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Milan 2013: architect Rem Koolhaas has unveiled a collection of rotating, sliding and motorised furniture for US furniture brand Knoll (+ slideshow).

Designed by Koolhaas’ architecture studio OMA, the Tools for Life collection includes a table with a top that rises and falls at the press of a button, a chair that can be adjusted in the same way and a counter made of three swivelling stacked blocks (above and below).

Koolhaas said: “We wanted to create a range of furniture that performs in very precise but also in completely unpredictable ways, furniture that not only contributes to the interior but also to the animation.”

First glimpsed on the runway for Prada’s Autumn Winter 2013 menswear collection back in January the collection, unveiled today at Fondazione Prada in Milan, has been launched to coincide with Knoll’s 75th anniversary.

Above: swivel armchair with red button to adjust height

Two height-adjustable tables and a swivel armchair are powered by an electric motor and can be raised or lowered by pressing a large red button.

A low coffee table comprises three transparent acrylic boxes that slide apart to create cantilevered shelves, while upholstered cushions provide casual floor seating and a “table pocket” stores small objects.

Above: height-adjustable table and chair

Although not shown in these images, OMA has also designed a screen made from panels of foamed aluminum, travertine or wood laminate, a modular bench, another glass table and a height-adjustable stool.

Above: coffee table

Tools for Life will be on show to the public at Fondazione Prada at Via Fogazzaro 36, from 9 to 10 April.

Above: adjustable table

The collection was previewed during a Prada menswear show in January, and the fashion house has collaborated with OMA a number of times in the past, including on a shape-shifting pavilion in South Korea and a design for experimental exhibition spaces in Milan – see all Prada projects.

Above: table pocket for storage

We’re in Milan this week covering all the highlights from the design 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.

Photographs are by A.Osio, courtesy of Knoll. Here’s some more information from Knoll:

Knoll, Inc. introduces “Tools for Life,” a new collection of furniture by OMA, the collaborative practice co-founded by Dutch architect Rem Koolhaas in 1975. Knoll tapped Koolhaas, one of the most provocative thinkers and daring form-makers of his generation, to help mark its 75th anniversary. With this collection, Koolhaas joins Knoll’s pantheon of modern masters, which includes such figures as Mies van der Rohe, Eero Saarinen and Frank Gehry. “Tools for Life” offers a contemporary interface between furniture and people, supporting the ebb and flow of work and social life, while adjusting to the different needs of both.

The collection will be on view during the 2013 Salone Internazionale del Mobile at Prada’s Milan exhibition space at via Fogazzaro, 36, where the pieces were first previewed during the Fall Men’s Show earlier this year. Public exhibition hours are 10:00 AM – 8:00 PM, Tuesday, April 9 and Wednesday, April 10.

Commenting on the endeavour, Rem Koolhaas said: “We wanted to create a range of furniture that performs in very precise but also in completely unpredictable ways, furniture that not only contributes to the interior but also to the animation.”

At the core of the collection is Koolhaas’s belief that furniture should be understood as a high-performance tool rather than a design statement.

“I want to talk about work and not the office — the distinction being that today people work everywhere,” added Benjamin Pardo, Knoll design director. “With that in mind, the OMA pieces are more kinetic than static: many are easily adjustable so that with changes in height, adjacency and degree of privacy, almost any space can be transformed to a place of work.”

The simple, no-nonsense palette makes the furniture compatible with a range of residential and workplace interiors. Clear acrylic is juxtaposed with concrete; glass with leather; travertine with steel—beguiling and engaging contrasts that draw attention to individual pieces.

Horizontal “Tools for Life”

The dynamic 04 Counter is the collection’s signature piece. Beginning as a monolithic stack of three horizontal beams, the user can rotate the top two beams and transform this wall-like unit into a series of shelves and cantilevered benches—a metamorphosis from a spatial partition to a communal gathering place. Rigorous engineering and a system of internal bearings and rails facilitate 360 degrees of movement. Patterned wood grain and leather surfaces provide unexpected and subtly sensuous contrasts.

