Hasta La Ideas

The Andaz Hotel in Amsterdam by Dutch designer Marcel Wanders features chandeliers encased inside huge bells and wallpaper that combines fish with cutlery (+ slideshow).

The hotel occupies a 35-year-old library building in the centre of Amsterdam, so Marcel Wanders wanted his design to incorporate elements of the city’s heritage alongside imagery from historic books.

Combining a mixture of different styles, Andaz Amsterdam is filled with furniture and objects that reference the Dutch Golden Age and Delft ceramics, alongside tulips and the colour orange.

The centrepiece of the lobby is an installation modelled on a constellation of stars and planets. Positioned below a large skylight, the suspended objects and lighting are intended to remind visitors of old-fashioned astronomy.

The bell-shaped chandeliers hang just below the installation, illuminating a row of reception desks, while a collection of Dutch ornaments and curiosities are displayed on a bookcase behind.

The hotel contains 122 guest rooms, each featuring custom-made wallpaper. Designed to illustrate the city’s position as “a cultural melting pot”, the designs stitches together pairs of unrelated elements, such as a fish and a spoon.

A restaurant, bar, lounge and library are grouped together on the ground floor of the hotel. There’s also a garden that features tulips, chequerboard paving and mischievous-looking statues.

Several of Wanders’ own furniture designs are included, such as his Big Ben clock, the Monster Chair and the Skygarden suspension light.

Other hotel interiors by the designer include the Kameha Grand Bonn hotel in Germany and Mondrian South Beach in Miami Beach. See more design by Marcel Wanders »

Here’s a project description from the designer’s studio:

Andaz Amsterdam

Andaz Amsterdam is designed to be a sophisticated hotel that has the relaxed nature of the people and the city in which it lives. Located in the very centre of Amsterdam, between two major canals the Prinsengracht (Princes canal) and the Keizersgracht (Emperors canal) inspired the logic that the hotel beat with same heart as the city – thus the golden age, delft blue, navigation and adventure and the cities vibrant knowledge economy all inform the look and feel of the hotel.

As a space that will accommodate visitors to the city, the hotel is intended to be a vessel that instantly connects people to place, it is designed to offer a local experience for international people, and also be a key venue for those who live in the city and want to showcase their heritage and hospitality.

The building that holds to hotel is that of the former public library of Amsterdam. The library stood from 1977 until 2007 when it was relocated to Oosterdokseiland, and this heritage informs the design direction of the hotel with books both physical and deconstructed forming the look and feel. Specifically, the imagery of historic books about and from Amsterdam serve as inspiration for the wallpaper and other graphic décor, and creates a space the visitor to Amsterdam and offers an authentic local experience.

Along with books, video art is a medium that will be visible within the hotel, as like reading, viewing video art is a process that requires time, and so a hotel is a perfect place to offer both these resources.

Amsterdam is the capital of democracy, there is a lot of freedom and we invented the idea of tolerance platform for politics. Amsterdammers are able to combine things that are not usually able to be combined, thus a major theme within this overall design is the idea of ‘connected polarities’, two individual non-related elements that are stitched together to form a new logical whole. The Amsterdam city logo is three xxx and if you look at them as embroidery stitches you can fit things together and connect them.

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by Marcel Wanders appeared first on Dezeen.

Six windows with rustic white wooden shutters feature in this renovated living room by Dutch designer Bo Reudler.

The residents of the Amsterdam apartment already owned a cabinet from Bo Reudler‘s Slow White collection, a range of furniture made from tree branches, and asked the designer to style the room around it.

Reudler designed six pairs of shutters to reduce glare from the small square windows, as well as to provide more privacy from the neighbours.

Taking six irregularly shaped planks from a yew tree, the designer used a mix-and-match technique to create each of the panels. Rather than blocking out the light completely, every panel has a crack allows slivers of light to pass through.

Knots in the wood created holes in the planks and are positioned in place of handles.

A table and compass from the Slow White collection were added to the room to complement the cabinet and shutters, alongside the designer’s Bamboo Windsor high-back chair, a candle holder from the Haute Bamboo collection and Equus rug, a horse hide with a cutaway Fleur-de-Lis pattern.

See more design by Bo Reudler Studio on Dezeen, including children’s furniture shown at Dutch Design Week 2011.

Photography is by Raoul Kramer.

