Clint Eastwood Named Honorary Chairman of National Law Enforcement Officers Museum

We desperately wanted to begin this post with something like, “You’ve gotta ask yourself: do I feel lucky? Well, do you, museum?” but that would be tacky and we respect you too much. Instead, we’ll just tell you that the National Law Enforcement Officers Memorial and Museum in Washington, DC has signed on Clint Eastwood as its Honorary Chairman. The under-construction museum, which just broke ground this past fall across the street from the National Memorial, joined up with the museum largely in what sounds like a fundraising and awareness effort as they try and reach their $80 million goal to complete the Davis Buckley Architects and Planners-designed museum (thus far, they’ve received $43 million). Said Eastwood about becoming its honorary chairman, “The National Memorial and Museum are long overdue and richly deserved tributes to the men and women in law enforcement.” Below you’ll find a 2006 rendering of the building, which is expected to be completed and open for business some time by the end of 2013.

New Career Opportunities Daily: The best jobs in media.

Villa 4.0 by Dick van Gameren

Villa 4.0 by Dirk Van Gameren

Dutch architect Dick van Gameren has converted a family house outside Hilversum by punching three faceted skylights through the roof and driving a corridor through the middle.

Villa 4.0 by Dirk Van Gameren

The project has been named Villa 4.0 since this is the fourth major rebuilding of the single-storey house, which was built in the sixties and which has a plan based on hexagons.

Villa 4.0 by Dirk Van Gameren

Floor-to-celling glazing surrounds a new sunken living room at the back of the house.

Villa 4.0 by Dirk Van Gameren

A hexagonal block in one corner encloses three bedrooms with bamboo floors.

Villa 4.0 by Dirk Van Gameren

Other Dutch houses recently published on Dezeen include one with a fabric facade and another with an inwardly pitching roof – see all our stories about Dutch houses.

Villa 4.0 by Dirk Van Gameren

Photography is by Marcel van der Burg – Primabeeld.

The following is provided by the architects:


When the client set off with his family on a round-the-world sailing trip in 2007, he had no idea that this would lead him to the villa in which he lives today. Daily life on board ship was quite different from that on land: you had to generate your own electricity, make potable water with a watermaker, separate waste products down to the smallest scale and of course exploit the wind for travel purposes. All at once, things he and his family had scarcely considered on land became crucial matters. Back in the Netherlands, this fact of automatically considering aspects of sustainability became the springboard for their new house: Villa 4.0.

Villa 4.0 by Dirk Van Gameren

In the leafy Gooi region around Hilversum they found an attractive plot of land containing a simple bungalow dating from 1967 on a hexagonal ground plan. This became the stepping-off point for a major building project involving many specialists and with sustainability taken up in the plans wherever possible. So instead of demolishing the bungalow – which had already been radically altered in 1972 and 2001 – it was to be recast. The reuse principle is also in evidence in the garden design; trees and bushes have been replanted to fulfil a new duty in the garden and felled trees are stored away as firewood for the high efficiency wood burning stove in the kitchen. Heat pump, solar boiler and LED lighting are among the energy-efficient solutions deployed for handling all the big energy consumers, from heating, cooling and hot water to electricity. Some are feats of technology, others are proven yet largely forgotten solutions such as a clothes horse for drying clothes or a bicycle as the principal means of transport.

Villa 4.0 by Dirk Van Gameren

Design

Although the many modifications and additions had made the house bigger, it had also become increasingly inward-looking. The expanding wings were steadily enclosing the heart of the house with the hall and living quarters, and direct contact between the house and the magnificent surroundings was largely lost. The original detailing and material form were consistently adhered to during all previous interventions but the result was now thoroughly outmoded and of a poor technical quality.

Villa 4.0 by Dirk Van Gameren

The house has now been given its fourth look. Dick van Gameren Architecten was commissioned for the design, the principle guiding this most recent intervention being to create a house that is much more sustainable and able to reinstate the lost relationship between it and the landscape.

Villa 4.0 by Dirk Van Gameren

Dick van Gameren Architecten kept as close as possible to preserving the existing house, which gave the first step towards a sustainable end result. Taking the existing structure as the basis, the outer walls and roofs were modernized by adding insulation and replacing all windows and larger areas of glazing. The walls in the central section of the house were removed to create a new living hall looking out onto the surroundings on four sides. In addition, the physical bond between house and landscape has been consolidated by an all-glass pavilion attached to the living hall that reaches out to the brook flowing past the house.

