Sou Fujimoto is the nineteenth architect to feature on our festive calendar. The Japanese architect, who claims to design structures “in between” architecture and nature, designed a cloud-like structure for this year’s Serpentine Gallery Pavilion and previously completed a tiny wooden house built from a stack of chunky timber beams (pictured).
See more architecture by Sou Fujimoto »
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Sou Fujimoto appeared first on Dezeen.
Japanese architect Sou Fujimoto has designed a house encased in a lattice of giant sticks as part of a series of dream houses proposed for Spain’s Matarraña region (+ slideshow).
Sou Fujimoto is one of 12 architects that has been commissioned by French developer Christian Bourdais to create a holiday home for the Solo Houses series, and was given carte blanche to come up with any concept within a set budget.
Named Geometric Forest, the proposed house will comprise a two-storey stone and glass volume, enveloped on all sides by a complex framework of interwoven logs.
Residents will be able to clamber between floors by using the lattice as a climbing frame, but will also be able to use the structure as shelves for displaying plants and other items.
According to the architect, it will be “simultaneously enclosed and protected, as well as completely open”, allowing wind and sunlight to filter through its walls.
The house will be the architect’s first residential project in Europe, but will follow similar design principles to the Serpentine Gallery Pavilion he completed earlier this year in London’s Kensington Gardens.
These ideas derive from the architect’s concept of “primitive futures”, which looks at the origins of architecture and borrows forms from humble caves and animals’ nests.
So far only one house has been completed in the Solo Houses series – the symmetrical concrete Casa Pezo by Chilean studio Pezo Von Ellrichshausen. A total of 12 are proposed and include designs by Didier Faustino, Johnston Marklee and Takei Nabeshima.
Here’s some extra information from Sou Fujimoto:
Geometric forest
Simply put, this house is like a geometric forest.
Combining untreated wood in its natural form in an irregular lattice to create a loose boundary. Natural breeze flows through the gaps, and strong summer sun is shielded by this loose lattice structure; between nature and artificiality. A place both loosely protected and at the same time, thoroughly open.
One is able to physically climb through this lattice, to the upper part of the structure is a space like a sky-terrace where one can find a place of refuge. Move through the space like climbing a tree.
The gaps, or spaces between the lattice structure can be used as shelves, or a place for your favourite pot-plant. A place to live, can be re-written as a place filled with opportunities or cues where one can engage, it is also a place to harness and invite elements such as wind and sun to orchestrate a pleasant space.
This forest of lattice structure will be place for living which is new yet primitive.
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A rock garden filled with trees and shrubs is sandwiched between glazed rooms and floating windowless walls at this house in Japan by mA-style Architects (+ slideshow).
Japanese studio mA-style Architects designed the house for a residential site in Fujieda, Sizuoka Prefecture. The architects felt that residents would be better off without a view of their surroundings, so they designed an insular house with a private garden.
Named Green Edge House, the residence is surrounded on all sides by the narrow garden and glazed walls to allow residents to open every room out to the greenery.
“At first we imagined a house with an inner courtyard. However, indoor privacy is not kept in the architecture around the courtyard,” explained architects Atushi and Mayumi Kawamoto.
“The transparency of the glass weakens consciousness of a partition between inside and outside. Then the green edge becomes a vague domain without a border,” they added.
A blank white wall encases the house and garden, but hovers 65 millimetres above the floor so that daylight can filter into the house without compromising residents’ privacy.
As they chose not to add a courtyard, the architects positioned the living room and kitchen at the centre of the house, with a bedroom and entrance on one side, and a Japanese room and bathroom on the other.
The toilet and washbasin sit beyond the perimeter of the other rooms, so residents have to venture into the garden to use them.
Atushi and Mayumi Kawamoto founded mA-style Architects in 2004. Other projects by the duo include a house where rooms are contained inside two-storey boxes and a residence that points outwards like a giant rectangular telescope.
Photography is by Makoto Yasuda, Nacasa & Partners.
Here’s a longer description from mA-style Architects:
Ryokuen no Su (Green Edge House)
Design Plan
There was the building site on a gently sloping hill. It is land for sale by the lot made by recent land adjustment here. The land carries the mountains on its back in the north side and has the rich scenery which can overlook city in the south side. However, it was hard to feel the characteristic of the land because it was a residential area lined with houses here. Consideration to the privacy for the neighbourhood was necessary in a design here because it was a residential area.
