Le Corbusier’s Cité Radieuse rooftop to open as art space

Le Corbusier's Cite Radieuse rooftop to open as art space

News: the rooftop of Le Corbusier’s Cité Radieuse housing block in Marseille is to open to the public this summer as a contemporary art space masterminded by French designer Ora-Ïto. Originally intended as an outdoor gymnasium for the self-contained community of Cité Radieuse – the first building in Le Corbusier’s influential Unité d’Habitation project – the rooftop gradually fell into disuse and was put up for sale three years ago.

Ora-Ïto, whose past designs include a spaceship and sedan chair for French auto maker Citroen, stepped in to buy the space and set to work transforming it into an arts centre with a cafe, shop and artists’ residences.

As part of a £6 million restoration jointly funded by Ora-Ïto, the building’s co-owners and the French state, a 1950s extension was removed to reveal a sun deck and shower room with coloured tiles. The exhibition space will be called MAMO, which is short for “Marseille Modulor” and intended as a playful reference to New York’s MoMA, where a major Le Corbusier retrospective will take place this summer.

Le Corbusier's Cite Radieuse rooftop to open as art space

Set to open in June as part of Marseille’s 2013 Capital of Culture celebrations, MAMO’s first show will be an exhibition by French sculptor Xavier Veilhan, whose Architectones installations are developed specifically for architectural sites.

Cité Radieuse was damaged by fire last August when a fire broke out in a first floor apartment – see all news about Le Corbusier’s architecture.

Earlier this year Foster + Partners completed a polished steel canopy in Marseille’s harbour, while we also recently featured Hufton + Crow’s photographs of Zaha Hadid’s new 142-metre tower in the city – see all projects in Marseille.

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The La Trobe Institute for Molecular Science by Lyons

This science facility in Melbourne by Australian firm Lyons has a tessellated facade based on the hexagonal geometry of a molecular structure (+ slideshow).

The La Trobe Institute for Molecular Science by Lyons

Located at the Bundoora campus of La Trobe University, the La Trobe Institute for Molecular Science is a six-storey building with hexagonal windows stretching across its front and rear facades.

The La Trobe Institute for Molecular Science by Lyons

“The cellular exterior of the building is derived from ideas about expressing the molecular research that is being undertaken within the building,” explains Lyons.

The La Trobe Institute for Molecular Science by Lyons

Some of the hexagons are extruded from the facade, creating a series of irregularly shaped meeting spaces, while others are simple windows shaded by overhanging canopies.

The La Trobe Institute for Molecular Science by Lyons

Above: photograph is by Nils Koenning

The three lower floors of the building contain student laboratories and teaching rooms, which open out to small terraces and lawns. Research facilities occupy the top three floors and include administrative spaces, a conference room and a staff lounge.

The La Trobe Institute for Molecular Science by Lyons

Above: photograph is by Michael Evans

A continuous staircase stretches though the centre of the building, starting from a first-floor foyer. A bridge links this foyer with another university building, while more stairs lead down over a low roof to meet the ground level below.

The La Trobe Institute for Molecular Science by Lyons

The architects used a broad colour palette to highlight details both inside and outside the structure. Vivid blues and reds frame the hexagonal windows, while columns and banisters are coloured bright orange and the bridge features a shade of lime green.

The La Trobe Institute for Molecular Science by Lyons

Lyons has completed a few university buildings recently, including a bioscience facility with an X-shaped facade and a building covered in brightly coloured scales that was branded “ugly” and “menacing” by Dezeen readers. See more architecture by Lyons.

The La Trobe Institute for Molecular Science by Lyons

Photography is by Dianna Snape, apart from where otherwise stated.

The La Trobe Institute for Molecular Science by Lyons

Here’s some more information from Lyons:


The La Trobe Institute for Molecular Science (LIMS), La Trobe University

The La Trobe Institute for Molecular Science (LIMS) is a major new building on La Trobe University’s Bundoora Campus, which will meet the University’s long-term needs in terms of student learning and research in the science disciplines.

