Visible brush strokes pattern the surfaces of this furniture collection by Japanese studio Nendo for Italian brand Glasitalia (+ slideshow).
Nendo’s boxy Brushstroke tables and seats for Glasitalia are formed from rectangular sheets of glass, which are decorated with streaked colours created by dragging layers of paint across the material.
“We brushed colour onto the transparent glass surface, then blew another layer of coloured paint on top,” said the designers.
Scraped across in one direction, the resulting effect resembles the texture of wood grain.
“The tense perfection of glass’ glossiness and smoothness fuses with handwork’s imperfect texture to create an unusual material,” added the designers.
The eight-piece set includes a side table, console, bench and dining table, and the top of each design overhangs its base.
A range of blue, grey and beige hues have been used for the different designs.
The collection will be shown in Milan in April, at both the Salone Internazionale del Mobile and Nendo’s solo exhibition taking place at Via delle Erbe 2.
British studio Hugh Strange Architects has transformed an agricultural barn in Somerset, England, into a family archive building by inserting a new timber structure within the dilapidated brick and stone shell.
Located on a working farm amongst a mixture of barns and sheds dating from the nineteenth century through to the present day, the building was designed by Hugh Strange Architects to store the architectural archives of the client and farm.
The architects stabilised and repaired the walls and roof of the old stone and brick barn, before inserting two new timber structures inside.
Both of these new structures were constructed from a single layer of cross-laminated timber panels, which required no insulation, external cladding or internal lining. They are identical in volume, but subtly differentiated in their fenestration and fit-out.
“We choose timber because it provides a stable environment for the drawings in the collection – both thermally and in terms of relative humidity,” Hugh Strange told Dezeen. “It is also a wonderfully warm material and has many sustainability benefits.”
The south building provides a drawing archive and display space and is light from above by a skylight.
The north building provides an office space and features large French windows that offer views to the woods outside.
In contrast to the engineered spruce construction, the buildings are fitted out with hardwood floor mats made from timber felled from the surrounding woodlands and dried in the neighbouring wood store.
Inside, wall-mounted timber display cases are used to display drawings from the archive. “The edges are detailed with hessian and the stitches are deliberately not cut off on the back side to reveal the process,” said Strange.
Here’s a project description from Hugh Strange Architects:
Architecture Archive, Somerset
Site & Brief
Located within the context of a working Somerset farmyard, the new building provides an office and store that houses the client’s architectural and family archives.
The project sits within an agricultural valley in a mix of buildings that includes a large farmhouse, a converted Dairy Cottage, a traditional wood store and a mix of barns and sheds that date from the 19th Century, through the 1970’s, to a recently completed cow shed.
Layout & Form
The dilapidated walls and roof of an old stone and brick barn have been removed and the remaining walls carefully stabilised and repaired.
Within these walls two timber structures have been inserted with a single new roof over-sailing the whole composition and providing a covered entrance. The two new timber buildings are identical in their volumes but subtly differentiated in their fenestration and fit-out.
The south building provides a drawing archive and display space and is predominantly top lit by a generous roof light.
The north building provides an office space and is characterised by large French windows that offer views to the woods outside. To the rear of the building a modest external space is provided, enclosed by the retaining wall to the sloping side of the valley, with a generous external stair providing access up to the surrounding woodlands.
Construction & Environment
The new building shell is constructed of a single layer of solid wood without insulation, external cladding or internal lining. The Cross-Laminated Timber panels range from 300mm to 420mm in thickness and simultaneously provide insulation and thermal mass, creating a stable internal environment for the archive in terms of its temperature and relative humidity.
The simple timber forms sit on a rough in-situ cast concrete base and are protected by a profiled cement roof similar to those of the surrounding barns. The vented space between the timber and the roof cladding prevents overheating during hot summer months.
In contrast to the engineered Spruce construction, the buildings are fit-out with hardwood floor ‘mats’ using timber felled from the surrounding woodlands and dried in the neighbouring wood store.
Rough-sawn cedar floorboards to the office and smooth-sanded and oiled ash and beech to the archive distinguish the different characters of the spaces.
Architect: Hugh Strange Architects Structural Timber: Eurban / Stora Enso Structural Engineer: Price & Myers Joinery: Andrew Balls Display Panels: Jude Dennis / Lars Wagner Construction Manager: Paul Rawson Budget: £250,000
This flat circular lamp by Japanese designer Jun Yasumoto was designed to resemble an owl’s wide eyes at night.
