JDS Architects & Norway’s Awesome Holmenkellen Ski Jump

0holmenkollen1.jpg

Norway invented the sport of ski jumping, so it cannot have felt good when the International Ski Federation told them their Holmenkollen Ski Jump was too small to host the World Championships. The existing ski jump was subsequently demolished and a design competition held for a new one.

Danish architecture firm JDS (Julien De Smedt Architects) won the competition, and four years later, the redesigned Holmenkollen Ski Jump is open for business. And it is awesome:

0holmenkollen2.jpg

The stainless steel structure is nearly 200 feet (58 meters) tall and the insane cantilever juts out some 226 feet (69 meters).

0holmenkollen3.jpg

(more…)


View Hill House by Denton Corker Marshall

One storey hangs precariously over the other at this isolated hilltop house in Australia by architects Denton Corker Marshall.

View Hill House by Denton Corker Marshall

The dramatic cantilever defines the silhouette of View Hill House, which looks out over the Yarra Valley winemaking region of Victoria.

View Hill House by Denton Corker Marshall

The exterior of the lower storey is clad in pre-rusted steel and the upper storey has walls of black aluminium.

View Hill House by Denton Corker Marshall

Chunky chipboard lines the interior walls and ceilings of both levels and the floor of the upper storey, while the lower storey features a polished concrete floor.

View Hill House by Denton Corker Marshall

Denton Corker Marshall also recently unveiled proposals for a visitor centre at Stonehenge in England.

See all our stories about Australian houses »

Photographs are by Tim Griffith.

Here’s some more information from Denton Corker Marshall:


The Yarra Valley was originally settled as a series of farms strung out along the tracks through the valley on either side of the river. Yering Station and Gulf Station, for example, still exist as heritage buildings, but View Hill is identifiable only as an isolated hill abutting the historic Yarra Track with magnificent views of the whole valley.

The 60-hectare site was progressively developed as a premium cool climate vineyard from 1996 to 2004 and now has around 32 hectares of vines. A site for a house was identified at the top of the hill looking north over the vineyard but also taking in view all around.

View Hill House by Denton Corker Marshall

Click above for larger image

Denton Corker Marshall have completed six houses over the last 20 years, a sideline to their larger building work but seen as an important part of their exploration of ideas about architecture. There were also opportunities to consider the isolated building in the landscape as ‘land art’. Here on the top of the hill the house is reduced to two sticks placed one on top of the other ‘dropped’ onto the landscape. It is a counterpoint to their Phillip Island house of 20 years ago where the house is buried in the sand dunes.

The stick sitting on the ground is made of rusting steel whilst the stick sitting on right angles on top and cantilevering impossibly is made from black aluminium. The sticks read as very thin metal tubes with glass inset at each end. The reading of the tubes is reinforced inside by their lining with a grey green stained OSB board – on the upper level its walls, ceilings and even the floor is lined – at ground level the floor is charcoal polished concrete. The ground level tube is 6m x 4m in cross-section so that the ceiling heights are 3.2m, the upper tube is 4m x 3m with 2.4m ceilings.

View Hill House by Denton Corker Marshall

Click above for larger image

Ground floor uses are centred around a living, dining, kitchen space – with bedrooms at either end. Upstairs two offices and another guest bedroom complete the primary spaces. Planning is therefore very simple – presenting controlled views out from each end of the tubes and then by raising three panels on the side of the lower tube so that the living area looks out over the vineyard. The mountains containing the valley on all sides offer a dramatic backdrop.

The post View Hill House by
Denton Corker Marshall
appeared first on Dezeen.

Butterfly Loft Apartment by Tigg Coll Architects

The staircase in this west London house by Tigg Coll Architects has a glass balustrade and open treads to allow light to flood through from above (+ slideshow).

Butterfly Loft Apartment by Tigg Coll Architects

The three-storey maisonette in Kensington was completely overhauled by the architects, with the original staircase, floors and internal partitions removed.

Butterfly Loft Apartment by Tigg Coll Architects

The oak treads of the new staircase cantilever off an exposed brick wall.

Butterfly Loft Apartment by Tigg Coll Architects

A skylight is fitted above the stairwell in the sloping roof.

Butterfly Loft Apartment by Tigg Coll Architects

A double-sided wine rack is built into the wall between the kitchen and staircase.

Butterfly Loft Apartment by Tigg Coll Architects

We recently featured another London townhouse with a striking staircase – see it here.

Butterfly Loft Apartment by Tigg Coll Architects

See all our stories about staircases »

Butterfly Loft Apartment by Tigg Coll Architects

Photographs are by Andy Matthews.

Butterfly Loft Apartment by Tigg Coll Architects

Here’s some more information from Tigg Coll Architects:


Designed for a young client who wanted to convert his standard maisonette in Kensington, London, into a contemporary loft apartment for entertaining.

Butterfly Loft Apartment by Tigg Coll Architects

All the internal partitions, floors and existing staircase of this triplex apartment were removed, presenting a blank canvas of the existing structure.

Butterfly Loft Apartment by Tigg Coll Architects

The new staircase is cantilevered off an exposed brick clad wall imported from Denmark and runs the full height of the house, concealing the structural steelwork behind.

Butterfly Loft Apartment by Tigg Coll Architects

The oak-clad open treads and cantilevered glass balustrade allow light to flood down from the rooflight high above, as well as allowing light to filter through from both the front and rear windows.