Villa 4.0 by Dirk Van Gameren

Interior

The client desired a timeless interior. To this end the IDing interior design firm took ‘interior follows exterior’ as its stepping-off point and gave most of the rooms concrete floor slabs. This is because of that material’s durable and maintenance-friendly quality but also because it weds well with the finish of the external walls. Expansion joints made in the concrete floor continue the direction taken by the walls both inside and out onto the concrete paths in the garden. This strategy picks out the sight lines in interesting ways. The corners between walls, the kitchen, the sunken sitting area and the desk in the study all follow the architecture of the bungalow.

Villa 4.0 by Dirk Van Gameren

The harmony between internal and external space was a key design determinant, particularly in terms of colour, sight lines and lighting. Besides the aforementioned expansion joints many natural colours have been applied to ensure the house’s sense of timelessness. Exceptions to this are the natural wool felt upholstery of the settee in the kitchen and the sunken sitting area in the living room, which are a mass of colour. Curtains, all of which can be drawn up into rails in the ceiling, are in neutral tints.

Villa 4.0 by Dirk Van Gameren

Sustainability informs as much as possible of the interior. Thus, the kitchen boasts an ecological, high efficiency wood stove which after two heating sessions of 1.5 hours provides 24 hours of agreeable warmth. Not just that, the stove achieves low emission at high temperatures. The bedrooms have bamboo floors as a sustainable alternative to wood. Bamboo was chosen because it is a rapidly lignifying grass of extremely fast growth and therefore far more sustainable than any wood type. All lighting inside the house is LED based. Once again this choice is informed by sustainability; an LED lamp lasts roughly 50 times as long as an incandescent lamp and consumes about 90% less electricity.

Villa 4.0 by Dirk Van Gameren

Landscape

Like all the other specialists, landscape architect Michael van Gessel drew inspiration from the existing situation: magnificent beeches on the high-lying avenue, their branches reaching far across the steep slope, the garden’s choice position directly along the brook and several magnificent trees and shrubs round the house inspired him to draw up a new garden design whose reuse of existing plants and trees accorded well with the wishes of the client.

Villa 4.0 by Dirk Van Gameren

The special areas of the garden have been emphasized to the full by removing all extraneous elements – conifers, the many maples, low shrubs and the bare slope – to make room for a large lawn and a generous planting or replanting of perennials and flowering shrubs along the property boundary. Throughout the year, the garden presents an ever-changing though always ‘natural’ picture with a wealth of flowers and leaf shapes appropriate to both the underlying principle and the changing orientation to the sun.

A salient detail is that a large oak has been planted in the patio of the house. This makes it seem as if the house has detached itself from the edge of the woods to move into the open space in full view of the sun. Like the floor of the house the hard landscaping – entrance, parking and terraces – consists of large slabs of helicoptered concrete so that house and garden, inside and outside, flow one into the other as if it were the most natural thing.

Villa 4.0 by Dirk Van Gameren

Villa 4.0 took two years to design and build and has now been appropriated by the client.

Villa 4.0 by Dirk Van Gameren

More on aspects of sustainability in Villa 4.0 – The Netherlands

Sustainability is a concept that has been crucial in informing all components of the design, construction and daily use of the house. Rather than create an icon of sustainability, the idea was to consider practically and level-headedly at every step how the house could be least taxing on the environment in both the short and the long term. Key points of departure were maximum reuse of built elements and materials already on site and the use of sturdy and proven techniques to achieve the lowest possible energy consumption. The clients see a sustainable house not as the end of the story but as an inspirational spur to a way of life that places concern for mankind and nature and care of our planet at centre stage.

Villa 4.0 by Dirk Van Gameren

Reuse

The design steps off from the existing house, so that along with comprehensively improving the quality of both space and building performance it makes the most of the materials already on site. Components of the existing house that had to be removed have been reused elsewhere in the design where possible.

Roofs and facades have been insulated or reinsulated (R Value 3.5). The floor too has been insulated (R Value 3) and finished with a smooth continuous concrete deck floor on compression-resistant insulation. The old wood frames have been replaced with new aluminium-framed facade units of insulated glass (U Value 1.1)

Villa 4.0 by Dirk Van Gameren

Energy and indoor climate

A floor heating system has been laid into the new concrete deck floor that can heat or cool the rooms using low temperature heating (water < 35°C). A second system has been installed in the bedroom ceilings to facilitate additional cooling in summer. The entire system is fed by a thermal storage unit. All rooms can be regulated individually. Self-generated energy is not being treated as an option for the time being. The surrounding trees mean that there is much shade for a large part of the year and little wind. The part of the roof that does catch the sun all year long is provided with a solar boiler for hot water facilities (head pipe system).

