villa by Marc Prosman Architecten

Lengths of pine are arranged vertically across the outer walls and also provide shutters across the windows. The building is positioned beside the water, so a layer of green water-repellent foil is inserted behind the cladding and can be glimpsed through the gaps between each wooden panel.

IJburg Villa by Marc Prosman Architecten

“The brown timber gives the closed facade depth and lightness,” says Ter Veen. “Its appearance refers to the reed that is planted along the shores of Rieteiland-Oost island.”

IJburg Villa by Marc Prosman Architecten

An area of concrete surrounds the outer walls of the kitchen and indicates the entrance into the house.

IJburg Villa by Marc Prosman Architecten

Beyond the entrance, the kitchen is positioned on the right, a living room is to the left and a staircase leads up to three bedrooms upstairs. The largest of the bedrooms has a private bathroom and opens out to the balcony overlooking the water.

IJburg Villa by Marc Prosman Architecten

The architects also added a long bookshelf along one wall at ground floor level, which is lit from behind by a frosted window.

IJburg Villa by Marc Prosman Architecten

Other completed residences on East Rieteilanden include a house with an entirely glazed rear facade and a timber house with a spiral staircase on its side. See more architecture in IJburg.

IJburg Villa by Marc Prosman Architecten

Photography is by Milad Pallesh.

IJburg Villa by Marc Prosman Architecten

Above: site plan

Here’s a short description from Marc Prosman Architecten:


On this new IJburg parcel Marc Prosman Architecten designed a detached villa, carefully embedded in this island by its open and panoramic qualities. This spacious experience with a beautiful view on the water resembles the client’s wish for a sense of freedom and characterises the design.

IJburg Villa by Marc Prosman Architecten

Above: ground and first floor plans

The back facade is mostly glass fronts, providing access to a platform terrace and the building wide balcony. The fronts are subtly framed by the same wooden structure as all facades, giving this villa its coherent appearance. The entrance at the front is being accented by a concrete frame.

IJburg Villa by Marc Prosman Architecten

Above: long section – click for larger image

Next to the entrance the kitchen is situated; the living room at the back faces the water. One wall consists of glass, mainly. A horizontal strip of frosted glass on the outside is a bookcase on the inside. This welcomes diffuse light into the living room, without affecting the occupants’ privacy.

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UNStudio to relaunch as “open source” architecture studio

UNStudio announces relaunch as "open source" architecture studio

News: UNStudio will in June relaunch as an “open-source architecture studio” inspired by technology start-ups, the Dutch firm announced today.

The new structure will see UNStudio employees working across specialised “knowledge platforms” – self-organised groups designed to allow staff to combine research with practice. The knowledge platforms will be organised into four topics: sustainability, organisation, materials and parametrics.

The challenging business climate encouraged the studio to drastically rethink its approach to collaboration, inspired by online start-up companies, said studio head Ben van Berkel.

“Finding ourselves unable to locate a relevant model from within the profession, we became fascinated by the new initiatives put in place by online start-up companies – such as social networking firms – who have moved from an old economy to a far more innovative economy which celebrates communication, open exchange and co-creation,” he said in a statement today.

UNStudio announces relaunch as "open source" architecture studio

Above: diagram of the four knowledge platforms

As van Berkel told Dezeen in an interview earlier this year, the new working model is also intended to help the studio share ideas beyond the office walls.

“We have more or less moved from a network practice – the United Network practice of UNStudio – to a more knowledge-based organisation,” he said. “We want to set up this online knowledge platform so that we [can] share this within an open-source system; not only internally within the office but also with the outside world.”

The online platform is currently in the final design stages, but in the meantime the studio has updated its pages with information about current research projects generated by the four knowledge platforms.

UNStudio announces relaunch as "open source" architecture studio

Above: the knowledge platforms will be accessible on mobiles

The updated pages allow readers to share their own expertise, rate the usefulness of the information they find and share posts on social networks, as well as allowing mobile and offline viewing.

“What we are going to do is go more public with these knowledge platforms and communicate what we can achieve with our knowledge, and the knowledge others might have, about how we can build more intelligent buildings, for instance,” said van Berkel, speaking to Dezeen at the launch of the Canaletto residential tower under construction in east London.