Butterfly Loft Apartment by Tigg Coll Architects

The previously small living spaces are now open-plan with the kitchen at the heart, between the reception and mezzanine dining area.

Butterfly Loft Apartment by Tigg Coll Architects

The purposefully designed double-sided wine rack and openings in the staircase allow a separation of space yet also a connection, with glimpses through to the spaces beyond and above.

Butterfly Loft Apartment by Tigg Coll Architects

On the upper floor, the existing double butterfly roof was exposed and new ceilings installed to follow these lines, allowing ceiling heights throughout to be maximised and sculptural.

Butterfly Loft Apartment by Tigg Coll Architects

The new rooflight nestles in the roof pitch of the resultant space over the staircase.

Butterfly Loft Apartment by Tigg Coll Architects

Contract value: Approx £450,000
GIA: Approx. 1500 sqft

The post Butterfly Loft Apartment
by Tigg Coll Architects
appeared first on Dezeen.

2012 RIBA Stirling Prize shortlist announced

London Olympic Stadium by Populous

Dezeen Wire: six buildings have been shortlisted for this year’s RIBA Stirling Prize, including the London Olympic Stadium by Populous (above) and two projects by OMA.

The six, which will compete for the £20,000 prize for the best building by a British-registered architect, are:

The Hepworth Wakefield, Yorkshire by David Chipperfield Architects;

London Olympic Stadium by Populous;

The Lyric Theatre, Belfast by O’Donnell + Tuomey;

Maggie’s Centre, Gartnavel, Glasgow by OMA;

New Court, London by OMA with Allies and Morrison;

Sainsbury Laboratory, Cambridge by Stanton Williams.

The winner will be announced at a ceremony in Manchester on 13 October.

See all our stories about the Stirling Prize | See past winners of the Stirling Prize

Here’s the press release from the RIBA:


The shortlist for the prestigious 2012 RIBA Stirling Prize, revealed today (22 July 2012), celebrates the best of new British architecture. The shortlist features six exceptional and completely different buildings from across the country which will now go head to head for architecture’s highest accolade and a £20,000 prize from the Royal Institute of British Architects (RIBA). The RIBA Stirling Prize is now in its seventeeth year; the 2012 winner will be announced at a special event in Manchester on Saturday 13 October.

The seemingly simple yet highly innovative London Olympic Stadium, the thoughtful and intimate Maggie’s Cancer Centre in Glasgow, the stunningly original Hepworth Wakefield gallery in Yorkshire, the beautifully detailed and rule-breaking Sainsbury Laboratory for plant science in Cambridge, the New Court Rothschild Bank in London that rises high whilst opening new views at street level, and the crafted and careful reincarnation of the Lyric Theatre on a small suburban site in Belfast are all in the running for the 2012 RIBA Stirling Prize.

The buildings on this year’s shortlist are all highly-crafted buildings and use rich materials, with exceptional attention to every detail. These are buildings that clearly value the individual and visitor’s experience; from the very personal and peaceful Maggie’s Cancer Centre to the new Olympic Stadium, which despite its enormity has an atmosphere of intimacy for every spectator.

Heritage and education are strong themes in this year’s shortlist with the success of the Sainsbury Laboratory housing Darwin’s collection, New Court’s careful integration of the Rothschild’s art collection into its design and both the Lyric Theatre and Hepworth Wakefield skillfully creating exceptional new homes for regional arts.

The six buildings competing for this year’s title (including betting odds from William Hill) are:

The Hepworth Wakefield by David Chipperfield Architects

1. The Hepworth Wakefield, Yorkshire by David Chipperfield Architects (William Hill odds: 3/1)

David Chipperfield Architects are the only previous RIBA Stirling Prize winner amongst this year’s shortlisted architects, having won in 2007 for the Museum of Modern Literature in Marbach, Germany. This is the eighth time that David Chipperfield Architects has been shortlisted for the RIBA Stirling Prize, and the third year running; they now match Foster + Partners who have also been shortlisted for the prize eight times.

– The Hepworth Wakefield is characterized by a series of 10 small, irregular, trapezoidal blocks that make up the structure of the gallery, giving it a sculptural appearance, in reference to its contents.

–  From the outside, the gallery is interesting to look at from any angle with the smaller blocks complementing the scale and form of the existing industrial buildings on the site. Inside, the ten blocks create a series of relaxed and intimate exhibition spaces, with great flow and movement between interconnecting rooms.

– The building responds imaginatively to its riverside location. Being at the head of the river divide, two sides of gallery are river facing.  The gallery rises straight from the river and the whole building is reflected in the water. Carefully placed windows offer strategic views.

– The gallery sources renewable energy in the form of heating and cooling from the river’s flow.

– The distinctive dusky mauve colour of the concrete gives the building a unique identity.

2012 London Olympic Stadium by Populous

2. London Olympic Stadium by Populous (William Hill odds: 5/1)

This is the first time that Populous has been shortlisted for the RIBA Stirling Prize

– The stadium has been designed so that it can be taken down and reused in another location – or taken apart and made smaller.

– The design team aimed to create the most sustainable Olympic stadium to date, reducing the amount of steel and concrete needed, making it one of the lightest stadia of the modern era.