The La Trobe Institute for Molecular Science by Lyons

Lyons were appointed following a design competition sponsored by the Australian Institute of Architects. An integral part of the brief was for the project to have a ‘transformative’ effect in terms of the architecture and identity of the campus, which had previously been built within the strict guidelines for materials and heights.

The La Trobe Institute for Molecular Science by Lyons

Above: photograph is by the architects

The building is designed around the University’s specific model for creating a pathway for students in science; an environment where students can develop into student researchers and ultimately into lead researchers.

The La Trobe Institute for Molecular Science by Lyons

Above: photograph is by Michael Evans

The lower levels of the building accommodate first to third year undergraduate learning spaces – with large open flexible labs (accommodating teaching cohorts for 160 students) connected with ‘dry’ learning spaces. This allows students to move between laboratory based project work, to digital and collaborative learning activities within the adjacent spaces. At ground level, these learning spaces breakout to new landscaped spaces, extending the idea of placing students at the centre of outside social and learning areas.

The La Trobe Institute for Molecular Science by Lyons

The upper three levels of the building are research focused and based around a highly collaborative model. All laboratories are large open flexible spaces where teams are able to work together, or expand and contract according to research funds. These large ‘super labs’ are located immediately adjacent to write-up spaces, allowing a very direct physical and visual connection between all research work areas.

The La Trobe Institute for Molecular Science by Lyons

A series of further shared spaces, including a major conference room, staff ‘college’ lounge and informal meeting spaces, are also located on the research levels. The design is fully integrated with the adjacent existing building, which accommodates a number of other LIMS research staff and laboratories.

The La Trobe Institute for Molecular Science by Lyons

The project design also responds to the unique attributes of the University’s Bundoora Campus, with its elevated ‘concourse’ at the first level. The primary reception to the building is, in fact, located at this concourse level at a ‘cross roads’ of the campus circulation in a north/south direction.

The La Trobe Institute for Molecular Science by Lyons

A major stairway rises through the centre of the building, connecting the student and research levels – as a form of representation of the ‘pathway’. The cellular exterior of the building is derived from ideas about expressing the molecular research that is being undertaken within the building, and is adjusted via the materiality of the building itself.

The La Trobe Institute for Molecular Science by Lyons

The walls are primarily precast concrete, with the cells providing a ‘lower’ and ‘upper’ window into the various spaces, aiding the penetration of daylight. The cellular concept also creates a framework for a number of distinctive spaces for students to occupy or for research staff to meet and collaborate.

The La Trobe Institute for Molecular Science by Lyons

Above: long section – click for larger image

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Work starts on Herzog & de Meuron’s Naturbad Riehen swimming pool

Work starts on Herzog & de Meuron's Naturbad Riehen swimming pool

News: construction is underway on an outdoor bathing lake in Riehen, Switzerland, by Swiss architects Herzog & de Meuron.

Naturbad Riehen will be filled with natural water without chlorine or chemical additives and is designed to accommodate 2000 bathers per day. As well as the pool for bathers, the Naturbad will incorporate a series of biological water treatment basins embedded in a sloping field on the other side of the road.

Herzog & de Meuron originally won a competition to design a municipal pool for Riehen in 1979, but the scheme was shelved in 1982. The Swiss architects were then commissioned to rethink the concept in 2007, when they abandoned the conventional swimming pool concept in favour of a facility using natural filtration.

The pool is expected to be completed in 2014.

Work starts on Herzog & de Meuron's Naturbad Riehen swimming pool

Last month Herzog & de Meuron was among 12 international firms shortlisted to design a new headquarters for the Nobel Prize in Stockholm, Sweden, while earlier this year they completed three halls for the Messe Basel exhibition centre – see all architecture by Herzog & de Meuron.

Last year we featured a proposal for a skyscraper in Peru with vertiginous swimming pools sticking out of every apartment and a concept for a pool under an inverted dome at an Istanbul primary school – see all swimming pools.