Jun Yasumoto designed Owl lamp for French furniture company Ligne Roset in three variations: a table lamp, reading light and a wall lamp. The white cotton shade can be pivoted around the light source to diffuse the light in a certain direction.
“This rotation enables the light reflected from the bulb to be modulated, directed, and softened by the other side of the disc, pivoting around the light source rather than confining it,” said the designer.
A bare fluorescent bulb attached behind the flat shade emits a soft light when illuminated. The table lamp and reading lights are mounted on matte white lacquered-steel bases.
This barn-like building in Slovenia by Ljubljana office Arhitektura d.o.o. contains spaces used for dispensing honey, processing dried fruit and hosting family festivities (+ slideshow).
The gabled multipurpose building on the outskirts of the village of Šentrupert was designed by Ljubljana office Arhitektura d.o.o. for a Slovenian businessman and also houses facilities for storing crops and tools.
The barn’s minimal appearance is influenced by the functional integrity and imposing presence of the pitched-roof wooden hayracks that are typical of rural Slovenia.
“The dimensions, appearance, colour and logic of inner division of the building are based on the tradition of the hayrack,” the architects explained. “Even though the building is intended for agricultural activities of the homestead it is also an elegant ‘protocol’ and symbolic architectural creation.”
The building’s exterior is designed to blend in with other farm buildings in the area, while integrating new sustainable technologies.
“The dark facade looks similar to old wooden barns in the immediate surroundings and also allows a discreet inclusion of the photovoltaic roofing into the basic volume of the building,” said the architects.
Located on the crest of a hill, the building’s long elevation faces a lawn around which the owner’s main property, an apiary and a wooden tool shack are also arranged.
A basement partly buried in the hillside contains the main functional spaces for dispensing and storing honey, pressing and storing fruit and keeping tools. A heat pump and bathroom with an integrated sauna are also situated at one end of this floor.
Four load-bearing pillars at the corners of the building allow for the ground floor’s large span, which creates a space reminiscent of the open drying area of a hayrack.
The sparsely furnished room features floor-to-ceiling windows along three walls, which provide panoramic views and can be opened on one side to connect the interior with the lawn outside.
Meetings or family meals can be conducted around a long table in this room, which also accommodates a galley kitchen, a fireplace, an entrance hall and staircase to the basement and first floor.
Upstairs, another mostly empty space is used for tasks related to the farm in summer and as a billiard and fitness room in winter.
The internal profile of the gabled roof is left exposed in this attic area, which is clad in the same ash panels used throughout the rest of the interior.
The owner is a successful Slovenian businessman who spends some of his spare time in the countryside. The property is situated on the edge of a small village on top of a hill, and consists of farm land, forest, residential building, barn house, apiary and wooden pavilion used as a tool shack. The client decided to replace the broken-down barn house with a new, multi-functional building, a sort of “modern Slovenian hayrack”. The building is intended for dispensing honey, sorting, handling and drying fruit, storage of crops and tools, while the spacious ground floor is intended as a meeting place to host partners from abroad and celebrate family events.
Although the client’s idea of a modern hayrack which would function both as a barn house and prominent protocol house seemed controversial at first, however, the idea revealed a great archetypal and development potential, which is inherent in the architecture of a hayrack in Slovenian cultural awareness. Professor Marjan Mušič compared hayracks with Greek temples due to their architectural purity and antique origin, as well as monumentality, derived from pure form. In terms of size, position and importance, the hayrack was a central structure of a homestead and the source of livelihood in general. This is where their almost sacral character stems from.
The beauty of hayracks should not be sought in luxurious décor but rather in their proportions, harmony of strict lines, functional credibility and installation in space, giving their surroundings a monumental character. This concept originates in the Antiquity and still has the expressive power for the modern times and new tasks.
The building was placed at the end of a ‘pier’, which concludes the site of the small village and from it panoramic views of the picturesque surroundings open up. Together with the residential building and the wooden pavilion this plot of land forms a large inner grassy courtyard of the homestead. The building has a semi dug-in basement, a ground floor and the attic. The construction basis is similar to that of the double hayrack with stone corner pillars. The corners of the new building feature four strong corner pillar structures, with a 12 meter bridge construction placed in between, thus allowing large unified spaces on the ground floor and in the attic. The construction is reinforced concrete with steel roofing.