Therefore at first we imagined a house with an inner court having a courtyard. However, indoor privacy is not kept in the architecture around the courtyard. In addition, light and the air are hard to circulate, too. Therefore we wanted to make a house with an inner court having a vague partition.
At first we float an outer wall of 2,435mm in height 800mm by Chianti lever from the ground. We make a floating wall by doing it this way. While a floating wall of this simple structure disturbs the eyes from the neighbourhood, we take in light and air. A green edge is completed when we place trees and a plant along this floating wall. That’s why we called the house “Green Edge”. The green edge that was a borderland kept it intact and located a living room or a bedroom, the place equipped with a water supply for couples in the centre of the court. Then a green edge comes to snuggle up when in the indoor space even if wherever. In addition, we planned it so that nature could affect it with a person equally by assuming it a one-story house.
A green edge and the floating wall surrounded the house, but considered it to connect space while showing an internal and external border by using the clear glass for materials. The transparency of the glass weakens consciousness of a partition between inside and outside. Then the green edge becomes a vague domain without a border. The vagueness brings a feeling of opening in the space. In addition, the floating obstacle that made the standard of a body and the life function in a standard succeeds for the operation of the eyes of people.
It is like opening, and a green edge and the floating wall produce space with the transparency while being surrounded. The space changes the quality with the four seasons, too. This house where the change of the four seasons was felt with a body became the new house with an inner court which expressed the non-functional richness.
The Green Edge House does not change the inside and outside definitely.
There is the approach in migratory of green edge and the floating wall. The green edge along the floating wall is the grey area that operated space and a function from a human physical standard and the standard of the life function. We arrange the opening to a physical standard. Act in itself to pass through the floating wall becomes the positioning of the approach as psychological recognition.
In the Green Edge House, various standards make mutual relations each and operate space. For example, as the human physical dimension, standing is 1500-1800mm, and sitting is 820-990mm. On the other hand, as the human working dimension, 750-850mm on the desk, and 730-750mm in the washstand are normally scale. From the module that such a human physical standard and the standard of the life function, floating wall was set with 650mm from the floor, 800mm from the ground.
By doing so, we created the domains where the eyes of the people does not cross of inside and outside. It leads to a feeling of opening for the living people. The floating wall shows an internal and external border. On the other hand, transparency of the glass weakens internal and external difference. With the operation of the standard, and it raises excursion characteristics not to toe the mark.
The Green Edge House is the house which was rich in the variety that balance of the space was planned by a building and a physical standard.
Location: Fujieda – City Sizuoka Japan
Date of Completion: December 2012
Principal Use: House
Structure: steel construction
Site Area: 200.90m2
Total Floor Area: 73.01 m2
Structural Engineer: Nakayama Kashiro
Exterior Finish: Fibre reinforced plastic waterproofing
Floor: Birch wood flooring
Wall: cloth
Ceiling: cloth
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has a hidden garden around its perimeter appeared first on Dezeen.
This symmetrical concrete house by Chilean studio Pezo Von Ellrichshausen is the first in a series of 12 holiday homes underway in the Spanish canton of Matarraña and will be followed by others designed by Sou Fujimoto, Didier Faustino and more (+ slideshow).
Casa Pezo is the first and so far only completed residence in the Solo Houses series – a project commissioned by French developer Christian Bourdais that invited a host of international architects to design a dream house with no constraints besides budget.
Architects Maurizio Pezo and Sofia von Ellrichshausen of Pezo Von Ellrichshausen based their house on the principles of “symmetry and homothety”, creating an evenly proportioned building that centres around a courtyard and swimming pool.
The main living spaces of the house are raised two storeys above the ground so that they float over the landscape. They’re supported by a chunky central column, which accommodates the building’s entrance and contains the swimming pool.
“Occupants feel a floating sensation as they hang over a podium that only sustains the centre of the building,” explained the design team.
To maintain the unyielding symmetry, the building has two identical entrances that are both accessed from a single staircase.
Once inside, residents use a spiral staircase to walk up to the house’s main floor, where a living room, dining room and pair of bedrooms are neatly positioned around the edges of the courtyard.