Villa 4.0 by Dirk Van Gameren

Ventilation of the house is premised on the natural circulation of air throughout the building. Ventilation units in the outer walls make it possible to regulate the exact quantity of air entering the building. In summer, ventilation can be stepped up using a mechanical discharge system in the roof lights of the central hall. Of the two spaces with a lot of glazing, the kitchen has a glass sliding roof and the living room a roof hatch that allows for additional ventilation in warm weather. The ventilation units enable the house to be aired without having to leave windows and doors open.

Villa 4.0 by Dirk Van Gameren

Click above for larger image

Another source of cooling is by means of a roof-top pump that draws up water from the brook and sprays it onto the roof. The water then flows back into the brook. There is a high efficiency wood burning stove in the kitchen, fuelled with wood from the garden. The heat yield supports the heat pump, thereby reducing the energy consumption of the thermal storage system. The house’s open layout ensures that heat from the stove can spread throughout the house.

The living room heats up quickly in winter by being oriented to the south and having all-glass facades, and thus serves as a heat source for the house as a whole.

Villa 4.0 by Dick van Gameren

Interior

All living spaces receive daylight from more than one direction. Storage units, bathrooms and other ancillary spaces also receive daylight, some of it indirect. All artificial lighting is LED-based. Much of the furniture is built-in and where possible made of sustainable materials: wood floors and wardrobes – bamboo, kitchen cupboards – Ecoplex (poplar) laminate,  settees in the living room and kitchen, curtains in the nurseries – woolfilt,  floor covering in the sunken sitting area -bamboo.

Villa 4.0 by Dick van Gameren

Water and garden

Rainwater on the roofs is run off directly into the brook. All waste water (greywater) is run off into a tank where it is purified organically and then discharged into the brook. Only biodegradable cleansing agents are used in the house. The new garden layout is informed as much as possible by the replanting of existing trees and shrubs. This gives a greater openness but also more privacy where this is required. The garden is sprinkled exclusively with water from the brook. An electric lawn mower robot keeps the grass at the correct height, and the planting in the garden can be tended without the need for herbicides and artificial fertilizers.


See also:

.

Villa Geldrop by Hofman
Dujardin Architects
Villa 1 by Powerhouse
Company
H House in Maastricht
by Wiel Arets

Convention Centre by Eva Jiricna Architects and A.I Design s.r.o.

Convention Centre by Eva Jiricna Architects

A ring of mesh thorns crowns the roof of this convention centre in Zlín, Czech Republic, by London studio Eva Jiricna Architects and Prague architects A.I Design s.r.o.

Convention Centre by Eva Jiricna Architects

The centre is situated beside the University Library at the heart of a valley, so the roof is entirely visible to approaching visitors.

Convention Centre by Eva Jiricna Architects

Covered in metallic mesh, the triangular roof structures conceal smoke outlets, air conditioning and other service vents that would otherwise be visible from above whilst providing support for the external walls.

Convention Centre by Eva Jiricna Architects

Glass blocks fill a series of zig-zagging screens below the fins and are illuminated with colour by night.

Convention Centre by Eva Jiricna Architects

A multi-purpose auditorium at the centre of the oval-shaped building provides a venue for concerts, theatre, orchestra, conferences and exhibitions.

Convention Centre by Eva Jiricna Architects

Glass butterflies decorate the purple ceiling and furniture can be stored below the floor.

Convention Centre by Eva Jiricna Architects

A lobby circles the hall, providing access to rehearsal rooms, offices and a bar.

Convention Centre by Eva Jiricna Architects

Above photo by Dušan Tománek

Czech architect Eva Jiricna moved to London in the 1960′s and had her big break on the Lloyd’s Building – listen to Eva discussing her early career here in our earlier interview.

Convention Centre by Eva Jiricna Architects

This building is nominated for the Inside Awards. Eva Jiricna is also one of the judges and Dezeen is proud to be online media partner for the awards, taking place in Barcelona on 2-3 November.

Convention Centre by Eva Jiricna Architects

The Convention Centre is not the first building with a crown for a roof – see our earlier stories about a pointed yellow pavilion in Shanghai and the London 2012 Olympic Stadium.

Convention Centre by Eva Jiricna Architects

Above and top photo are by Filip Šlapal

More stories about cultural buildings on Dezeen »

Convention Centre by Eva Jiricna Architects

Photography is by Richard Davies apart from where otherwise stated.

More information is provided by the architects:


Cultural Centre, Zlin, Czech Republic

The Cultural and University Centre is situated in the town of Zlin, the only modern town constructed between the two world wars in central Europe, by the industrialist and philanthropist, Tomas Bata. The site belongs to the town of Zlin who has shared it between the University Library and the Cultural Centre.