The basement, accessible via pathway directly from the farm land, is designed for dispensing and storing honey, pressing and storing fruit, storing tools and similar. The basement also features a heat pump for heating and cooling the building, as well as a basement bathroom with a sauna.
The ground floor of the building is almost empty, which is similar to a hayrack. There is also a handy open kitchen, a fireplace, the entrance hall and a staircase connecting all three floors. The ground floor is glazed with large sliding doors which can be open wide and connect the ground floor with the natural environment or the backyard.
The first floor is mostly empty. In the summer the large space is intended for various farm chores, whereas in the winter time it is used as a billiard room and fitness. The first floor also features a mini guest bedroom with bathroom and a storage room.
The dimensions, appearance, colour and logic of inner division of the building are based on the tradition of the hayrack. The dark façade looks similar to old wooden barnhouses in the immediate surroundings and also allows a discreet inclusion of the photovoltaic roofing into the basic volume of the building. Due to the photovoltaics on the roof, the snow guards are replaced by wide jutting roofs placed above the ground floor openings. The interior is covered with bright ash tree panels which gives the impression that the interior is hollowed from a single piece of wood. Furniture is simple and accents clean lines of the spaces.
Even though the building is intended for agricultural activities of the homestead it is also an elegant protocol and symbolic architectural creation. With it the owner wishes to express a respectful attitude towards Slovenian cultural heritage and Slovenian constructional and architectural tradition and to the way in which buildings are placed into the environment. The bold construction of large spans which strikes us with hayracks also gives this new building an air of nobility, in harmony with the picturesque landscape of the surrounding pastoral scenery.
News: American furniture brand Emeco has reached a settlement in its legal dispute with two companies that were allegedly copying the company’s Navy Chair and Kong Chair.
Pennsylvania-based Emeco issued a press statement detailing the agreement, which declares that East End Imports and Sugar Stores will permanently cease “selling, offering, distributing and marketing reproductions from Emeco’s Navy Chair and Kong Chair line.”
Restoration Hardware’s imitation Naval Chair. Main image: Emeco Navy Chair
The agreement also outlined that the two companies will not “copy, import, manufacture, induce the manufacture of, distribute, import, advertise, market, promote offer for sale or sell any chair or article of furniture that is identical to, confusingly or substantially similar to any article of furniture designed and sold by Emeco.”
The financial details of the agreement have not been disclosed. The dispute was first filed in July last year in New York.
The Kong chair, originally designed by Philippe Starck for the Chinese restaurant Kong in Paris, is made by hand-welding 24 separate pieces of aluminium together and costs £2700. Lexmod, one of the subsidiary companies of the accused, has been producing a chair of similar design made from injection-moulded plastic that retails for £50.
Emeco CEO Gregg Buchinder has said his aim is to set an industry standard by continuing to bring actions against any companies who infringe on the company’s trademarks or designs.
Nicknamed “the cheesegrater”, the 224-metre office tower was designed by Richard Rogers’ firm for a site beside the architect’s celebrated Lloyds Building and features one sloping facade to maintain views towards St Paul’s Cathedral.
The exterior of the 50-structure is expressed as a series of constituent parts. A glazed curtain wall sits over the criss-crossing steel grid fronting the office floors, while a ladder frame encases the fire-fighting cores, and a circulation tower runs up the northern side of the building.
Scheduled for completion later this year, The Leadenhall will house offices in its upper levels, but the base will accommodate a seven-storey-high public space filled with shops and restaurants.
Here’s a description of the building from Rogers Stirk Harbour + Partners:
The Leadenhall Building
The building comprises a number of distinct architectural elements that provide clarity to the composition both as a whole and as a legible expression of its constituent parts. These elements include the primary stability structure, the ladder frame, the office floor plates, the northern support core, the external envelope and the public realm.
The structure aims to reinforce the geometry defined by the development envelope, which in turn creates the distinctive tapering form, and takes the form of a perimeter braced ‘tube’ that defines the extent of the floor plates. The ladder frame contributes to the vertical emphasis of the building, and encloses the fire-fighting cores that serve the office floors. The frame also visually anchors the building to the ground.