– It has a sunken arena so the ground level entrance is actually half-way up the stadium – reducing the number of stairs spectators have to climb to the upper tiers.

– The stadium is surrounded by water, so once visitors have shown their ticket and crossed the bridge they are more free to move around than at most stadiums.

– There is a spirit of fun – they have designed a space to create an amazing atmosphere, where every seat has a great view.

3. The Lyric Theatre, Belfast by O’Donnell + Tuomey (William Hill odds: 4/1)

O’Donnell + Tuomey are a Dublin-based practice. This is the fourth time they have been shortlisted for the RIBA Stirling Prize and their second year running: last year their An Gaelaras cultural centre in Derry was shortlisted.

– The architects have responded superbly to considerable challenges, including the building’s small, awkwardly irregular and steeply sloping site.

– The distinctive red ‘Belfast brick’ echoes the existing south Belfast residential landscape.

– The architects have created an exceptional auditorium – aiming for the seating to be twisted ‘like the crease of a hand’ so that people could see each other and to save actors from performing to a symmetrically divided audience. The auditorium has a special, sculptural interior and incredible acoustics.

– The extensive use of glass maximises the presence of natural light in the public spaces and ensures that the magnificent view of the river can be enjoyed to its full potential.

Maggie’s Gartnavel by OMA

4. Maggie’s Centre, Gartnavel, Glasgow by OMA (William Hill odds: 9/2)

This is the second time that OMA has been shortlisted for the RIBA Stirling Prize and it is the only practice to have two buildings on the 2012 shortlist.  In 2007 OMA’s Casa da Musica in Portugal was shortlisted. Rem Koolhaas, who founded OMA, had known Maggie Keswick Jencks (after whom the Maggie’s Centres are named) since the 1960s. Lily Jencks, Maggie’s daughter, was the landscape designer on the project.

– The building succeeds in the central aim of all Maggie’s Centres – to create an environment of practical and emotional support for people with cancer. They aim to kindle a sense of curiosity and imagination – to be grand in ambition but small in scale.

– The distinctive ‘doughnut’ shape of the centre allows for all the rooms to surround an internal landscaped garden.

– Located in a natural setting, like a pavilion in the woods (in fact, the old hospital carpark, now landscaped) the building looks both out to the woods and into the garden giving it a sense of being extroverted and introverted.

– There are no corridors or isolated rooms, but a series of interlocking spaces with a clever use of sliding walls to open and close areas, offering flexibility.

5. New Court, London by OMA with Allies and Morrison (William Hill odds: 4/1)

OMA’s second building on this year’s shortlist. Allies and Morrison has previously been shortlisted twice for the prize.

– Rothschild’s Bank have been on the same site since 1809. In replacing their previous 1960s building, the architects created an imaginative solution to a very constrained site (part of the Bank Conservation Area).

– The new building opens up views to a Wren church by cleverly creating a pathway towards the church and generous sight lines from the pavement.

– The architects have created a synthesis between an office and a museum. New Court is a showcase for the Rothschild art collection, aspects of which have been carefully incorporated into the design of the building.

– The building has a superb attention to detail; the materials used create a strong sense of understated elegance.

Sainsbury Laboratory by Stanton Williams

6. Sainsbury Laboratory, Cambridge by Stanton Williams (William Hill odds: 7/2)

This is the first time that Stanton Williams have been shortlisted for the RIBA Stirling Prize.

– The laboratory is carefully designed to complement its setting –  the relationship to the surrounding 19th century, Grade II listed garden is central to the building’s identity.

– It cleverly mixes the private and the public – the security and complex scientific needs of a laboratory with a public botanic garden café.

– The architects have created a stimulating working environment to attract world-class scientists, including sociable spaces and smaller meeting points alongside research spaces.

– It is a highly energy efficient building – rainwater is collected from the roof and stored in two huge tanks which irrigate the garden’s glasshouse and plant chambers.

RIBA President Angela Brady said:

“The annual RIBA Stirling Prize celebrates architectural excellence and this year we have an incredibly strong list of contenders. All of the shortlisted buildings demonstrate the essence of great architecture; they are human-scale buildings, places to inspire, entertain, educate and comfort their visitors and passers-by. Every building not only works beautifully from within but has a superb relationship with its surroundings, with a strong interplay between the two. They don’t shout ‘look at me’ and even the tallest building, New Court in the City of London, has created good views for passing pedestrians, meeting the challenge of delivering good urban design in an historic area. The 2012 RIBA Stirling Prize judges have a difficult job to select a winner from this pool of great talent. I can’t wait to see which project they choose.”

The 2012 RIBA Stirling Prize judges who will visit the six shortlisted buildings and meet for a final time on the day of the presentation (13 October) to pick the winner are: Sir Nicholas Grimshaw (Chair) – architect and former president of the Royal Academy; Sir Mark Jones – Master of St Cross College Oxford, and former Director of the Victoria and Albert Museum; Joanna van Heyningen – architect, van Heyningen & Haward Architects, UK; Hilde Daem – architect, Robbrecht + Daem, Belgium and Naomi Cleaver – designer, writer and broadcaster.