Convention Centre by Eva Jiricna Architects

Photo by Filip Šlapal

The founder of the town was very keen on culture and education, hence adult ‘schools’ were situated in the very centre of the town, a few steps away from the main factories, becoming an integral part of the city concept and their configuration forming the famous ‘Y’ (two rectangular buildings meeting in an angle) creating a public space with a statue of the first Czechoslovakian President. Although the original school buildings collapsed about 15 years ago, a condition for the new development of this site was to maintain this urban concept.

Convention Centre by Eva Jiricna Architects

The site for the Cultural Centre serves multiple functions: a concert hall & theatre, conference centre, home for the administration of the Philharmonic Orchestra, the Centre’s own offices, rehearsal and recording studios, exhibition spaces, and bars.

Convention Centre by Eva Jiricna Architects

The main hall accommodates 850 seats, and approx 50 standing. The Conference Centre caters for roughly the same amount. Balls and other functions can take care of up to eleven hundred persons.

Convention Centre by Eva Jiricna Architects

Since the building is situated close to a major intersection, the main auditorium had to be fully isolated from all external noise, vibration etc. Also, for operational reasons, a circulation zone around the auditorium was a strict requirement. With this concept, the oval central space is surrounded by offices, rehearsal rooms etc., all in need of natural ventilation and daylight. Another external layer was required as extra sound insulation and sun protection.

Convention Centre by Eva Jiricna Architects

Photo by Filip Šlapal

The urban space, in the form of a ‘V’ opens on to the town centre and the incoming visitors proceed to the entrances situated close to the sharp part of the ‘V’. There is also an entrance to a glazed connecting ‘bubble’, a public restaurant shared by both organisations.

Convention Centre by Eva Jiricna Architects

Approaching from the town and main intersection the first visual is the glass brick ‘pallisade’ which absorbs the initial impact of noise and climatic conditions and unifies aesthetically the building whilst also allowing the daylight through. It can be backlit at night and is easy to maintain.

Convention Centre by Eva Jiricna Architects

At the point where the entrance and three storey foyer begins, the external envelope ends and opens the view into the interior of the building with plants, bars and exhibition spaces. The external area is enriched by a water fountain with changing coloured lights.

Convention Centre by Eva Jiricna Architects

Since the town is located in a valley and the centre is at the very bottom of it, the roofs are a very important element of the architectural solution. They are being looked at from a substantial part of the other development.

Convention Centre by Eva Jiricna Architects

Click above for larger image

The elliptical roof of the auditorium looks like a seamless efficient concrete shell, but contains all the service penetrations, smoke outlets etc, and air-conditioning plant, which does not present the most exciting view. For this reason the external envelope is interconnected with the roof by a perforated metal skin, supported by two large tubes with fins tensioned by vertical cables, also stabilising the external envelope.

Convention Centre by Eva Jiricna Architects

Click above for larger image

A great deal of attention had to be given to the inside of the concert hall. An elliptical space is not a good shape acoustically to begin with, therefore convex louvred cast white concrete panels were proposed, which proved a very effective solution. Because of the flexible demands of the space, the seats have been designed in such a way that they can be pushed under the podium and totally free up the central space for other functions.

Convention Centre by Eva Jiricna Architects

Click above for larger image

The building was built on a shoestring budget and had to be tendered twice since European funding has very strict requirements. The only luxury was the choice of colours for the seats, and a ‘flutter’ of glass butterflies across the acoustic ceiling.

Convention Centre by Eva Jiricna Architects

Click above for larger image

As far as the few weeks of this Cultural Centre’s existence seem to indicate, the Philharmonic Orchestra is performing very successfully with a rich and varied list of prominent international artists, and other functions are truly enriching the cultural and architectural reputation of this most remarkable city.

Convention Centre by Eva Jiricna Architects

Click above for larger image


See also:

.

Taichung Convention
Center by MAD
International Conference
Center by CAAU
Stadthalle Offenburg by
Hetzel and Ortholf

Nestlé Chocolate Museum by Metro

Nestle Chocolate Museum by Metro

Brazilian architects Metro have completed a red glass chocolate museum in the sky.

Nestlé Chocolate Museum by Metro

The elevated Nestlé Chocolate Museum bridges roads and wraps around buildings at the existing chocolate factory in Brazil.

Nestlé Chocolate Museum by Metro

Windows between the tunnel and the factory walls allow visitors to see chocolate being produced inside.

Nestle Chocolate Museum by Metro

Two towers at either end of the steel-framed structure enclose entrance and exit stairwells.

Nestlé Chocolate Museum by Metro

Located beside a highway between São Paulo and Rio de Janeiro, the bright red Nestlé Chocolate Museum is visible to passing traffic.