All four rooms have floor-to-ceiling glazing, which slides back to allow each one to be transformed into a terrace, while four balconies form the square corners of the plan.
The architects looked at the design of traditional Mediterranean courtyard residences when developing the layout and proportions of the plan. “The size of the swimming pool, a quarter of the patio, sets the standard for each the modules of the peripheral ring,” they said.
The sides of the pool and courtyard are lined with white ceramic tiles to provide a counterpoint to the bare concrete visible everywhere else around the building.
Casa Peso was completed in June 2013, but is set to be followed by 11 more projects from architects including Sou Fujimoto, Didier Faustino, Johnston Marklee and Takei Nabeshima.
Photography is by Cristobal Palma.
Here’s more information from Pezo Von Ellrichshausen:
Casa Pezo – the first of the solo houses collection
Chilean agency Pezo Von Ellrichshausen has completed Casa Pezo – Solo Houses’ first initiative of unique property development in Europe. The house is a belvedere situated in the breathtaking natural site Matarraña, two hours south of Barcelona. It overlooks the Natural Park of Puertos de Beceite.
This house is the first house completed by Solo Houses. Its project comprises building a dozen homes in the region, each designed by some of the most avant-garde international architects. Christian Bourdais, founder of Solo Houses, gives architects few restrictions when designing their interpretation of a second home. He believes that this specific type of habitat offers occupants and architects a freedom from preconceived notions of housing and an aperture to unique architectural design.
Maurizio Pezo and Sofia von Ellrichshausen designed a house, which dominates the landscape. A platform separates the structure from the mainland. Occupants feel a floating sensation as they hang over a podium that only sustains the centre of the building.
Casa Pezo is made of concrete. Its design is governed by symmetry and homothety. It plays with verticality and horizontality. Balance and rhythm begin at the entrance and is sustained throughout. Two sets of stairs and doors create a triangle on either side of a corner.
It is only once you have reached the upper floor that it becomes clear that the monolith flanking the podium is a swimming pool. Covered with ceramic tiling, the pool occupies the central part of a patio. It is a reference to Mediterranean architecture where a balance of warmth and shade is essential.
The size of the swimming pool, a quarter of the patio, sets the standard for each the modules of the peripheral ring. Beyond a rigorous geometric distribution, Casa Pezo is simple and minimal. A dining room, a living room and two bedrooms are filled with little furniture, mostly designed by the architects themselves. Large windows open completely to the outside. All indoor spaces have the possibility of becoming outdoor terraces.
The estate covers just under fifty hectares. Ten other houses, all designed by renowned architects, are planned. Each unique structure will be surrounded by 3 to 4 hectares of nature. This allows each home to fully integrate into an expanse landscape.
Architecture de Collection, the first agency specialising in the sale of outstanding 20th and 21st century architecture, markets the homes. Architects for the other homes include Sou Fujimoto, designer of the current Serpentine Gallery pavilion, Didier Faustino, Office KGDVS, Johnston Marklee, MOS Office, Studio Mumbai, or TNA Takei Nabeshima. For the price of a simple 100m2 apartment in a city, Solo Houses offers property with a creative concept.
Christian Bourdais believes in the principle of collecting original and unique designs. The business model is patterned following the Case Study House Program. A project that collected the most talented architects of 1950s to 1970s, in order to explore the concept of a modern and affordable vacation spot in California. Half a century later, each of these productions – 36 projects, not all of which have been constructed – has become a work of art. Amateur architecture collectors strive to own them. Solo Houses is a project of today. It is a reflection on our modern way of life. It is also based on the timeless art of living.
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of 12 architect-designed dream houses appeared first on Dezeen.
Famous for their collaboration on the iconic Pompidou Centre in Paris in 1977 (pictured), Richard Rogers and Renzo Piano both feature as the letter R in our A-Zdvent calendar of architects. Italian architect Piano recently completed an extension to Louis Khan’s Kimbell Art Museum in Texas, while Rogers’ London firm has just won a competition to design a new centre for social sciences at the London School of Economics.
See more architecture by Richard Rogers »
See more architecture by Renzo Piano »
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Richard Rogers and Renzo Piano appeared first on Dezeen.