Work starts on Herzog and de Meuron's Naturbad Riehen swimming pool

Above: site plan

Images by Herzog & de Meuron.

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Naturbad Riehen swimming pool
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Architecture of Density

Le photographe Michael Wolf, double vainqueur du World Press Photo nous propose cette série « Architecture of Density ». Des images non retouchées d’Hong Kong, de ses 7 millions d’habitants et de ses tours de béton, montrent un monde impressionnant et oppressant. Plus d’images dans la suite.

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Cassell Street House by b.e. Architecture

Slabs of travertine in two different shades create horizontal stripes across the facade of this house in Melbourne by b.e. Architecture (+ slideshow).

Cassell Street House by b.e. Architecture

“The house builds on some of the ideas of 57 Tivoli Road,” architect Daniel Rees told Dezeen, comparing the project to a basalt-clad house the studio completed in 2010. “Here, the facade is clad in beautiful banded silver travertine marble.”

Cassell Street House by b.e. Architecture

b.e. Architecture sourced stone from opposite sides of the same quarry to create the two-tone effect, then cut the material into ten different slab sizes to give a varied pattern.

Cassell Street House by b.e. Architecture

The striped travertine clads the top floor of the two-storey Cassell Street House, while the lower floor features a mixture of concrete and glass walls. The glazed areas surround a living room on one side and a study on the other, allowing both rooms to open out to separate gardens.

Cassell Street House by b.e. Architecture

The architects were keen to make the building look aged, so they added weathered timber window shutters and entrance gates to help it fit in with its Edwardian neighbours.

Cassell Street House by b.e. Architecture

“The house was designed to be sympathetic with the period but not mimetic of any particular style, whilst remaining unapologetically contemporary,” they explain.

Cassell Street House by b.e. Architecture

Four bedrooms are located on the upper floor, alongside a series of en suite bathrooms. There are also three balconies on this floor, which sit within deep recesses in the stone facade.

Cassell Street House by b.e. Architecture

A car park occupies the basement and can be accessed by a ramp tucked around the side of the building.

Cassell Street House by b.e. Architecture

Melbourne-based b.e. Architecture was founded in 1997 by Jonathon Boucher and Broderick Ely. As well as 57 Tivoli Road, the studio also designed Meakins Road, a house surrounded by a steel and timber grid. See more by b.e. Architecture.

Cassell Street House by b.e. Architecture

Other residences completed in Australia recently include a house with a facade inspired by tree branches. See more houses in Australia.

Cassell Street House by b.e. Architecture

Photography is by Peter Clarke.

Cassell Street House<br /> by b.e. Architecture

Here’s some more information from b.e. Architecture:


Cassell Street house is a boutique new home built on a corner block in South Yarra, built in place of an attached Edwardian row house and set amongst homes of a similar vintage. The house was designed to be sympathetic with the period but not mimetic of any particular style, whilst remaining unapologetically contemporary.

Cassell Street House by b.e. Architecture

The limited material palate of natural and aged materials such as travertine, rusticated timber, concrete and steel cast over a strong rectilinear form work to give the building the quality of looking older than it is – to look as though in an another world it could well have been standing in its place unchanged since the 1930s.

Cassell Street House by b.e. Architecture

Being sited on a corner block, the first floor form in particular is highly visible from the street with all sides visible to the passer by. A bespoke material treatment was thus considered an appropriate urban gesture. The complex travertine facade is made up of 10 different sized slabs of stone laid in bands sourced from opposite sides of the same quarry producing two distinct colours. The banding quality of the stone facade is referential of Byzantine buildings in a reference to the owner’s heritage.

Cassell Street House by b.e. Architecture

The deep apertures formed in the travertine walls of the first floor facade make the building read as a singular and massive stone edifice and in doing so shade and shelter the western windows as well as protecting the occupant from the nearby major road.