The office floors take the form of simple rectangular floor plates which progressively diminish in depth by 750 millimetres towards the apex. Office floors are connected to the structural ‘tube’ at every floor level without the need for secondary vertical columns at the perimeter.
The northern support core is conceived as a detached tower containing all passenger and goods lifts, service risers, on-floor plant and WCs. Three groups of passenger lifts serve the low, mid and high rise sections of the building, and are connected by two transfer lobbies at levels ten and 24.
The position of the northern support core relative to the office areas means that the structure is not required to be over-clad with fire protection, allowing the whole to be designed and expressed as visible steelwork. This articulated steel frame provides clarity to the whole assemblage.
The highly transparent glazed enclosure makes manifest the structure and movement systems within; its physical presence is a striking and dynamic addition to the City and a unique spectacle for the enjoyment for passers-by.
The building is designed to express all the constituent elements behind a single glazed envelope. Facades to the office areas require the highest comfort criteria in relation to heat loss, daylight, glare control and solar gain. Here, the facade is supplemented with an internal layer of double-glazing, forming a cavity which incorporates the structural frame.
The external glazing incorporates vents at node levels to allow outside air to enter and discharge from the cavity. Controlled blinds in the cavity automatically adjust to limit unwanted solar gain and glare.
The lower levels of the building are recessed on a raking diagonal to create a large public space that opens up to the south. The spectacular scale of the semi-enclosed, cathedral-like space is without precedent in London and will create a major new meeting place and a unique destination in itself.
Overlooking the space are generous terrace areas within a bar and restaurant that provide animation and views into the public space and beyond. This enclosure is open at ground level to give access from all directions. The public space is fully accessible by means of a large, gently raked surface connecting St Helen’s Square with Leadenhall Street.
News: the latest celebrity to dip their toes into design is hip-hop artist Snoop, who has teamed up with holiday rental website Airbnb to create a pop-up house during next week’s SXSW festival in Austin, Texas.
Currently using the stage name Snoop Lion, the rapper has designed one of three kitHAUS temporary houses to be erected during the SXSW music, film and technology festival.
This image: pop-up interior by Snoop. Main image: pop-up exterior by Snoop
His design comprises two small rooms connected by a partially covered decked terrace. A lounge glazed on two sides opens out onto another platform in front of the structure.
This room will feature a classic Egg Chair by Danish modernist Arne Jacobsen alongside an illuminated sign that reads “BO$$”.
Pop-up exterior by Capital Cities
Snoop’s design will form part of The Airbnb Park, which is also set to host two more pop-ups designed by artists signed to Los Angeles label Capitol Records.
Pavilions by indie duo Capital Cities and soul musician Allen Stone will be a similar size and layout to Snoop’s contribution. All the artists teamed up with designer and TV host Emily Henderson to create spaces “to best convey their personal styles”.
Pop-up interior by Capital Cities
“Musicians spend so much time on the road,” said Amy Curtis-McIntyre, CMO for Airbnb. “We know they appreciate encountering great local experiences as well as the personal comforts of home when they are away from their own for so long.”
The Airbnb Park will also include public spaces such as dining areas and WiFi hot spots, and will be open from 11 to 15 March. SXSW runs from 7 to 16 March.
Pop-up exterior by Allen Stone
Snoop, whose real name is Calvin Cordozar Broadus Junior and who went by the alias Snoop Dogg until 2012, isn’t the first celebrity to unveil design projects.
Apple has teamed up with Ferrari, Volvo and Mercedes-Benz to develop software for cars allowing iPhones to be connected up and controlled via a second screen in the entertainment system.
Using Apple‘s CarPlay software, drivers will be able to use Apple Maps as in-car navigation, as well as listen to music and watch films. Additionally, calls can be made through CarPlay, which will be controlled by the Siri voice recognition platform. It’s the first time Apple has developed software explicitly for use in cars.
This image: courtesy of Mercedes-Benz. Main image: courtesy of Volvo
The system was unveiled at this week’s Geneva Motor Show, held annually in the Swiss capital.
When users connect their iPhone 5, 5c, or 5s via a USB cable, apps found on the phone appear on the vehicle’s inbuilt screens. The phone can then be controlled through the car’s controls instead of the phone’s. Apple believe it will make cars smarter and safer to drive.