44th Hill a repensé le design et la décoration de ce bar situé à Londres dans le quartier de Soho à la 52 North Street. Une ambiance cosy et chaleureuse, qui donne envie de prendre le temps de se poser et consommer une boisson chaude. Une création à découvrir dans la suite de l’article.
A high-end hair salon and family home are separated by a courtyard planted with a single tree in this building designed by Tokyo firm Apollo Architects & Associates in the Japanese city of Hamamatsu (+ slideshow).
Apollo Architects & Associates designed the Fleuve home for a client who required a small salon space from which to operate his business.
“Our design strategy is to minimise the size of the salon, to create a compact and intimate space where the hair stylist gives utmost attention and professional service to the customer,” said the architects.
The salon is located at the rear of the house and is surrounded on two sides by glass walls that look out onto a planted garden.
Clients walk around the building from the car park at the front to an entrance at the back, which is protected by large eaves.
A separate door for the owners leads to a turfed internal courtyard with a tree at its centre.
“[The] entrance court with a family symbol tree is specially designed as a transitional zone where the client is able to switch his mood from business to private,” the architects explained.
The courtyard adjoins a hallway that connects the owners’ entrance with the rest of the rooms on the ground floor, which included the master bedroom, bathroom and wash room.
Also on the ground floor is a room dedicated to the traditional Japanese tea ceremony, which looks onto its own small courtyard.
“Our intention is to fill the space with an atmosphere of warm welcome from the hair salon to the tearoom, and in and out of the house,” the architects added.
Above the salon is a large roof terrace that can be used to extend the open plan space containing the living, dining and kitchen areas when the family has guests.
Materials including poured concrete, walnut floorboards and built-in cabinetry lend the interior a warm and sophisticated feel.
Apollo Architects & Associates also designed a small house in Tokyo with a long staircase that leads to an entrance on the top floor and a tall, angular house that frames views of a nearby observation tower.
Photography is by Masao Nishikawa.
Here’s some more information from the architects:
Fleuve
The client, who is a hair stylist/a salon owner, requested us to design a house with a hair salon.
It is an exclusive and luxurious hair salon where the salon owner himself provides all services, and the number of clients is limited to only two at the same time.
Our design strategy is to minimise the size of the salon, to create a compact and intimate space where the hair stylist gives utmost attention and professional service to the customer.
On the contrary, we provide the maximum floor area of the house.
The glass-clad salon has a stylish and sharp atmosphere, but the sharpness is softened by greenery in the front yard and low and deep eaves above it.
Lounge for resting is provided as a buffer zone between the hair salon and the house. And entrance court with a family symbol tree is specially designed as a transitional zone where the client is able to switch his mood from business to private.
The client’s wife practices tea ceremony, so we design a Japanese room to welcome tea guests, with a compact courtyard (called “Tsubo-niwa” in Japanese) attached.
Our intention is to fill the space with an atmosphere of warm welcome from the hair salon to the tearoom, and in and out of the house.
On the second floor, family room and child’s room are divided by the stairs in between. Study room in the middle acts as an intermediate space in between.
Roof of the hair salon becomes a wide roof balcony adjacent to the family room.
It can be used as an extended family room on occasions such as big parties with many guests.
From the windows, one can enjoy the view of the family symbol tree, along with the beautiful background of the adjacent park and trees along the street.
Project details
Location: Hamamatsu city Shizuoka
Date of Completion: May 2013
Principal Use: Private Housing
Structure: Timber
Site Area: 299.99 m2
Building Area: 92.44m2
Total Floor Area: 129.99m2 (81.14m2/1F, 48.85m2/2F)
Structure Engineers: Masaki Structure (Kenta Masaki)
Facility Engineers: Shimada Architects (Zenei Shimada)
Construction: K.K.DEN co.,ltd.
Material Information
Exterior Finish: Lithing Spraying
Floor: Walnut Flooring
Wall: Wall Paper
Ceiling: Wall Paper
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News: here are the first photographs of Denton Corker Marshall’s visitor centre at Stonehenge – a prehistoric stone circle in England – which finally opens to the public tomorrow (+ slideshow).
After years of negotiations and a string of failed proposals, Denton Corker Marshall‘s Stonehenge Visitor Centre is now complete on a site 1.5 miles west of the stone circle, within the World Heritage Site but out of site of the ancient monument.