For individual focused or group collaborative work, the 05 Round Table and 06 Table integrate mechanical sophistication with seemingly effortless effect. Both can be adjusted to accommodate lounge seating or even standing. The 05 Round Table features a travertine top with a travertine base or an acrylic top with an aluminum base. An exposed mechanism, powered by an electric motor, elevates or lowers the table.

Conceived as an executive desk, the 06 Table has a two-piece laminated glass top. The two horizontal surfaces, one a work surface and the other intended for storage, are separated by four round, glass columns.

The 03 Coffee Table is a stack of three transparent boxes constructed of clear acrylic. Internal slides allow the individual elements to be rotated and cantilevered, giving users the ability to adjust its overall shape depending on changing needs.

Seating “Tools for Life”

Comfort and privacy are explored in the collection’s two primary seating pieces: 01 Arm Chair and 02 Arm Chair with high back. The 01 Arm Chair is a height-adjustable, swivel lounge chair with a clear acrylic exterior frame and leather interior upholstery. A mechanical column base with a signature red band provides height adjustment at the touch of a button. A concrete base plate grounds the chair. The 02 Arm Chair with high back has the same features, while offering uniquely flexible interior cushioning that when unfolded provides an enveloping privacy.

Adding to the selection, the 11 Floor Seating, featuring simple upholstered cushions, provides alternate seating heights for work, reflection or relaxation.

The 07 Bench and 08 Perch round out the seating options. The modular bench, made of interconnecting and corner blocks, can be adapted based on user needs. A mortise and tenon mechanism locks the blocks in line; a selection of materials allows for seemingly endless combinations. The 08 Perch is an adjustable stool with an internal gas assist mechanism. Featuring an upholstered seat, the Perch consists of three cylinders; the top and bottom cylinders are wood; the middle one is acrylic. Offering height adjustment from 19 to 30 inches, the Perch accommodates different work requirements.

Ancillary “Tools for Life”

The 09 Screen can be used to partition specific zones within an overall open space. A base of clear acrylic supports panels of foamed aluminum, travertine or wood grain laminate that can be cantilevered off-center.

The 10 Credenza serves as a complementary piece to any and all of the horizontal table elements by providing storage pockets that are accessed by a hinged lid.

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for Knoll appeared first on Dezeen.

Milan 2013: Zaha Hadid will present two monochrome pendant lamps for Italian brand Slamp at the Euroluce lighting show tomorrow.

The Aria lamp (above) contains a core of six light sources facing outwards plus a downward-facing spotlight, which shine through 50 sheets of translucent black plastic. Each plastic profile is slightly different so they form a fluid, asymmetric shape when hung radially.

Avia (above and below) has a similar construction, but the plastic sheets are opaque and can be white or black. This second model is available in two small sizes for residential use and two bigger forms for installation in large spaces.

The lamps will be unveiled at the Euroluce lighting exhibition taking place alongside the Salone Internazionale del Mobile at Milan Fairgrounds from 9 to 14 April. Slamp‘s stand will be located at A15-B12, Hall 9.

Above: Aria pendant lamp

Zaha Hadid is also showing twisting auditorium seats and limited-edition marble tables in Milan this week. See all our stories about architecture and design by Zaha Hadid.

Above: Avia pendant lamp

See all our stories about design at Milan 2013 »
See our map of the best things to see at Milan 2013 »

Above: Avia pendant lamp

Here’s some extra information from Slamp:

Aria by Zaha Hadid

Aria is a lamp designed by Zaha Hadid which combines dramatic architectural features with the intrinsic weightlessness of the materials, creating a sculpture of light and technology that fascinates and enchants observers.

The 50 individual layers of Cristalflex (a techno-polymer patented by Slamp) work together to make Aria seem as if is about to take flight, characterised by complex yet harmonic forms that embrace the light source in a veiled breath.