Nestlé Chocolate Museum by Metro

The museum shares its colour with the Nestlé Chocolate Museum in Mexico City by Rojkind Arquitectos, who also designed a laboratory in Querétaro, Mexico for the chocolate manufacturer.

Nestlé Chocolate Museum by Metro

See more stories about museums on Dezeen »

Nestlé Chocolate Museum by Metro

Photography is by Leonardo Finotti.

Here are some more details from the architects:


Nestlé’s Chocolate Museum, created by Metro Arquitetos Associados, opened this week.

Nestle Chocolate Museum by Metro

It’s a mega structure for public viewing at the Nestlé factory, the architectural design and museology were in charge of Metro Architects and consists of two towers and an elevated runway, all composed of steel and glass, spread over an area of ​​1850 sq m. The structure calls attention of travelers on the highway that connects São Paulo to Rio de Janeiro, the President Dutra, by their structural geometry. The factory is installed in Caçapava (near 110 km from São Paulo).

Nestlé Chocolate Museum by Metro

Click above for larger image

Part of the communication project Chocolovers, developed by JWT, brazilian agency of Nestlé, which takes children and adults to tour the factory. Now visitors will not be conducted on the ground, but the high walkway that runs along the inside of the factory.

Nestlé Chocolate Museum by Metro

Click above for larger image

With easy access structure provides a roadmap to visitors who, like in a museum, accompany the whole process of manufacture of Nestlé chocolates which will be presented in an interactive and engaging with information about the production process from raw material to the container without disturbing the production.


See also:

.

Urban Elevator
by Vaumm
National Glass Museum
by Bureau SLA
Kinderstad by Sponge
Architects & Rupali Gupta

Feral House Nichoir by Matali Crasset

Feral House Nichoir by Matali Crasset

A diamond-shaped cabin on legs is the first of four woodland hotel rooms to be completed by French designer Matali Crasset.

Feral House Nichoir by Matali Crasset

The timber hut is one of 90 projects by artists and designers along a 45 kilometre forest trail named Le Vent des Forêts in the Lorraine region of France.

Feral House Nichoir by Matali Crasset

Crasset’s two-storey cabin is minimally furnished with only a table, stools and a wood-burning stove on the ground floor and nothing but rugs on the floor above.

Feral House Nichoir by Matali Crasset

The steel-framed structure is clad in timber shingles and has no foundations, making it mobile.

Feral House Nichoir by Matali Crasset

Families of four can rent the cabin for nights during the summer by collecting a key from the nearby village.

Feral House Nichoir by Matali Crasset

Other hotels designed this year by furniture designer Crasset include one filled with touchscreens and another overlooking the Tunisian desertsee more stories about Matali Crasset here »

Feral House Nichoir by Matali Crasset

Although this forest cabin sits on the ground, many others featured on Dezeen recently are up in the trees – see here for all our stories about treehouses »

Feral House Nichoir by Matali Crasset

Photography is by Lucas Frechin/Le Vent des Forêts.

More information is provided by the designers.


The feral houses of Matali Crasset

In the heart of the Meuse (55), in Lorraine, tucked within the 5000-hectares forest of the villages Dompcevrin, Fresnes-au-mont, Lahaymeix, Nicey-sur-Aire, Pierrefitte-sur-Aire and Ville-devant-Belrain, along the Sentier du Vent pathway, the designer matali crasset has designed and built four feral-type houses, her “maisons sylvestres”. The cabins are centrally-positioned works of art in the forest. You can relax, dream, eat, watch but mainly just live an unequalled experience.

Feral House Nichoir by Matali Crasset

An experimental project, and an experimental method. The proposition brought forth by matali crasset with the inhabitants and volunteers of Le Vent des Forêts consisted of making the forest a living matter, revealing its enkindling magic. For this, Matali explains the necessity of “humbly confronting ourselves with the forest to understand and discern its being”.

Feral House Nichoir by Matali Crasset

To avoid entangling the issue of form and function, matali first drew up a creative setting revealing how everything is possible, regardless of the form – a module called a metaform. This was copied and positioned in space with the same ease as a child integrating a pre-existing form into its imagination or a game, creating four types of sanctuaries: the Chrysalide, the Brocard, the Champignon and the Nichoir.

Feral House Nichoir by Matali Crasset

These feral homes are ecological hotel rooms offering basic and embryonic comfort. Combinations of acacia wood, Douglas pines and galvanized steel blend into the landscape, camouflaged in nature and the securing undergrowth shadows which slowly appear.

Matali points out that “These lightweight structures are foundation-free and can be moved around the forest without harming nature or upsetting the ecosystem”.