Previous winners of the RIBA Stirling Prize include: Evelyn Grace Academy (2011) and MAXXI Museum, Rome (2010) both by Zaha Hadid Architects; Maggie’s Centre at Charing Cross Hospital, London by Rogers Stirk Harbour + Partners (2009); Accordia housing development by Feilden Clegg Bradley Studios/Alison Brooks Architects/Macreanor Lavington (2008); The Museum of Modern Literature, Marbach am Neckar, Germany by David Chipperfield Architects (2007).

The Observer is national media partner for the 2012 RIBA Stirling Prize; The Architects’ Journal is the trade media partner for the RIBA Stirling Prize.

The post 2012 RIBA Stirling Prize shortlist announced appeared first on Dezeen.

Dezeen archive: holiday homes

Holiday Homes

Dezeen archive: for those wishing to escape a wet summer, here’s a round-up of all the holiday houses featured on Dezeen to help you imagine the perfect retreat. See all the stories »

See all our archive stories »

The post Dezeen archive: holiday homes appeared first on Dezeen.

The White Building by David Kohn Architects

London studio David Kohn Architects has created an arts venue in a former sweet factory on the edge of the Olympic park.

The White Building by David Kohn Architects

The White Building is situated amongst a community of artists on Fish Island in Hackney Wick and accommodates a gallery, an events space, a cafe and a series of artists’ studios.

The White Building by David Kohn Architects

Lambswool hangs in nets to cover the underside of an existing asbestos roof that is supported by red steel trusses.

The White Building by David Kohn Architects

Five new entrances lead into the building, allowing the different rooms to be used in flexible configurations.

The White Building by David Kohn Architects

The project is one of a number of “Olympic Fringe” projects instigated by Design for London for sites bordering the Olympic park. Others include public realm improvements by architects Muf and the London Pleasure Gardens.

The White Building by David Kohn Architects

See more stories about London 2012 »

The White Building by David Kohn Architects

Photography is by Will Pryce.

The White Building by David Kohn Architects

Here’s some more information from David Kohn Architects:


‘The White Building’ is a new cultural venue in Hackney Wick commissioned by the London Legacy Development Corporation.

Situated across the Lea Navigation Channel from the Olympic site, the project overlooks the Olympic stadium. The refurbished building, a former print works and previously a sweet factory, will house artists’ studios, a gallery, hire space, café and micro-brewery.

The White Building by David Kohn Architects

The project was won through invited competition by David Kohn Architects in collaboration with Michael Pawlyn of Exploration Architecture, specialists in environmentally sustainable design.

The White Building by David Kohn Architects

The competition was organised by Design for London, part of the Greater London Authority, as part of the ‘Olympic Fringe’ a string of small-scale projects aimed at stitching the Olympic Park into the surrounding city fabric.

The White Building by David Kohn Architects

Hackney Wick Fish Island, a former industrial area, is currently celebrated for being home to the highest concentration of artists studios in Europe.

The White Building by David Kohn Architects

The end user is Space Studios who contributed to the project brief to create a cultural venue in Hackney Wick that would serve the existing community as well as provide a public face to visitors. Space Studios is a charity that has been providing platforms for artists since 1968.

The White Building by David Kohn Architects

In response to the competition brief, David Kohn Architects proposed that the White Building would:

» be built by local people for local people;
» foreground the pleasures of making;
» resonate with the history of the area;
» work with the existing building fabric;
» demonstrate innovative sustainable design;
» be realised affordably and quickly;
» show a past and future London at the Olympics.

The White Building by David Kohn Architects

The eventual built project used local businesses extensively for supplying materials and skills from glazing to sign-painting, steelwork to joinery. The project was delivered on time and budget.

The White Building by David Kohn Architects

New interventions complimented the existing building fabric, such as blockwork walls on the ground floor that incorporated steel-framed windows. The ground floor was opened up to the canalside and Queen’s Yard to create a light-filled interior with the feel of an urban courtyard.

The White Building by David Kohn Architects

On the first floor, existing red-painted steel trusses supported an asbestos sheet roof with no insulation. In order to improve the environmental performance of the building and the appearance of the interiors without interfering with the asbestos, lambswool was suspended in red string nets to create soft vaults between the trusses.

The White Building by David Kohn Architects

Throughout, there was a design approach that sought to use conventional construction materials, but in a playful way. Material junctions were detailed in such a way as to give even the most industrial construction a lightness of touch.

The White Building by David Kohn Architects

Five new entrances were created that allow the building to be used in a variety of different configurations. The ground floor houses a café, pizzeria, microbrewery and group studio space. The first floor offers four artists’ studios, a gallery and hire space overlooking the Olympic stadium. External works included wide steps from street level down to the canalside.

The White Building by David Kohn Architects

Space Studios currently have a ten year lease on the property. The hope is that during that time, The White Building can become a significant local asset, well-used by the creative community and public alike. If it proves to be successful, then the project could become key to the retention of cultural activities in the area during future urban change and development.