Image courtesy of Mercedes-Benz
“CarPlay has been designed from the ground up to provide drivers with an incredible experience using their iPhone in the car,” said Greg Joswiak, vice president of iPhone and iOS product marketing at Apple.
CarPlay accesses recent destinations looked up on your iPhone, as well as those mentioned in emails and text messages. From there, it can anticipate where you’d like to go, and then provide turn-by-turn directions, live traffic information and estimated time of arrival.
Image courtesy of Mercedes-Benz
“iPhone users always want their content at their fingertips and CarPlay lets drivers use their iPhone in the car with minimised distraction,” continued Joswiak.
With its messaging service, texts will be read out via Siri, allowing the driver to reply using voice commands.
Image courtesy of Apple
Car buyers are expected to be able to purchase vehicles equipped with Apple’s software later this year. The system will be compatible with new cars from Mercedes, Volvo and Ferrari. Honda, Hyundai and Jaguar are expected to add CarPlay-enabled cars to their ranges.
The move means developers will be able to build apps specifically for use in cars. A select number of third-party apps including Spotify, iHeartRadio and Beats Radio will be made available for the product’s launch.
Working alongside Audi, General Motors, Honda and Hyundai the OAA aims to enable developers to easily add car-specific modes to their apps.
Image courtesy of Apple
Microsoft is also working on a similar system in partnership with Ford, making cars the latest battleground for IT giants looking to gain a foothold in a lucrative new market.
Foster + Partners first unveiled plans to build the residential tower at 610 Lexington Avenue in 2005, but was stalled by the 2008 recession. Replacing the old YWCA building, the 61-storey structure will sit alongside Mies van der Rohe’s 38-storey Seagram Building and SOM’s 21-storey Lever House, both of which were completed in the 1950s.
The building’s slender shape is intended by the architects to capture “Mies’s philosophy of rationality, simplicity and clarity”, and will feature a sheer glass facade that will stand in contrast to the dark bronze exterior of the Seagram.
“It’s not simply about our new building, but about the composition it creates together with one of the twentieth century’s greatest,” said Foster + Partners architect Chris Connell. “In contrast to Seagram’s dark bronze, our tower will have a pure white, undulating skin. Its proportions are almost impossibly slim and the views will be just incredible.”
A total of 91 apartments will occupy the tower, with many taking up entire floors, while a glazed atrium will connect the residences with a smaller building accommodating a bar and restaurant, as well as a spa and swimming pool facility.
Connell added: “Simplicity of design is often the hardest thing to achieve but in a sophisticated marketplace, people appreciate the timeless beauty that comes from it. Our design philosophy has always extended through the entire building and we will look to create interiors that blend seamlessly with the exterior approach.”
Construction is set to complete by the winter of 2017. Approximately 2000-square-metres of the building will be allocated as commercial space.
Here’s the original project description from Foster + Partners:
610 Lexington Avenue New York City, USA 2005
This 61-storey residential tower at 610 Lexington Avenue continues the practice’s investigations into the nature of the tall building in New York, exploring the dynamic between the city and its skyline. Located on the corner of Lexington and 53rd Street, it replaces the old YWCA building in Midtown Manhattan. Formally, it responds to the precedent set by two neighbouring twentieth-century Modernist icons – SOM’s 21-storey Lever House of 1952 and Mies van der Rohe’s 38-storey Seagram Building of 1958. In the spirit of Mies’s philosophy of rationality, simplicity and clarity, the tower has a slender, minimalist geometric form, designed to complement these distinguished neighbours.
The entrance is recessed beneath a canopy that sits harmoniously alongside the entrance and pavilion of the Seagram Building. The entry sequence continues on a single plane from the street to reveal a glazed atrium that joins the tower to a smaller building on the right. The smaller building houses a bar and restaurant, a spa and swimming pool, the tower contains lounge areas and apartment levels. From the floor of the atrium, the tower rises up like a soaring vertical blade, the view up creating a sense of drama and reinforcing the connection between the summit and the ground.
Some of the larger apartments occupy the entire floor area of the higher levels. The tower’s slender form creates a narrow floor plate, allowing the interior spaces to be flooded with daylight and creating spectacular views across the city from every side. An innovative glazed skin wraps around the building, concealing the structural elements which are further masked beneath integrated shadow boxes. To preserve the smooth appearance of the facade, opening vents in the glazing flap discreetly inwards. The effect is a sheer envelope that shines in brilliant contrast to the dark bronze of the Seagram building.