Cassell Street House by b.e. Architecture

By contrast, downstairs is characterised by expansive glazing, opening the living areas to the secluded garden space which surrounds the building.

Cassell Street House by b.e. Architecture

A visitor enters from the street into the heart of the building adjacent a curving staircase rising three floors from basement garage to the upstairs bedrooms. The curving staircase contrasts with the rectilinear form of the exterior and is used as a separation device to define the ground floor living areas into two distinct zones: The day/summer areas facing north and overlooking a pool and outdoor eating area; the night/winter areas facing south and east into the more sheltered back yard.

Cassell Street House by b.e. Architecture

Architects: b.e architecture
Location: Melbourne, Australia

Cassell Street House by b.e. Architecture

Construction Team: Bayside Construct
Design Team: Andrew Piva, Broderick Ely, Jon Boucher, Kris Keen

Cassell Street House by b.e. Architecture

Area: 500 sqm
Year: 2012

Cassell Street House by b.e. Architecture

Above: ground floor plan

Cassell Street House by b.e. Architecture

Above: first floor plan

Cassell Street House by b.e. Architecture

Above: basement floor plan

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by b.e. Architecture
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Corporate HQ Superdesigns, Part 2: Apple “Spaceship” to Give New Meaning to the Term “High Tolerance”

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Hard to believe it’s been nearly two years since we saw that video of Steve Jobs pitching Apple’s Norman-Foster-designed “spaceship” HQ to the Cupertino City Council. Jobs, sadly, passed away just months later. But Jobs’ influence is still very much ingrained in the ongoing design process of the building. That is why the building will likely be magnificent. It is also why the timetable has been pushed back to 2016, and why the cost estimate has now risen to nearly $5 billion. (For scale, the new World Trade Center in NYC rings in at $3.9 billion.)

We know Apple’s got curved glass down, though it isn’t cheap to produce. We know the building’s plans call for it to sustainably generate its own electricity, as many of their facilities now do, and that that isn’t cheap either. But as Businessweek reports,

The true expense of the campus lies not in green tech, though, as much as the materials–as well as what product designers call “fit and finish.” As with Apple’s products, Jobs wanted no seam, gap, or paintbrush stroke showing; every wall, floor, and even ceiling is to be polished to a supernatural smoothness. All of the interior wood was to be harvested from a specific species of maple, and only the finer-quality “heartwood” at the center of the trees would be used, says one person briefed on the plan last year.

That’s not the crazy part, though. This is: “Jobs insisted that the tiny gaps where walls and other surfaces come together be no more than 1/32 of an inch across, vs. the typical 1/8 inch in most U.S. construction.” Anyone who’s ever built anything or installed anything using conventional power tools knows that’s insanely difficult. It’s easy for even an inexperienced craftsperson to take 1/8-inch off of something, as that’s the width of a sawblade. The skilled among you can get things down to 1/16, even by eyeballing. But I don’t know anyone who can consistently hit 1/32. It’s not just twice as hard as getting something down to 1/16, it is an order of magnitude more difficult, and essentially demands less humans and more CNC.

If that didn’t get your attention, maybe this will:

Jobs even wanted the ceilings to be polished concrete. Contractors would typically erect molds with crude scaffolds to pour the cement in place, but that leaves unsightly ruts where the scaffolding puts extra pressure on the surfaces. According to two people who’ve seen the plans, Apple will instead cast the ceilings in molds on the floor and lift them into place, a far more expensive approach that left one person involved in the project speechless.

I should point out that I don’t think these demands are crazy in a pejorative way; if anyone can pull this off, it’s Apple. Shareholders are complaining about the price of construction, but you don’t build something like this purely to increase the bottom line. Jobs said it best during his pitch to the Council: “We have a shot at building the best office building in the world. I really do think that architecture students will come here to see it.”

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Tree Art Museum by Daipu Architects

Sloping exhibition rooms fold around curvy courtyards and a fish pond at this art gallery in Beijing – the first completed project by new studio Daipu Architects (+ slideshow).