The White Building by David Kohn Architects

Address: Unit 7 Queens Yard, White Post Lane London E9 5EN
Client: London Legacy Development Company
Tenant: Space Studios & Crate Café
Planning Department: LB Tower Hamlets
Project Period: December 2010 – July 2012
Construction Period: 12 weeks
Gross External Floor Area: 760m2
Gross Internal Floor Area: 695m2
Construction Value: £550k

Design Team
Architects: David Kohn Architects, Liz Betterton, Saya Hakamata, David Kohn, Tom McGlynn (Project Architect), Ulla Tervo
in collaboration with Michael Pawlyn, Exploration Architecture
Landscape: Muf architecture/ art
Structural Engineer: Alan Baxter Associates
Civils Engineer: Stockley
Services Engineer: Capita Symonds
Project Manager: Capita Symonds
CDM Co-ordinator: Capita Symonds
Cost Consultant: Sweett Group
Graphic Designer: Modern Activity

Contractors
Main Contractor: BRAC Contracts
Blockwork: Plasmor
Glazing: Caplin Glass
Sheep’s Wool: Black Mountain Insulation Ltd
Metal Windows: Monk Metal Windows
Steel Doors: Dove Steel Doors
Steel Sign: PJ Signs
Outdoor steps steelwork: Lemon Steel
Hand-Painted Signage: Ornamental Conifer and Mark Bayley

The post The White Building by
David Kohn Architects
appeared first on Dezeen.

The Italian God of Concrete’s Palazzetto dello Sport

0pierluiginervi1.jpg

[photo by Nick Tyrer]

I was poring over TyrerTecture, architecture student Nick Tyrer’s blog primarily detailing his fascinating digital fabrication experiments, when the photo above caught my eye mid-scroll. This one’s not one of his projects; it’s a photo he shot in Rome of the Palazzetto dello Sport, otherwise known as the basketball stadium for the 1960 Olympics, designed by Pier Luigi Nervi. (The structure still stands and has been used to hold a variety of athletic events.)

0pierluiginervi2.jpg

Nervi was what’s known in Italy as an ingegnere edile, which literally translates as “building engineer” and in practice is something like a cross between a structural engineer and an architect. He’s also been called “The Great Italian God of Concrete.” A student of ancient architecture as well as an early proponent of reinforced concrete, Nervi proved to be a designer who could masterfully blend techniques from the past and future to create a compelling present.

For the Palazzetto dello Sport, Nervi drew upon the geometry-based domes of ancient Roman architecture and combined it with reinforced concrete and radical-for-the-era prefabrication techniques. His design for a ribbed concrete dome, more than 60 meters in diameter and supported on the exterior of the building by Y-shaped concrete buttresses, was cast in prefabricated sections and snapped together in just 40 days.

0pierluiginervi3.jpg

Now that we live in an era of 30-story buildings going up in 15 days, 40 days may not sound like a short period of time; but consider that Nervi masterminded this thing using technology from 1957, the year the Palazzetto went up. If time-traveling ancient Romans could see the building and hear Nervi’s nickname, they might ask who the Italians were, but they’d probably agree on the “god” part.

0pierluiginervi4.jpg

(more…)


Coca-Cola Beatbox by Asif Khan and Pernilla Ohrstedt

Here are some photographs of the recently completed Coca-Cola Beatbox, a pavilion in the London 2012 Olympic park that can be played like a musical instrument (+ slideshow).

Coca-Cola Beatbox by Pernilla & Asif

Designed by London architects Asif Khan and Pernilla Ohrstedt, the Coca-Cola Beatbox invites visitors to make a musical collage of sporting sounds by touching parts of its structure.

Coca-Cola Beatbox by Pernilla & Asif

The sound samples, including a human heartbeat and trainers squeaking on a court, are taken from the Olympic song ‘Anywhere in the World’ recorded by British producer Mark Ronson.

Coca-Cola Beatbox by Pernilla & Asif

The sounds are embedded in 200 interlocking ETFE plastic pillows which are sensitive to movement and touch.

Coca-Cola Beatbox by Pernilla & Asif

The pavilion opens to the public on 27 July.

Coca-Cola Beatbox by Pernilla & Asif

We first published images of the project proposal back in March.

Coca-Cola Beatbox by Pernilla & Asif

See all our stories about the London 2012 Olympics »

Coca-Cola Beatbox by Pernilla & Asif

Above: photograph is by Getty Images

Photography is by Hufton + Crow, except where indicated.

Coca-Cola Beatbox by Pernilla & Asif

Here’s some more information from the event organisers:


Coca-Cola reveals spectacular Olympic Park pavilion that will inspire visitors to Move to the Beat of London 2012

Coca-Cola has today unveiled the Coca-Cola Beatbox, its iconic pavilion for the Olympic Park, at a private view event ahead of the official opening of the London 2012 Olympic and Paralympic Games next Friday 27th July.

The Coca-Cola Beatbox, designed by Asif Khan and Pernilla Ohrstedt, is an experimental fusion of architecture, sport, music and technology that creates a stunning multi-sensory experience. The visionary pavilion has been inspired by Coca-Cola’s global campaign for London 2012 – Move to the BeatTM – that aims to connect young people to the Games by bringing together their passions for music and sport.

Its giant crystalline structure is made up of over 200 interlocked translucent air cushions, each the size of a billboard. Visitors will be able to ‘play’ designated cushions as they ascend the exterior of the pavilion, remixing ‘Anywhere in the World’, the uplifting track featuring sounds of five different Olympic sports created for Coca-Cola by GRAMMY award winning producer Mark Ronson and 2011 Mercury Music Prize nominee Katy B.