Feral House Nichoir by Matali Crasset

Each forest cabin engulfs us with its individual, intriguing aura. These feral houses are sanctuaries for nestling, mingling with this ever-mysterious nature of extraordinary fragrances, sounds and whispers.

These four feral houses offer different lifestyles. Each one invites you to enter and symphonize with nature, live out your own story … Simple to use, the concept is available for everyone – come define it as you wish. An endless concept where the creative process revolves around the imagination.

Feral House Nichoir by Matali Crasset

Each house eagerly intertwines the indoor and outdoor environments enhanced by a terrace, a central room, a porch swing … Curious visitors, transient inhabitants of a natural space, can espy a jay-bird, a deer … The four houses are steadfastly and obstinately designed to work with sustainable development in mind.

Feral House Nichoir by Matali Crasset

The project answers the quest for a simple and yet exciting experience within a cosy and equipped space, inciting an inquisitive walker to explore the surrounding forest area. For a night or an afternoon, we can play out a Robinson role within Le Vent des Forêts.

Boasting thirteen years of artistic creation over 45 km of pathway, Le Vent des Forêts is initiating a project for adventure-seekers, art professionals and nature lovers. For hikers and walkers searching for nature’s essence, the four feral houses are perfect for contemplating this perfect cosmos. Two of the feral houses, the Chrysalide and the Brocard, will be inaugurated in May, 2010 and the two others, the Champignon and the Nichoir, in the autumn of 2010.

Feral House Nichoir by Matali Crasset

Information

A feral house may be rented out throughout the much-awaited sunny days between May and September.

After reserving, the walker is given a key in the village to go open the house chosen, accessed after walking or bike-riding through the forest.

Feral House Nichoir by Matali Crasset

Each house can accommodate a maximum of 4 people.

The comfort and equipment is basic with no inessential extras. Upon arrival, walkers will find duvets, covers, pillows and eating/cooking utensils at their disposal. The cabin has a wood stove, gas lights, compost toilets and an outdoor water supply facility.


See also:

.

Hölick Sea Resort by Edlund,
Palmer and Ingman
Holiday Cabana by
Premathilake
Rolling Huts by Olson
Sundberg Kundig Allen

52 by Suppose Design Office

52 by Suppose Design Office

A zig-zagging metal wall divides this clothes shop by Japanese architects Suppose Design Office, separating outerwear from undergarments.

52 by Suppose Design Office

A recessed skylight on one side of the 52 shop in in Shizuoka, Japan, illuminates a gallery of hanging coats, shirts and trousers.

52 by Suppose Design Office

Small trees are planted in the floor below the skylight.

52 by Suppose Design Office

There are no windows on the other side of the wall, where dangling light bulbs are suspended over undergarments, jerseys and accessories.

52 by Suppose Design Office

A staircase in one corner leads to a first-floor mezzanine overlooking the shop floor.

52 by Suppose Design Office

More projects by Suppose Design Office on Dezeen »

52 by Suppose Design Office

Photography is by Toshiyuki Yano.

The following information has been provided by the architects.


We had been requested to design a clothing shop in Shizuoka-shi Japan. In residential projects, we think about the relationship between the internal and external space but for this project, we started to think about the relationship between the products and the two different spaces.

52 by Suppose Design Office

In the west there are many galleries that do not use spots lights but rather uses natural light to light up the space. The reasoning for the use of natural lighting is that as most painting were painted under natural lighting and only when the painting is viewed under the state it was painted the true beauty of the painting will not show.

52 by Suppose Design Office

Could we not think the same for clothes? By creating a room that is like the outside and creating a room that is like inside, the clothes, shoes and accessories can be place in their rightful space.

A 9mm metal sheet wall was placed in a zigzag manner to separate the two different spaces and created big openings.

52 by Suppose Design Office

Click above for larger image

In the space light pours in from the skylight would be for outerwear, shoes and other products that would be used outside. The space that is light up with warm artificial lighting would be for inner wear and stationary. Each product had it place and we placed them to the rightful place.

By creating an internal space and external space in a building using only natural light effect, we were able to find a new relationship between outdoor and indoor space.

52 by Suppose Design Office

Click above for larger image

Location: Magarikane, Suruga-ku, Shizuoka-shi, Shizuoka, Japan
Principal use: Clothier
Construction Company: Mitsuko Terada
Structural Engineer: Ohno Japan
Main Structure : Steel construction, 2 story
Site Area: 460.35 sqm
Roof area: 112.62sqm
Total floor area: 127.333sqm
Completion: March. 2011
Design period: March – October 2010
Construction period: March 2010-November. 2010
Project team: Suppose design office | Makoto Tanijiri, in charge : Masashi Shiino
Photographer: Toshiyuki Yano


See also:

.