Here’s a project description from Bo Reudler Studio:

New Amsterdam interior by Bo Reudler Studio

‘There is a crack in everything, That’s how the light gets in.’ (Leonard Cohen)

For a living room interior in an Amsterdam apartment, Bo Reudler Studio designed six Slow White shutters. The high volume of the space was over flooded with light from six small west-facing windows. The brief called for something to block out glare and at the same time provide privacy from neighbours. The clients already owned a Slow White Cabinet. With this in mind they wondered if the cabinet doors could be translated into something larger: this led to the Slow White shutters.

Using wood as the starting point the aim was not to completely shut out the light but create an interaction with it. By utilising the natural outlines and openings in the wood, each shutter celebrates the material and interacts with the light in a different way. Six planks were selected from a Yew tree native to Western Europe, renowned for its irregular-shaped trunk that produces whimsically shaped planks. The curving natural lines of the planks were mapped like a puzzle to create six pairs of shutters each with their own character. The holes of the knots were positioned as grips for opening and closing. Cracks in the shutters, which are also visible from the exterior, slice the light and admit glimpses of the outside while closed. The shutters bring to the forefront a forgotten building element that was once a common fixture in many homes of the past.

The space is furnished with pieces from the studio including the Slow White table and Golden Compass that highlight the distinguishing curves of natural branches, the Haute Bamboo candleholder and Bamboo Windsor chair, a classic Western chair reinterpreted using the inherent qualities of bamboo and rattan. Resembling oversized lace with its graphic fleur-de-lys pattern cut into the horse hide, the Equus rug initiates an interaction with the floor to either hide it or reveal what’s underneath.

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by Bo Reudler Studio appeared first on Dezeen.

Les équipes de Marc Koehler Architects ont imaginé la transformation d’un vieil hangar situé à Amsterdam sur l’île KNSM-eiland en appartements de très grande qualité. Profitant des espaces offerts par la structure, cette réalisation composée en 4 parties séparées propose un aménagement des plus réussis.

The Rijksmuseum in Amsterdam is set to reopen next week following a ten-year restoration and extension programme led by Spanish office Cruz y Ortiz Arquitectos (+ slideshow).

Above: the Atrium, photographed by Pedro Pegenaute

Working alongside French architect Jean-Michel Wilmotte and restoration architect Van Hoogevest, Cruz y Ortiz Arquitectos has overhauled the interior of the historic arts and crafts museum, which was designed by architect Pierre Cuypers in the late nineteenth century. As well as restoring galleries to their original configuration, the architects have created a new entrance hall and added a pavilion to showcase Asian artworks.

Above: the Atrium, photographed by Pedro Pegenaute

The entrance hall, named the Atrium, replaces a series of gallery extensions in the museum’s two inner courtyards.

Above: the Atrium, photographed by Pedro Pegenaute

A rib-vaulted passageway divided the space in two, so the architects have lowered the floor to create an underground zone linking the two sides from underneath. As the main route through the building, this passageway was then reconnected to the hall with a set of new staircases.

Above: the passageway, photographed by Pedro Pegenaute

The architects have installed a new glass roof to enclose the grand triple-height court, filled with natural light. Polished Portuguese stone covers the floor, while two rectangular chandelier-like structures are suspended overhead on each side.

Above: Gallery of Honour, photographed by Iwan Baan

Elsewhere in the museum, lowered ceilings and half-storeys have been removed to rationalise the layout of the Rijksmuseum‘s 80 galleries, which have been completely reorganised. Only Rembrandt’s seventeenth-century painting The Night Watch remains in its original position, in the dedicated Night Watch Gallery.

Above: Rijksmuseum, photographed by Iwan Baan

New display areas are designed by Jean-Michel Wilmotte to look invisible where possible and include cases made from anti-reflective glass and simple rectangular plinths. Walls are finished in five different shades of grey, in line with Cuypers’ original palette.

Above: The Night Watch Gallery, photographed by Iwan Baan

Under the supervision of Van Hoogevest, the terrazzo floor has been restored in the Great Hall, while additional ornaments have been revitalised in the Gallery of Honour and within the stairwells.

Above: 17th Century Gallery, photographed by Iwan Baan

The new Asian Pavilion is located to the south of the building and features walls of stone and glass. It is surrounded by water and sits within redesigned gardens by Dutch landscape architects Copijn Landschapsarchitecten.