The large lamp is formed of a central structure capable of flooding the entire room with light, thanks to 6 light sources and a spotlight directed downwards.

With an 90 cm diameter and 130 cm high, Aria enhances any space, rendering it luxurious without losing any of its contemporary style.

The elegant black veiled finish lends a touch of mystery and seduction.

Avia by Zaha Hadid

Avia combines the majesty of great architecture with a lamp for day-to-day use, perfectly integrating large volumes with advanced lighting techniques and technology.

To give shape to such an ambitious project the designer used 52 different layers of Opalflex, a techno-polymer patented by Slamp, creating an effect of fluidity, dynamism and harmony resulting in a perfect architectural form that gently embraces the light source.

Avia captures the gaze of anyone who draws near, offering constantly changing perspectives and reflections, transforming itself from a simple light source into a genuine sculpture to be admired, making any space more suggestive.

The central structure is capable of providing 360 degrees light, thanks to its numerous light sources and a downwards-facing spotlight.

The lamp is available in 4 different sizes, making it capable of adapting to any kind of space: two smaller sizes, ideal for use at home and two larger versions for enhancing large-sized spaces. Two colour tones are available: the uncontaminated purity of total white and the absolute elegance of total black.

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for Slamp appeared first on Dezeen.

News: architects and critics have called for the earthquake-damaged Christchurch Cathedral in New Zealand to be restored to its original gothic appearance after rejecting two contemporary proposals as “bizarre” and “architecturally illiterate”.

Writing for the New Zealand news website The Press, British architecture critic Kieran Long said the proposals by New Zealand firm Warren & Mahoney, which were unveiled by Anglican leaders last week, offered “a fairly mediocre architectural choice.”

If pressed to choose between the three options – a full restoration, a traditional redesign or an entirely new building – Long said he advocated the complete rebuilding of British architect George Gilbert Scott’s gothic revival cathedral, which was constructed in the second half of the nineteenth century and suffered major structural damage during Christchurch’s 2011 earthquake.

Above: traditional redesign proposal
Top: new building proposal 

“It is the only piece of architecture of these three that will have enduring meaning. It would speak of continuity, which is surely something valuable in a city like Christchurch today,” said Long, who was recently named senior curator of contemporary architecture at the V&A museum in London.

The traditional redesign proposed was “architecturally illiterate”, he noted. “The hexagonal facade treatment is bizarre and at odds with the ornamental logic of the gothic – the pattern and the rose window jar horribly.”

He also criticised the contemporary timber and glass proposal as “too generic to be interesting”, adding: “Its clumsy modern gothic is a kind of euphemistic architectural language that wants to appear rooted in history but in fact doesn’t take it very seriously.”

Above: original restoration proposal

Ellis Woodman, architecture critic for the Telegraph in London, also called for a straightforward restoration, dismissing the two alternatives as “painfully voguish”, while Australian architecture critic Elizabeth Farrelly agreed that the “depth and mystery” of the original gothic cathedral should be preserved.

Professor Paul Walker from the University of Melbourne and Australian architectural writer Justine Clark added to the debate by saying reconstruction should be “given serious consideration”, but called on Anglican leaders to think more carefully about their options.

An online poll conducted by The Press found that, as of this morning, 30.6 per cent back the restoration option, 24.2 per cent are for the traditional redesign and 39.6 per cent approve of the contemporary proposal, while 5.6 per cent of voters say they want something else.

Above: photo by Searlo

Christchurch’s mayor Bob Parker backed the contemporary option, saying it “points us to where we need to be thinking as a city” while its lower costs and shorter estimated completion time also worked in its favour.

“I love the idea of something new. I think it’s about looking forward rather than looking back, and this design helps with that,” he said.

Japanese architect Shigeru Ban has meanwhile designed a transitional cathedral for the city made from an A-shaped frame of cardboard tubes, which is due to be completed this spring.