Integrated within the 200 cushions is groundbreaking audio, lighting and responsive sensor technology, which has been used by the architects to upload the rhythmical sport sounds into the structure of the Coca-Cola Beatbox. Recordings, which include athletes’ heartbeats, shoes squeaking, and arrows hitting a target will be triggered and remixed by the gestures and movements of an estimated 200,000 visitors during Games time as they make the 200m journey to the pavilion’s rooftop.

The pavilion forms part of Coca-Cola’s Future Flames campaign for London 2012, which aims to recognise and reward the best of the nation’s youth and shine a spotlight on emerging talent to inspire other young people to pursue their passions. Coca-Cola appointed London-based designers Asif Khan and Pernilla Ohrstedt following a formal commissioning process administered by the Architecture Foundation. The company wanted to identify the best single emerging talent in British architecture and reward them with a showcase at London 2012, handing over creative control of its pavilion.

Coca-Cola has spent two years working with other partners including the Royal College of Art and interactive theatre company London Quest to bring together the best in emerging talent across design, performance and technology who will all play a role in bringing the pavilion to life during the Games. The result is a pavilion that is created by, embodies and celebrates the passions of thousands of Coca-Cola Future Flames who make a positive contribution to their local communities every day.

Maxine Chapman, Director of Showcasing, London 2012 Olympic and Paralympic Project Team, the Coca-Cola Company, said:

“Coca-Cola’s sponsorship of London 2012 is rooted in celebrating and recognising young people and we’re delighted to give so many young talents the chance to showcase their skills and passions on the world’s stage. Our team of emerging architects, artists, sound and light technicians – led by Asif Khan and Pernilla Ohrstedt – have all played a crucial role in creating a pavilion that is hip, fresh and energetic. The Coca-Cola Beatbox is unlike anything else on the Olympic Park. Over 300 young performers from London will help to bring it to life during Games time, and it will stand as a testament to the millions of young people who use their passions in areas like sport and physical activity, music and dance to spread happiness in communities all over the UK.”

Asif Khan and Pernilla Ohrstedt, said:

“The Coca-Cola Beatbox is our largest commission so far and we’re thrilled to have the opportunity to showcase our distinctive brand of architectural design at London 2012. We have created a structure that fuses architecture, music, sport and technology in a completely unique way. The beat will draw people in and allow them to personally experience sports through sound away from the main Games venues. Coca-Cola has really allowed us to push the boundaries and we’re looking forward to unveiling the pavilion to the world when London 2012 opens its doors next week.”

Visitors will enjoy spectacular views of the Olympic Park from the top of the Coca-Cola Beatbox. The ramp then plunges down into the heart of the pavilion which will feature an interactive light installation.

Within the Coca-Cola Beatbox pavilion visitors will discover Jason Bruges Studio’s Aerial Dynamics installation. A living, breathing light show that has been designed to emulate the energy released when a bottle of Coca-Cola is served and shared. 180 bespoke mechatronic ‘bubbles’ glow rhythmically in time with Mark Ronson’s track. Controlled with individual code, each bubble has eight polypropylene blades that fold in on themselves. Special sensors embedded in the three ‘cheers in celebration’ kiosks at the base of the Beatbox detect when Coca-Cola bottles are clinked together, triggering the blades and bubbles to glow with red and white LED lighting. These light patterns become increasingly intricate as the number of participants grow.

Jason Bruges, Creative Director, Jason Bruges Studio, based in Hackney, said:

“Our installation captures the celebratory aura that surrounds the Games and is itself a living, visual, dynamic performance. We worked closely with students Coca-Cola chose from the Royal College of Art who helped create the final design through a series of design workshops. A unique mix of architects, lighting designers, industrial designers, programmers and engineers have all collaborated to bring this extraordinary installation to life.”

The Coca-Cola Beatbox was brought to life at the private view event by young performers from across London boroughs. These talented young people from part of a group of 300 who have been selected to perform within the Olympic Park and London’s Hyde Park following six month audition process with the support of the interactive theatre company London Quest. Whether it’s re-enacting a medal winning performance or encourage visitors to recycle they will help to bring the magic of London 2012 to life in the Captial.

Tim Morgan, Director of London Quest, said:

“We at London Quest have thoroughly enjoyed the last year working in partnership with Coca-Cola. In awarding us a theatrical consultancy contract for their Olympic Games showcasing activity, Coca-Cola has given us a massive opportunity to promote our company to the world and it’s great to know that we have helped to give some very talented young performers a once in a lifetime opportunity to shine.”

The post Coca-Cola Beatbox by Asif Khan
and Pernilla Ohrstedt
appeared first on Dezeen.

Nebuta House by Molo

Red steel ribbons are parted like curtains to welcome visitors into this museum in northern Japan by Canadian studio Molo (+ slideshow).

Nebuta House

Named Nebuta House, the building was designed to house the huge paper lanterns that parade the city streets of Aomori for five days each summer during the festival of Nebuta Matsuri.

Nebuta House

With the appearance of mythical warriors, the Nebuta lanterns are used to tell stories about heroes and demons during the festival, before five are chosen for a year-long exhibition in the museum’s central hall.

Nebuta House

The lanterns glow brightly in the dark hall and their reflection in the glossy floor is intended to represent the final day of the festival when some are floated on the sea.

Nebuta House

Inspired by the paper lanterns, the architects copied the movements of strips of paper caught in the breeze to generate the twists of each ribbon on the museum’s exterior.