Tree Art Museum by Daipu Architects

Tree Art Museum is located beside a main road in the Songzhuang arts district, so the architect wanted to create secluded spaces outside the gallery where artists and visitors can socialise. One large courtyard is inserted in front of the building, while a second is positioned at the back and a terrace ramps up over the roof.

Tree Art Museum by Daipu Architects

Architect Dai Pu explains: “This project hopes to create a place where local people and visitors would communicate with nature, light, trees, water and contemporary art.”

Tree Art Museum by Daipu Architects

A chunky concrete wall separates the entrance courtyard from the road. A sliced opening reveals it to be a corridor, offering an informal exhibition space on the way into the galleries.

Tree Art Museum by Daipu Architects

Glazed curtain walls surround the courtyard facades of the building, bringing natural light into the two gallery floors and revealing the sloping floors.

Tree Art Museum by Daipu Architects

“I hope people might be attracted into the museum by the view at the entrance,” said Dai Pu. “Their eyes would follow the curvy floorslab coming from the ground all the way up to the roof.”

Tree Art Museum by Daipu Architects

Zigzagging ramps at one end of the building lead up from the ground to the rooftop terrace, which also accommodates four smaller patios.

Tree Art Museum by Daipu Architects

Meeting rooms and offices are lined up along the rear of the building and face down onto the secondary courtyard.

Tree Art Museum by Daipu Architects

Dai Pu previously worked for Beijing studio MAD, where he was project architect for Hutong Bubble 32, a bubble-shaped extension to a traditional Chinese courtyard house. Tree Art Museum is his first project since launching Daipu Architects.

Tree Art Museum by Daipu Architects

Other new galleries in China include Jade Museum, located in a converted office block in Shanghai, and The Design Republic Commune, a design gallery, shop and event space in the same city. See more architecture in China.

Tree Art Museum by Daipu Architects

Photography is by Shu He.

Here’s some more information from Daipu Architects:


Located in Songzhuang, Beijing, China, Tree art museum lies beside the main road of the area. Original village has vanished, replaced by big scale blocks which better fit for cars. Even if renowned as artist village, it’s difficult to stay or enjoy art exploration without local artist friend’s introducing. So, the first idea was to create an ambient, a public space where people would like to stay, date and communicate.

Tree Art Museum by Daipu Architects

I hope people might be attracted into the museum by the view at the entrance. Their eyes would follow the curvy floorslab coming from the ground all the way up to the roof. People could choose getting into the space either through the ramp or the courtyard with a pool and tree on the first floor. Sky is reflected onto the ground, with reflecting pool together, helping people to filter their mind and forget the environment out there.

Tree Art Museum by Daipu Architects

The first courtyard was separated with the main road and dust outside by a bare-concrete wall. People would stay and chat under the tree in the courtyard, or, just feed fishes by the reflecting pool. Meanwhile, they could enjoy artworks and watch other people lingering inside the building through curtain wall. In the bare-concrete wall, there is a corridor which could be utilized to exhibit books and small sculptures. The curvature varies slightly along the path.

Tree Art Museum by Daipu Architects

The second courtyard introduces nature light to the back exhibition hall and meeting room on 2nd floor, while separating the public and privacy needed. The curvy wall implies people to the other side of the building, and introduces them to come to the public stairs-plaza on the roof, where people could sit and enjoy sunshine, or look down to the pool or even chat with people down in the courtyard.

Tree Art Museum by Daipu Architects

There are six and half courtyards on 2,695 square meters site. Besides the two bigger ones for exhibition, there are four more courtyards lying on the upper part. Two yards apply sunlight to the back space and introduce skylight to the exhibition hall below. The other two yards are on the top of the floor, which also open to sky.

Tree Art Museum by Daipu Architects

Above: axonometric diagram – click for larger image

By taking real and pure expression, this project hopes to create a place where local people and visitors would communicate with nature, light, trees, water and contemporary art. This simple and plain idea will spread out through their experience.