Above: Shigeru Ban’s cardboard cathedral, photo by Shigeru Ban Architects

Earlier this year we featured a spiralling titanium-clad church completed in northern Norway and a proposal for a chapel in Miami shaped like a flowing gown – see all churches on Dezeen.

Images are by Warren & Mahoney except where stated.

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earthquake-hit Christchurch cathedral appeared first on Dezeen.

News: the estimated cost of Apple’s Foster + Partners-designed campus in Cupertino, California, has reportedly spiralled from $3 billion to nearly $5 billion over the last two years.

Apple has been working with British firm Foster + Partners to try to cut $1 billion from the budget before proceeding – an undertaking that has caused expensive delays, according to a report by Bloomberg citing five people close to the project.

Costs have also been pushed up by the unique features specified by Apple’s late co-founder Steve Jobs, who insisted on having no visible seams or gaps in the construction, using polished terrazzo rather than cement flooring and harvesting all interior wood from a certain species of maple.

The building’s curved glass exterior will reportedly require six square kilometres of glass to be bent and shipped over from Germany by manufacturer Seele GmbH, which has doubled the capacity of its plant to supply the Apple project.

Originally scheduled for completion in 2015, the move-in date for the campus has now been pushed back to 2016.

Many of Apple’s rivals are also building new headquarters in California, with Facebook last week given the go-ahead for its Frank Gehry-designed open-plan office and Google revealing plans for a 100,000-square-metre campus in San Francisco Bay.

Last week it was reported that the highly anticipated Apple television, set to launch later this year, will be operated with a digital “iRing” worn on the finger – see all news about Apple.

Foster + Partners recently completed a new airport terminal in Amman, Jordan, inspired by Bedouin tents – see all architecture by Foster + Partners.

Images from Cupertino City Council.

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$2 billion over budget appeared first on Dezeen.

Bright red louvres screen the gabled walls of this office building in Tilburg, the Netherlands, by Dutch architects Équipe (+ slideshow).

Proyecto Roble is the headquarters of landscape firm Van Helvoirt Groenprojecten, who asked Équipe to upgrade an existing building that had become too small.

The architects demolished the canteen of the old office, then added a new structure stretching out in its place. Constructed around a chunky timber frame, the building has an asymmetric shape with floor-to-ceiling glazing along its sides and the red slatted timber across its ends.

“The original building wasn’t that old so we tried to reuse it,” architect Daniëlle Segers told Dezeen. “We demolished half of the structure then reused as much of the materials as we could, for example the old brickwork was used in the foundations.”

Describing their decision to use red paint, Segers explained: “We had a discussion about leaving the wood in a natural colour, but it wouldn’t stay beautiful in the future. Now, when you approach the building you notice the colour stand out against the green, but it’s still a natural pigment.”

The roof of the building is covered with a mixture of sedum grass and photovoltaic solar panels.

Meeting rooms are located in the old building, while all the offices occupy the new building and are lined up beside a spacious corridor.

The architects designed custom furniture for use throughout the building, then added reclaimed chairs and LED lighting.

This is the second bright red building we’ve featured in the last week, following a temporary theatre that recently opened in London. See more red buildings on Dezeen.

Photography is by René de Wit and Équipe.

Here’s a project description from Équipe:

“Proyecto Roble” extension of Van Helvoirt Groenprojecten in Berkel-Enschot

“Proyecto Roble” by young office Équipe is a grass roots project, a building embedded in the local context in the rural south of the Netherlands. The client, owner of landscaping firm Van Helvoirt Groenprojecten, had a vision for his headquarters to be a flagship model of sustainability. This was to be a key project where sustainable innovations replace money-issues as the bottom line.

The building is a custom designed environment with no standard details. The project was undertaken as a research into the potentials for creating a positive workplace. Key themes were broken down into components and expressed in the design. “Feel Good!” was the catchphrase coined that encompassed the different themes as renewable energy, passive climate control, abundance of natural light and the relationship to the external landscape, which was to be a showpiece of healing environment garden.