Dezeen promotion: Danish firm Troldtekt is inviting architecture and design students to submit proposals for innovative uses of the company’s acoustic panels for the chance to win €5000.
This image: Troldtekt panels used in a school gymnasium in Thorshavn. Main image: Troldtekt panels used at Rebildporten
Troldtekt’s wood and cement panels are used internally or externally to absorb sound and create better acoustics.
For the biannual competition, the company will award the student who comes up with the most creative yet realistic use of the acoustic panels.
Troldtekt panels used at the swimming pool of Tonstad School
Participants are encouraged to think outside the box for their concepts and are not restricted by the cost of realising their proposal.
One winning concept will be selected by a jury and will receive a €5000 prize.
Troldtekt panels used at the KKG School Kristiansand, Norway
The 2012 competition was awarded to Matthias Kisch from the Royal Danish Academy of Fine Arts in Copenhagen for his Acoustic Synecdoche project – a suspended decorative piece comprising interlocking sections of the material.
The registration deadline is 1 April 2014 and proposals must be uploaded onto the competition website by 30 April 2014.
Acoustic Synecdoche by Matthias Kisch – Troldtekt Award 2012 winner
Here are some further details from the organisers:
Troldtekt Award 2014 now launched
Honour, glory and cash are at stake as Troldtekt A/S invites architectural and design students from all over the world to participate in the Troldtekt Award 2014. The most creative idea for using the company’s acoustic panels in a different and imaginative way wins a cash prize of €5000. The deadline for registering for the competition is 1 April 2014.
For the third time, Troldtekt A/S is challenging young talents to propose new ways of using its classic Danish-produced acoustic panels in the concept competition Troldtekt Award 2014. The competition last took place in 2012, when Troldtekt received entries from 23 countries. The 2012 competition was awarded to Matthias Kisch from the Royal Danish Academy of Fine Arts in Copenhagen who won €5000 for his Acoustic Synecdoche project, an acoustic cloud sculpture with the option of integrated lighting. The judges also presented a special supplementary prize to Amy Linford from Newcastle University for her (Fabric)ated project.
Acoustic Synecdoche installed in a residential environment
Not constrained by product benefits
“The Troldtekt panel is a traditional and natural acoustic ceiling product made of Danish wood and cement. However, it is also very flexible which means it can be cut to size and used in completely new ways. In 2010 and 2012, the students competing for the Troldtekt Award came up with a host of creative ideas. Consequently, we are thrilled to be launching this year’s competition,” comments Peer Leth, CEO of Troldtekt A/S.
“The key benefits of our product are good acoustics and a sustainable indoor climate. However, competition entrants have completely free hands, so there is no need for them to focus on either of these aspects,” he adds.
Troldtekt panel
Three international architects on the judges’ committee
To assess the entries, Troldtekt has appointed an international jury which includes the Danish architect Mikkel Frost from CEBRA a/s (Aarhus), the Dutch architect Bjarne Mastenbroek from SeARCH architects (Amsterdam) and the Spanish architect Jorge Vidal from Rahola Vidal Architects (Barcelona).
“Troldtekt is a household name in Denmark where it is viewed as a reliable building material like bricks. However, this sometimes means that you can become a bit staid in your approach to using the panels. Consequently, the whole idea of the Troldtekt Award is to discover new angles and innovations that go beyond conventional applications,” comments Mikkel Frost, who also served on the judges’ committee in 2012.
He continues: “What we are looking for are ideas that are creative, yet which can still be produced in real life. Of course, it is this balance between originality and realism which is at the crux of excellent design.” The deadline for registering for the Troldtekt Award is 1 April 2014. Project proposals must then be uploaded on the competition website by 30 April 2014.
Troldtekt Award 2014 – Judging Committee:
» Bjarne Mastenbroek, architect, founder of SeARCH architects, Amsterdam » Jorge Vidal, architect, co-founder of Rahola Vidal Architects, Barcelona » Mikkel Frost, architect, co-founder and partner of CEBRA A/S » Peer Leth, CEO, Troldtekt A/S » Niels Kappel, product developer, Troldtekt
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