Above: 17th Century Gallery, photographed by Iwan Baan

A number of historic museums have been given a facelift in recent years. Also in Amsterdam, Benthem Crouwel Architects recently added a sink-like extension to the Stedelijk Museum, while David Chipperfield won the Mies van der Rohe Award for his 2009 renovation of the Neues Museum in Berlin. See more museums on Dezeen.

Above: 20th Century Gallery, photographed by Iwan Baan

Here’s some more information about the opening:

Rijksmuseum to open following ten-year transformation

The Rijksmuseum will open on 13 April 2013, following a ten-year transformation. Never before has a national museum undergone such a complete transformation of both its building and the presentation of its collection.

Spanish architecture firm Cruz y Ortiz Arquitectos has spectacularly transformed the 19th-century building into a museum for the 21st century, with a bright and spacious entrance, a new Asian Pavilion and beautifully restored galleries. Under the guidance of restoration architect Van Hoogevest, the lavish decoration scheme of Pierre Cuypers, the original architect of the museum, has been fully reconstructed in a number of the museum’s key spaces. Parisian architect Jean-Michel Wilmotte designed the new interior of the galleries, fusing 19th-century grandeur with modern design.

The presentation of the Rijksmuseum’s world-famous collection is also new. For the very first time, visitors can follow a chronological journey through the collection, and experience the sense of beauty and time this offers. In a sequence of 80 galleries, 8,000 objects tell the story of 800 years of Dutch art and history. Only Rembrandt’s masterpiece The Night Watch will be returning to its original position.

The renovation and opening of the Rijksmuseum is made possible by founder Philips and main sponsors BankGiro Lottery, ING and KPN. The restoration of the Cuypers colours is made possible by AKZONobel/Sikkens.

Above: 18th Century Gallery, photographed by Iwan Baan

Journey through time, from the Middle Ages to Mondrian

The new presentation of the Rijksmuseum collection is a journey through Dutch art and history from the Middle Ages and Renaissance until the 20th century. The story of the Netherlands has been set in an international context and is told chronologically across four separate floors. Paintings, prints, drawings, photographs, silver, porcelain, delftware, furniture, jewellery, arms, fashion and objects from Dutch history will be presented together for the very first time.

More than 30 galleries are dedicated to the glory of the Golden Age, when the young mercantile republic led the world in trade, science, military exploits and the arts. At the heart of the museum will be the magnificently restored Gallery of Honour, presenting world-famous masterpieces by Vermeer, Rembrandt, Frans Hals and Jan Steen. The Gallery of Honour leads visitors to the dedicated space that architect Cuypers created for Rembrandt’s The Night Watch in the late 19th century, and where this huge masterpiece can once again be admired.

New to the presentation are the 20th century galleries. Paintings, furniture, photography, film and an aeroplane paint a picture of Dutch culture from the last century.

Above: 18th Century Gallery, photographed by Iwan Baan

Special Collections

The Special Collections are also displayed separately for the first time. Here, visitors will be able to discover famous and unexpected objects from the applied arts, science and national history, such as ship and navy models, musical instruments, and an armoury.

Above: Cuypers Library, photographed by Iwan Baan

New acquisitions and restorations

With the support of businesses, funds and private donors, hundreds of new objects and works of art have been acquired over the last ten years, of which more than 100 will be showcased in the museum when it reopens. The Rijksmuseum was also able to carefully study and restore almost the entire collection of works featured in the new presentation. Highlights among the new acquisitions include:

The ‘Golden Bend’ in the Herengracht (1671-72) by Gerrit Berckheyde, one of the highlights of the Dutch landscape genre from the Golden Age. Acquired with the support of Royal Dutch Shell, the National Art Collections Fund foundation and the BankGiro Lottery.

The Burgomaster of Delft and his Daughter (1655) by Jan Steen, one of the masterpieces of the 17th century collection. Acquired with the support of the BankGiro Lottery, The Mondrian Fund, VSB, Vereniging Rembrandt and National Art Collections Fund foundation.

A rare white armchair (1923) by Dutch designer and architect Gerrit Rietveld. With the support of the BankGiro Lottery Fund.

Two-metre high wooden sculptures of celestial warriors from Japan, temple guardians from the 14th century. With the support of the BankGiro Lottery Fund, the M.J. Drabbe Fund, The Mondrian Foundation and Vereniging Rembrandt.