Sustainability was thus been payed attention to in all stages and all scales. From a period of studying what ‘sustainability’ actually means to making sure everyone on the building site understands and embraces these principals.

A.o. a new way of tendering was used, called the Building-team Plus and a new formula was invented to document decisions on materiality and techniques.

The new extension immediately catches the passing motorist’s eye, a sleek red form in the agrarian landscape, replete with a fully integrated photo-voltaic-panel roof and a green roof. The green roof transcends its cosmetic role, and is a testing ground for emerging water filtration technology. In the beginning of the 20th century Tilburg was re-known for its textile industry, collecting the workers pee in pitchers for using it as a bleach. Now this project goes back to this tradition inventing worlds first sloped constructed wetlands.

Urine is separated from the black water using it a as a nutrition ingredient for making fertiliser in the clients landscaping activities. Further the grey water runs through the grass roof leaving it as clean water that can be used in the building again. This is only one of the multiple innovations in this project that has been designed to the smallest detail: from building to garden, from the bicycle shed to the bespoke interior and signposting.

The building consists of two parts, connected by the clay stove. Heated with prune wasted from the greenery’s own business, this element brings together the office-employees and the outdoor workers. Thus connecting the new extension to the traditions of the family business. Besides the pleasant indoor atmosphere the clay stove also brings technical advantages. The air heating pump could have less capacity and in addition the heater is used as a hot water boiler.

The north part of the building consists of offices. The linearity of the building is emphasised by the interior elements, that are placed on the coloured pathways. By using red linoleum on different areas of the floor and furniture the interior keeps a coherency to the exterior looks of the building.

The southern part of the building is a oversized foyer that connects all spaces. This multipurpose lobby, used for bigger and smaller, organised and spontaneous meetings, provides a green and transparent link to the outdoor world. The play of lines has been made expressive by folded raw aluminium lighting trays that float the length of the building.

Above: site plan

The facades are made of open detailed, wooden slats painted red with water based ‘nature paint’ thus creating different transparencies between inside and outside. The structure of prefabricated cross laminated timber elements is left unfinished, the imperfections of the timber adding to the natural serenity of the interior. The timber imbues the internal spaces with a positive connection to nature, something which contributes to the landscaping firms green image. All interior elements, apart from second-hand chairs and desk LED lamps, were custom designed. They are specifically designed in consultation with the personnel. Chairs and table carriages are second hand, like all kinds of smaller parts in the interior design: the door handle of the employees entrance (a re-used banister), the magazine stand (heating pipe) and the fruit boxes in the sample cabinet. Also in the furniture low environmental impact products were used. Special research was done to investigate what material could be best used in what elements and how should these materials be connected. Just like for the exterior the ‘decision document’ was used to explore the considerations in the building team plus and to be able to document conclusions. This proved to be a very useful tool that helps making choices that exceed standards or norms. During the whole process norms were never leading anyhow. Choosing consciously prevailed following scores. (Nevertheless all calculated scores are excellent) F.e. were passive house theories and Dutch energy performance norms may lead to small windows in the north facade, this building has high windows from floor to ceiling that provide the employees with a view to the landscape and lots of northern light.

Above: floor plan

Project title: Proyecto Roble
Address: Oisterwijksebaan 8a 5056 RD Berkel-Enschot, Gem. Tilburg the Netherlands
Client: Van Helvoirt Pensioen BV
Architect: Équipe voor architectuur en urbanisme
Project architects: Huib van Zeijl, Daniëlle Segers
Employees: Adam Murray
Interior design: Equipe voor architectuur en urbanisme
Garden Design: Studio Van Helvoirt

Function: office
Original building year: 1996
Research & design: 2006-2011
Start building: May 2011
Deliverance I employment: June 2012

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by Équipe appeared first on Dezeen.