Nebuta House

These twists create openings that let in light and lead into a sheltered passageway between the ribbons and the glazed inner facade.

Nebuta House

During the festival the lanterns enter and leave through a huge sliding door at the back of the building, while more sliding doors connect the hall with a theatre above.

Nebuta House

With both sets of doors open, visitors can see down from the theatre towards the Aomori Harbour and Hakkōda mountains.

Nebuta House

We previously featured a Molo project to create paper partitions for emergency shelters.

Nebuta House

See all our stories about Japan »

Nebuta House

Photography is by Iwan Baan, except where otherwise indicated.

Here’s some more information from the architects:


Nebuta House (ねぶたの家 ワ・ラッセ) is a museum and centre dedicated to all aspects of the Nebuta festival and its creative culture in the Northern Japanese city of Aomori. In 2002, Stephanie Forsythe and Todd MacAllen won an international architecture competition for their design of a housing and community project in Aomori, Japan. The competition was judged by Tadao Ando and Jean Nouvel, and sponsored by the City of Aomori.

Nebuta House

Over the project’s course, the program evolved from housing and community facilities into a unique cultural building inspired by the craftsmanship and spirit of Aomori’s Nebuta Festival. In 2007, Forsythe + MacAllen (molo design) invited ddt/Arch and Frank la Rivière Architects Inc, together with the structural team of Kanebako Structural Engineers and the services engineers of PT Morimura & Associates Ltd. to work in collaboration with molo to develop the construction documents and oversee construction of the Aomori Nebuta House Museum.

Nebuta House

Nebuta Matsuri, one of the three most famous and largest festivals in all of Japan, it is a form of storytelling during which heroes, demons and creatures from history and myth come to life as large-scale (9 x 7 x 5.5m) paper lanterns (Nebuta) illuminated from within. The Nebuta House is a dwelling for these mythical beings to reside.

Nebuta House

Each year the five best Nebuta, selected for their creative artistry and craftsmanship, will take the place of the five Nebuta selected from the previous year. Functionally the institution is meant to share the tradition, archive the history and nurture the future of this unique cultural art form. Located in front of Aomori train station, where the city meets the sea, the building opened January 5th, 2011.

Nebuta House

The building is enclosed by ribbons of twisted steel, enamel-coated deep vibrant red and individually shaped to create variation: openings for light, areas of opacity, views, or opportunities for pedestrian circulation. For each steel ribbon, the bottom was set to a unique and specific angle, with thought to how sunlight would permeate the ribbons as it moved throughout the day, while the top part of each ribbon remains parallel to the building.

Nebuta House

In between these fixed points, some of the ribbons follow a natural curve while others were selected to have further bending and shaping to create larger openings and an abstract expression of wind. The steelworkers executed great skill and judgment interpreting the images from the 1:50 scale model that had been made from ribbons of paper, into ribbons of steel (9mm thick x 300mm wide x 12 meters high).

Nebuta House

In this way each ribbon was individually crafted during prefabrication, then manually adjusted on-site during installation. No part of the finished screen is the result of computer-aided fabrication; like all things handmade, human intervention enlivens function and expression.

Nebuta House

The ribbon screen façade creates a sheltered outdoor perimeter space called the “engawa”, a spatial concept originating in traditional Japanese houses. In this case, a dwelling for giant paper heroes, demons and creatures, the engawa acts as a threshold betweenthe contemporary world of the city and the world of history and myth.

Nebuta House

Shadows cast on the walls and floor through the exterior ribbons have the effect of creating a new material. Shadow and light become another screen – the convergence of material, light, shadow and reflection changing with the sun and weather. Homogeneous, grey, box-like buildings constitute much of the surrounding cityscape.

Nebuta House

Commonplace objects like power lines and vending machines are dispersed throughout the uniformity. Here, the building appears as a vibrant curtain at the street’s end – activating the streetscape, transforming everyday experience into theatre. Bicycles and traffic passing by, city workers breaking to eat or children playing in the snow take on a quality of performance and play.

Nebuta House

Inside, a shadowy dwelling for the Nebuta is shaped by the layers of screens and volumes of ancillary rooms. The volumetric juxtaposition accommodates many possible uses and perspectives. The interior is black, like a black box theatre. The abstraction of materiality, detail and colouring of the building allow visitors an intimate focus on the story being told. Luminous Nebuta appear suspended in the darkness of the hall, their vibrant colours reflected in the rippled, water-like floor. This is a subtle analogy to the last day of the festival when some of the Nebuta are set out to float on the sea.

Nebuta House

Opening a set of giant sliding doors will connect the large volume of the Nebuta Hall with an upper level theatre and multi-purpose spaces below (for music, activities and exhibits) Providing a dynamic visual connection to the Nebuta during musical and theatrical performances, encouraging creative juxtapositions and flexible use.

Nebuta House

Click above for larger image

During major events, the towering Nebuta exit and enter the building through another giant sliding door. When sitting in the theater with both sets of sliding doors open, one can see the vibrant Nebuta below, and beyond, Aomori Harbour and the Hakkōda mountains. Despite the challenges of designing an important cultural building while respecting a conservative budget, the evolution of the building’s type and program stands as symbolic foreshadowing of the many creative possibilities for use.