Above: Great Hall, photographed by Jannes Linders

Cuypers for the 21st century

The main building of the Rijksmuseum has undergone a spectacular transformation. The lead architect for the renovation was Seville-based architecture firm Cruz y Ortiz. They based their ideas on the original design by Pierre Cuypers, the 19th-century architect of the museum. Under the motto Cuypers for the 21st century, and in close collaboration with Dutch restoration architect Van Hoogevest, the architects have turned the 19th-century national monument into a modern museum for the 21st century, restoring and introducing light and space. Cruz y Ortiz have opened up the previously converted inner courtyards into an impressive glass-covered new entrance hall, known as the Atrium. The original, richly decorated walls and ceilings have been revealed again in a number of places under the guidance of architect Van Hoogevest. The French architect Jean-Michel Wilmotte, known for his work in the Louvre, is responsible for the design of the Rijksmuseum galleries. He has designed elegant display cases, plinths, lighting and furniture, and has selected an interior colour scheme inspired by Pierre Cuypers’ palette for the building.

Above: Gallery of Honour, photographed by Iwan Baan

The new Asian Pavilion

Surrounded by water, the new Asian Pavilion is made from Portuguese stone and glass, and is characterised by many oblique surfaces and unusual sightlines. It houses the museum’s rich collection of Asian art from China, Japan, Indonesia, India, Vietnam and Thailand, dating from 2000 B.C. to 2000 A.D. A total of approximately 350 objects will be on display.

New “outdoor museum”

Based on Cuypers’ 1901 design, the Rijksmuseum gardens’ new layout was created by Dutch garden and landscape architecture firm Copijn. The gardens feature several of the original formal garden styles, as well as classical statues, and fragments and ornaments of historic buildings. A fountain, a water artwork designed by Jeppe Hein, a 19th-century greenhouse with ‘forgotten’ vegetables, and a children’s garden with playground equipment by Dutch designer Aldo van Eyck will soon be added to this “outdoor museum”. A Henry Moore exhibition will open in the new gardens on 21 June 2013, the first in a series of international sculpture exhibitions to be held each year.

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and Jean-Michel Wilmotte appeared first on Dezeen.

News: Dutch studio DUS Architects has joined the race to build the first 3D-printed house with plans to print a full-size canal house in Amsterdam.

DUS Architects will print components for the house on-site using a purpose-built printer called the KamerMaker (above and below) and plan to start work in the next six months.

“This year we want to print the entire facade and the first room bit by bit,” architect Hedwig Heinsman told Dezeen. “Then in the following months and years we will print other rooms.”

The KamerMaker, which is Dutch for “room maker”, is 3.5 metres high and sits inside a shipping container. Each building component will be printed and tested at a scale of 1:20 before being printed at a 1:1 scale with the KamerMaker.

Above: a round window frame printed with the KamerMaker

The house will be built in a developing area alongside the Buiksloter-canal in the north of the city, where it will act as a hub for research into 3D-printed architecture. “We want to build a construction site as an event space,” sais Heinsman. “We’ll have the printer there and every print we make will be exhibited. It’s very much about testing and learning.”

The first floors and facades of the house will be printed from polypropylene, but the architects hope to eventually use bioplastics and plastic recycled on-site.

Once the first part of the canal house is complete, it will be put to use as a “welcoming room” while the architects design and print additional rooms.

Each room will be dedicated to a specific research theme, such as the “cook room” where researchers will explore 3D printing with potato starch and the “policy room” where they’ll consider how to obtain permits for printed structures.

Other rooms will include a workshop to test and repair designs and a “recycle room” where used items like plastic bottles will be shredded into printing material for the KamerMaker.

“We have the building grounds for three years, so I’m pretty confident it will last for that long, but of course our aim is for longer,” said Heinsman. “We also had the idea that if at one moment we had to relocate it, we would just shred all the pieces and build it anew somewhere.”

The race to complete the first 3D-printed house is already well underway, with London collective Softkill Design recently announcing plans for a plastic dwelling that could be printed in three weeks and assembled in a day, while Dutch firm Universe Architecture intends to print a house based on a Möbius strip.

DUS Architects’ previous projects include a pavilion made of bubbles and a pop-up bar made of umbrellas, both on the streets of Rotterdam.

Other 3D-printed designs we’ve featured lately include a floor-length nylon gown designed for burlesque dancer Dita Von Teese and a fuel-efficient three-wheeled car – see all 3D printing news.

Read more about the project on DUS Architects’ website.

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3D-printed canal house appeared first on Dezeen.