Double 00 ’09
by Case-Real
Stella K Showroom
by Pascal Grasso
Alberta Ferretti
by Sybarite

2012 Olympic Stadiums Rise Up in Stop-Motion Panache

Hey, remember the Olympics? No, no, not the one in Beijing a couple of years back, but the other one, the upcoming one in London. Outside of the UK, after that initial flurry of red hot anger over its logo fizzled out a few years back, there hasn’t been too much to talk about before the Olympic PR machine fires up and it provides a nice temporary summer distraction from next year’s presidential election. In the interim, there’s just lots and lots of construction, and that seems worth checking in on. The Telegraph just posted two fun time-lapse clips of the building of two of its main palaces of sport. The first, below, is the biggest of the lot, the Olympic Stadium, designed by the Kansas City-based builders of nearly every stadium ever, Populous (no word on if critics hate it as much as they did back in 2007 when plans for it were unveiled or if that was still just residual logo anger). After the jump, you’ll see Zaha Hadid‘s Aquatics Centre going up in record speed.

continued…

New Career Opportunities Daily: The best jobs in media.

Finalists Chosen for AIA’s Architect Barbie Dream House Design Competition

Back in May, you might recall, the American Institute of Architects continued their celebration of finally having seen an Architect Barbie brought to market after years of failed attempts by its members. At their annual conference, this year in New Orleans, the AIA hosted not just a workshop for 7 to 9 year old girls to both play with the new doll and to hear from a practicing female architect, but they also announced a contest to design Architect Barbie’s Dream House, seeing as its an association filled with people who do such a thing for a living, and if one Barbie should have an insanely well-designed house, it’s this one. The turnaround for getting designs in for the contest was quick, there isn’t really a prize to speak of, and Mattel has no plans to build the winning design, but the AIA still managed to get in close to 30 submissions. Now they’re asking the internet to vote on a winner from the five finalists. Voting runs until August 1st, and the winner will be announced the day after. It takes mere seconds to vote, and you don’t have to be an AIA member, so browse the finalists and chime in with your selection. If you want our opinion, we’re vying for Entry #30658049 because it has a hole outside of the exterior bathroom wall so that a giraffe can poke its head in. That seems vitally important.

New Career Opportunities Daily: The best jobs in media.

NHow Hotel Berlin by NPS Tchoban Voss

NHow Hotel Berlin by NPS Tchoban Voss

Extreme cantilever alert! A four-storey block with a mirrored underside juts out from the top of a Berlin hotel, 25 metres above the ground (photos by Roland Halbe).

NHow Hotel Berlin by NPS Tchoban Voss

The huge cantilever comprises the upper floors of the eleven-storey NHow Hotel, which was designed by German architects NPS Tchoban Voss.

NHow Hotel Berlin by NPS Tchoban Voss

The end of the cantilever is fully glazed whilst the underside is clad in polished aluminium, creating a mirror that reflects the hotel roof below.

NHow Hotel Berlin by NPS Tchoban Voss

Part of the NHow chain, the 310-room hotel contains music facilities that include a ballroom and a sound studio.

Another Berlin cantilever by NPS Tchoban Voss was also featured on Dezeen this week – see our earlier story.

See more stories about cantilevers on Dezeen »

The following text is provided by the architect.


3873 Music and Lifestyle Hotel nhow Berlin
New four-star hotel

Aligning with the existing storehouses the four-star “nhow Berlin” Music Hotel by the Spanish nh-group is located between the River Spree to the south and Stralauer Allee to the north containing 310 rooms and two restaurants, a convention center including a ballroom, and offering a spa area and an underground car park.

NHow Hotel Berlin by NPS Tchoban Voss

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The structure of the building and the façade design refer to the situation of the building A huge cantilevered cube cites the motif of a crane cabin, whereas the façade’s surface mingles into the ubiquitous brown stone materiality at the formerly important city harbor of Osthafen.

NHow Hotel Berlin by NPS Tchoban Voss

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Divided into two blocks the volume accommodates seven floors forming each forming an open U-shape onto the water and connected via glass interstice.

NHow Hotel Berlin by NPS Tchoban Voss

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The western block is topped by four additional floors in a separate volume overpeering the banks. Here the exclusive nhow suite gives access to the roof terrace and has an optional connection to an in-house sound studio, cantilevered on about seventy feet and hovering eighty feet above the water.

NHow Hotel by NPS Tchoban Voss

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On street level a floor-to-ceiling glass band with large-size panels distinguishes the hotel from the neighboring old storehouses. The façade zone above is formed by perforated brick coat with irregularly arranged square windows.