Nebuta House

Click above for larger image

Already, programming has demonstrated a broad range of uses: workshops, conferences and new cultural events are taking place. Perhaps the building can help to usher the time-honoured tradition of Nebuta into a contemporary era, offering a place to share ideas and bring creative minds together, even artists of different cultures and disciplines. The building elevates Nebuta in the public life of the city, celebrating the stories and impressive craft of the ephemeral paper floats and the people who make them.

Nebuta House

Click above for larger image

Dimensions
The Nebuta House site occupies 13,012 m2 on the waterfront of Aomori Harbour. The total building area is 4,340 m2 with a gross floor area of 6,708 m2 which includes the engawa (covered outdoor walkway enclosed by steel ribbon screen), utility basement, two levels to accommodate the program of exhibit hall, theatre, multi-purpose / music rooms, restaurant and gift shop. At the highest point the building stands at 15.4 m, the first level is 4.5 m floor-to-floor, the second level is 5.9 m; both entrance and exhibit halls are double-height at 8.5 m.

Click above for larger image

Materials
820 steel ribbons, 12 m tall, encircle the glass-and-steel structure. The prefabricated ribbons are enamel-coated deep red (inspired by the traditional local lacquer ware) and have been installed using a four-point connection system, manually adjusted on-site.

Nebuta House

The building sits on 177 piles that go 27 m deep through fill to reach solid ground. In consideration of the soft sea side soil, the lightness of the steel structure was important and adopted early into the design process.

Nebuta House

The exposed round steel columns are as slender as possible – this also helps give the structure a feeling of physical lightness. The floor to ceiling window mullions are black, galvanized solid steel and fasten to the steel structure of slender columns to contribute structural support to the steel ribbon screen of the façade (horizontal wind load). Segments of the exterior wall are made up of prefabricated lightweight concrete panels.

Nebuta House

The interior is partitioned by a series of black, galvanized steel screens and panels, physically enclosing the space while maintaining visual connection beyond at certain angles. The galvanized steel used in the interior is treated with a patination process that blackens the metal while retaining the crystalline pattern of zinc galvanization.

Nebuta House

Architectural Design and Site Supervision:
molo (Todd MacAllen + Stephanie Forsythe)
d&dt Arch (Yasuo Nakata)
Frank la Rivière Architects Inc (Frank la Rivière)

Structural Engineering: Kanebako Structural Engineers
MEP: PT Morimura & Associates, Ltd
Construction: Kajima – Fujimoto – Kurahashi Construction JV

The post Nebuta House
by Molo
appeared first on Dezeen.

Eel’s Nest by Anonymous Architects

Eels Nest by Anonymous Architects

This 4.5 metre-wide house in Los Angeles by Anonymous Architects was inspired by the narrow residences found in Japanese cities.

Eels Nest by Anonymous Architects

The three-storey house is named Eel’s Nest – a reference to the unusually narrow proportions of its plot – and is located in the hilly Echo Park neighbourhood in the north of the city.

Eels Nest by Anonymous Architects

Another small house had occupied the site before, but all that remained were basement walls which have been incorporated into the new structure.

Eels Nest by Anonymous Architects

To save space there are no corridors inside the building, but stairs lead up from the entrance to a first floor living room, second floor bedrooms and a terrace on the roof.

Eels Nest by Anonymous Architects

Other Californian houses we’ve featured include a writer’s residence in north Hollywood and a Malibu house with aeroplane wings for a roof.

Eels Nest by Anonymous Architects

See more houses on Dezeen »

Eels Nest by Anonymous Architects

Photography is by Steve King.

Eels Nest by Anonymous Architects

Here’s some information from Anonymous Architects:


Eel’s Nest
Echo Park, California

The name Eel’s Nest is often given to very narrow lots in Japan, those typically 5 meters or 15 feet in width. The width of this lot in Echo Park is exactly 15 feet and architect Simon Storey felt it was the perfect site to experiment with compact and efficient urban living.

Eels Nest by Anonymous Architects

By building vertically, simply and minimally, he was able to use every square foot of space to create a live-work house.

Eels Nest by Anonymous Architects

The lot size is 780 square feet and the original building on site was around 370 square feet. The permit from 1927 shows a small house on it’s own lot, which this rules out the possibility it was a carriage house.

Eels Nest by Anonymous Architects

It’s existence was so unique that employees at the building department said they had never seen anything like it.

Eels Nest by Anonymous Architects

In order to maximize the site and expand by an additional story special permission was required by the planning department. The original house was completely demolished except a few walls in the basement, which are still visible.

Eels Nest by Anonymous Architects

Because the house is built to the property line the code requires that the house be fire rated on the exterior.

Eels Nest by Anonymous Architects

To solve this challenge, Simon clad the house cement plaster for fire resistance. The interior space has now doubled to create a Warm wood floors and cabinets run through every level and light penetrates into the living and first level spaces by creating an open stair at the 2nd level.

Eels Nest by Anonymous Architects

A roof deck, which rises above the dense urban development, has views that extend as far as the Hollywood sign and the San Gabriel Mountains.

Eels Nest by Anonymous Architects

Architect: Anonymous Architects
Size: 960 sq.ft (approx 89 sq.m)
Lot size: 780 sq.ft (approx 72 sq.m)
Bedrooms: 2
Bathrooms: 1
Design and Construction complete in March 2011

The post Eel’s Nest by
Anonymous Architects
appeared first on Dezeen.