Recently completed buildings by UNStudio include a house in Stuttgart with an inclined profile and a scientific research centre with windows that resemble rows of dominoes – see all architecture by UNStudio.

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Chest of Suitcases by Maarten de Ceulaer

Chest of Suitcases by Maarten de Ceulaer

Milan 2013: Belgian designer Maarten de Ceulaer presents the latest piece from his collection of furniture made from piled-up suitcases in Milan this week.

Chest of Suitcases by Maarten de Ceulaer

On show at Milan’s Nilufar Gallery, the newest addition to The Leather Collection by Maarten de Ceulaer is the Chest of Suitcases.

Chest of Suitcases by Maarten de Ceulaer

The custom-made leather suitcases can be stacked up to make chests of drawers in various configurations, from tall and narrow towers to wide and low benches, arranged either in neat lines or chaotic, overlapping piles.

Chest of Suitcases by Maarten de Ceulaer

The suitcases come in soft shades of green, blue and cream or alternatively in a monochrome palette of white, grey and black.

Chest of Suitcases by Maarten de Ceulaer

De Ceulaer first explored the idea of stacking up suitcases to make furniture as part of his graduation project at Design Academy Eindhoven, before launching a desk and chest of drawers in Milan in 2009.

Chest of Suitcases by Maarten de Ceulaer

The collection is on show until 14 April at Nilufar Gallery, Via Della Spiga 32, in the Brera district.

Chest of Suitcases by Maarten de Ceulaer

Other projects by De Ceulaer we’ve featured on Dezeen include an installation of stripy leather furniture for fashion house Fendi and colourful lights shaped like laboratory flasks – see all design by Maarten de Ceulaer.

Chest of Suitcases by Maarten de Ceulaer

We’ll be reporting on all the highlights from Milan this week, including Zaha Hadid’s monochrome pendant lamps for Slamp and Ronan and Erwan Bouroullec’s installation of cork carousels – see all news and products from Milan 2013 or take a look at our interactive map featuring the week’s best exhibitions, parties and talks.

Chest of Suitcases by Maarten de Ceulaer

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Gardenias by Jaime Hayón for BD Barcelona Design

Milan 2013: Spanish designer Jaime Hayón presents aluminium and terracotta outdoor furniture designed for BD Barcelona Design in this movie. The collection went on show at Salone Internazionale del Mobile in Milan earlier today.

Gardenias by Jaime Hayon for BD Barcelona Design

Jaime Hayon‘s Gardenias collection is part of an ongoing collaboration with Catalan furniture brand BD Barcelona Design. “The story with BD Barcelona starts back in 2004,” says Hayón in the movie. “At that time I’d never really designed a chair, I was doing more art work. When we met for the first time we wanted to create something that had to be fun.”

Gardenias by Jaime Hayon for BD Barcelona Design

The new collection, entitled Gardenias, includes cast aluminium seating in muted colours and terracotta vessels with small hoods.

Gardenias by Jaime Hayon for BD Barcelona Design

Armchairs and benches in the collection have slatted backs, with some extending over to form canopies. Hayón explains: “For some reason in the history of making chairs for terraces or outdoor spaces we’ve lost the glamour, we’ve lost the passion for delicacy.”

Gardenias by Jaime Hayon for BD Barcelona Design

The chairs have padded seats and backs, with aluminium tubes that loop around to form armrests and flick out to create feet. “We have worked with aluminium in the way you would work with wood,” adds Hayón.

Gardenias by Jaime Hayon for BD Barcelona Design

Shelving units in a similar style consist of three semi-circular platforms that sit under a half dome.

Gardenias by Jaime Hayon for BD Barcelona Design

Other items in the range include handmade terracotta flower pots in a selection of smooth sculptural shapes and a white watering can with two golden handles and a golden spout.

Gardenias by Jaime Hayon for BD Barcelona Design

Hayón previosuly created 40 hand-painted vases for the brand’s 40th birthday and has previously exhibited tubular furniture for Sé.

Gardenias by Jaime Hayon for BD Barcelona Design

More furniture collections on show in Milan include Rem Koolhaas’ rotating, sliding and motorised pieces for Knoll and items with golden noses for handles by Studio Job.

Gardenias by Jaime Hayon for BD Barcelona Design

See all our stories about designs by Jaime Hayón »
See all our coverage of Milan 2013 »
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