NHow Hotel Berlin by NPS Tchoban Voss

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The chosen bricks vary in color as well as in their line-up adding a vivid optical brigo to the massive volume by an irregular surface. The fitted top levels (7th to 10th floor) wear a highly reflective aluminum cladding and allow splendid views to the southwest through an all-glass double façade.

NHow Hotel Berlin by NPS Tchoban Voss

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Sergei Tchoban, nps tchoban voss
Berlin:
design and construction planning (LP 1-4)
design and façade planning (LP 5)
Karim Rashid, New York: 
Interior design
Client: NDC Nippon Development Corporation GmbH
gross floor area: approx. 22.000 m²


See also:

.

Hamburger Hof by
NPS Tchoban Voss
Torreagüera Vivienda
Atresada by Xpiral
MP09 Black Panther
by GS Architects

Consultorio en La Envía by Miguel Barahona and Luis Castillo

Consultorio en La Envía by Miguel Barahona

Waiting rooms inside this red-striped health centre by architects Miguel Barahona and Luis Castillo overlook the Sierra de Gardor mountains in southern Spain.

Consultorio en La Envía by Miguel Barahona

The two-storey Consultorio en La Envía is set into the sloping landscape beside a housing development.

Consultorio en La Envía by Miguel Barahona

The red panelled exterior of the centre contrasts with the earthy tones of the surrounding vernacular architecture.

Consultorio en La Envía by Miguel Barahona

A glass-walled courtyard creates a light well at the heart of the building.

Consultorio en La Envía by Miguel Barahona

Consulting rooms for GPs, paediatricians and nurses are located at the back of the building whilst storage areas are provided in the basement.

Consultorio en La Envía by Miguel Barahona

More stories about projects in Spain on Dezeen »

Consultorio en La Envía by Miguel Barahona

More stories about medical buildings on Dezeen »

Consultorio en La Envía by Miguel Barahona

Photography is by Fernando Alda – see more photographs on his website.

Here are some more details from Barahona:


La Envía Health Center in La Envía

La Envia Golf is a housing development lying in the foothills of the Sierra of Gádor. Leaving behind the Sea of Plastic, the great expanses of plastic-cloaked greenhouses of Western Almería, the road slopes up towards 2,000-metershigh mountains through a rugged landscape with barely trace of vegetation. In such an overpowering environment, the reference of the project could be no other than landscape itself: sea, plastic, desert, mountains. A landscape that is the result not only of unique natural conditions, but of the extraordinary action of man.

Consultorio en La Envía by Miguel Barahona

In opposition to the adjacent constructions, lande with a nostalgic iconography, the Health Center, though small in size, stands both as a landmark and a viewing point of the surrounding landscape. The means used are those of abstraction. The Health Center lies on the plot as an object without any compositional or iconographic references posed. This object is then subjected to a process of complexification through the use of color, randomness, reflection, and superposition, so as to make the building space- and placesensitive.

Consultorio en La Envía by Miguel Barahona

The standard, rigid functional scheme suggested by the Health authorities, (entrance-hall-waiting rooms-consulting rooms) is inverted (entrance-consulting rooms-hall-waiting rooms) so that public areas can be defined with a higher degree of freedom. In this way, the waiting areas face the landscape and the views can be devolved to the patients. The blurring of the distinction between circulation and standing spaces allows for the creation of a fluid space with its own rules. The autonomy of the layout is enhanced by the freedom in the disposition of windows and openings and the internal views created across the entrance patio and the hall that separates the adult and children areas. Transparencies, reflections, oblique views, and exterior perspectives shape a conceptual space that in spite of its simplicity, fluctuates between clarity and indetermination, contemplation and introversion.

Consultorio en La Envía by Miguel Barahona

Location: c/ Los Castaños, s/n, Urbanización La Envía Golf, Vícar, Almería, España
Project: septiembre 2005
Completion: diciembre 2006

Consultorio en La Envía by Miguel Barahona

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Architects: Miguel Barahona, Luis Castillo
Responsible contractor: Luis Castillo
Technical arquitect: Luis Hervás
Structure: satec ingenieros s.l.
Engineer: estingal
Developers: ayuntamiento de Vícar, consejería de salud, junta de Andalucía.
Contractor: jarquil andalucia s.a.

Consultorio en La Envía by Miguel Barahona

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Functional programme: Health center, 295 m2
1 consulting room for adults.
1 pediatric consulting room
1 lab, waitings rooms, toilets, possible extension
almacén municipal, local warehouse 243 m2

Consultorio en La Envía by Miguel Barahona

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See also:

.

Medical Centre in Milagro
by Doblee Architects
Maggie’s Centre by
Rogers Stirk Harbour
Health Centre by
Estudio Entresitio