Tree Art Museum by Daipu Architects

Above: ground floor plan – click for larger image

Project title: Tree Art Museum
Location: Song zhuang, Beijing, China
Height: 18.78 meter
No. of floors: Exhibition part: 2 stories, Function part: 5 stories
Building Area: 3,200 square meters
Site area: 2,695 square meters

Tree Art Museum by Daipu Architects

Above: first and second floor plans – click for larger image

Client: Chinese Contemporary Art Development Foundation
Design Architect: Daipu Architects
Director: Dai Pu
Design Team: Dai Pu, Feng Jing, Liu Yi

Tree Art Museum by Daipu Architects

Above: third and fourth floor plans – click for larger image

Structural Engineer: Huang Shuangxi
Water Engineer: Lei Ming
Mechanical Engineer: Wang Gepeng
Electrical Engineer: Wang Xiang
Curtain Consultant: Beijing Doorwin Decoration Co, Ltd
Design: 2009.11
Construction: 2010.11 – 2012.09

Tree Art Museum by Daipu Architects

Above: cross section one – click for larger image

Tree Art Museum by Daipu Architects

Above: cross section two – click for larger image

Tree Art Museum by Daipu Architects

Above: street elevation – click for larger image

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Fubiz TV 19 – Mathieu Lehanneur

Fubiz est fier de vous présenter le nouvel épisode Fubiz TV Issue 19. Au sommaire cette semaine, nous avons sélectionné le meilleur de l’actualité de l’univers créatif et nous avons eu la chance de rencontrer le designer français Mathieu Lehanneur. Une interview à découvrir en exclusivité, dans la suite de l’article.

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“Tools for Life” by Rem Koolhaas for Knoll: The innovative Dutch architect behind OMA teams up to create a collection of kinetic and transformative furniture




Following in the footsteps of such visionaries as Mies van der Rohe, Eero Saarinen and Frank Gehry, Rem Koolhaas has been tapped by American furniture design powerhouse Knoll to…

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Corporate HQ Superdesigns, Part 1: Updates to Frank-Gehry-Designed “Facebook West”

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It’s interesting to see that certain design world dynamics can scale up and down. Even the lone, unknown freelance designer will recognize the following situation: The client says they want a bold, new redesign, and they hire you based on your book. So you give them a bold, new redesign. With every new meeting they have you tone the design down more and more, and then you realize that “bold, new redesign” doesn’t mean the same thing to everyone.

Apparently that dynamic is happening on a larger scale with Facebook West, the forthcoming Frank-Gehry-designed HQ. While the Menlo Park City Council recently approved the 433,555-square-foot structure, Mercury News reports that the Council’s approval meeting also contained this tidbit:

[Gehry’s] creative partner, Craig Webb, told the city council that Facebook CEO Mark Zuckerberg and other company officials asked that the design for the Menlo Park building be low key. As a result, some of the earlier ideas, such as one that envisioned the building’s ends flaring out like butterfly wings, were dropped, Webb said.

“They felt some of those things were too flashy and not in keeping with the kind of the culture of Facebook, so they asked us to make it more anonymous,” Webb said. “Frank (Gehry) was quite willing to tone down some of the expression of architecture in the building.”

One significant design feature unchanged from what we described back in August is that the entire structure will be one huge room. That provides design challenges of its own, and the Silicon Valley Biz Blog, which also sat in on the Council meeting, describes the solution:

It might be one giant room, but architects are sensitive to a potential pitfall with this approach: creating a vast sea that lacks a sense of place. So designers are placing services – from mother’s rooms to game zones – at strategic locations to break up the space. Still, it should be possible for a Facebooker in the center of the space to have a line of sight from one side of the building to the other.

Lastly, it appears the building will be covered in a rooftop park complete with trees. Wired snagged these shots from the Menlo Park City Council:

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Reminds us a little of that camouflaged World War II factory in California.

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