The building comprises three enclosures, all finished with different materials, which are sheltered beneath a undulating steel canopy and surrounded by a forest of over 200 angular steel columns.
The largest block is clad with sweet chestnut wood and houses the museum’s exhibition gallery. Another features glass walls and houses an education centre, cafe and shop, while a smaller zinc-clad structure is sandwiched between and functions as a ticket office.
The underside of the steel canopy is clad with zinc panels and features an elaborate pattern of square-shaped perforations. It oversails all three blocks, creating sheltered seating areas around the perimeters.
“The design of the centre is based on the idea that it is a prelude to the stones, and its architectural form and character should in no way diminish their visual impact, sense of timeless strength and powerful sculptural composition,” said Denton Corker Marshall’s Barrie Marshall.
“Where the stones are exposed, massive and purposefully positioned, the centre is sheltered, lightweight and informal. And where the stones seem embedded into the earth, the centre rests on its surface,” he added.
Visitors can walk from the centre to the monument via a winding pathway, or can choose to take a ten-minute shuttle ride.
Photography is by Peter Cook.
Here’s the full press release from Denton Corker Marshall:
New Stonehenge Visitor Centre Opens
Denton Corker Marshall’s new Stonehenge Visitor Centre opens its doors on 18th December, inviting more than one million visitors every year to experience the transformed ancient site.
Located 1.5 miles to the west of the stone circle at Airman’s Corner, just within the World Heritage Site but out of sight of the monument, the new visitor centre is designed with a light touch on the landscape – a low key building sensitive to its environment.
Sited within the rolling landforms of Salisbury Plain, the design consists of a subtle group of simple enclosures resting on a limestone platform, all sheltered by a fine, perforated, undulating canopy.
Barrie Marshall, director at Denton Corker Marshall, said: “The design of the centre is based on the idea that it is a prelude to the stones, and its architectural form and character should in no way diminish their visual impact, sense of timeless strength and powerful sculptural composition. Where the stones are exposed, massive and purposefully positioned, the centre is sheltered, lightweight and informal. And where the stones seem embedded into the earth, the centre rests on its surface.”
Three pods, finished in different materials, provide the principal accommodation. The largest, clad in sweet chestnut timber, houses the museum displays and service facilities. The second largest, clad in glass, houses the educational base, a stylish café and retail facilities. Located between these is the third, by far the smallest and clad in zinc, which provides ticketing and guide facilities.
Oversailing them all, and resting on 211 irregularly placed sloping columns, is a steel canopy clad on the underside with zinc metal panels and shaped with a complex geometry reflecting the local landforms.
Local, recyclable and renewable materials have been used wherever possible. The material palette includes locally grown sweet chestnut timber cladding and Salisbury limestone.
Stephen Quinlan, partner at Denton Corker Marshall, said: “Various strategies have been adopted in the design to ensure that the centre is environmentally sensitive and uses natural resources in a responsible way. These range from the natural sun shading qualities of the canopy which promotes natural ventilation and reduces the need for cooling in the pods, through to more technical solutions such as heat pumps and high efficiency insulation.”
The new building allows Stonehenge to have dedicated facilities on site for education and interpretation for the first time, with museum-quality exhibits that tell the story of the 5,000 year- old monument.
From the new centre, visitors can either walk to the monument or take a ten-minute shuttle ride. During the trip the henge emerges slowly over the horizon to the East.
Dr Simon Thurley, chief executive of English Heritage, said: “For too long, people’s appreciation of Stonehenge is this mysterious, impressive but anonymous monument. The Neolithic period itself is pretty much a murky expanse of time, shrouded by many outdated notions. We want people to come here and take away a fresh view.”
There will also be an outdoor gallery including the reconstruction of three early Neolithic houses, based on rare forensic evidence found near Stonehenge. These houses will be built by skilled volunteers and are due to be complete by Easter 2014.
Sustainable Design
The building is sensitively designed to sit lightly in the landscape. Reversibility – the ability to return the site to its current state – was a fundamental design concept. The building will last as long as it needs to but could, if necessary, be removed leaving little permanent impact on the landscape.
This is achieved by constructing it on a concrete raft which in turn sits on an area of ‘fill’ with minimal cutting into the soil. The modern construction, using slender steel columns and lightweight framed walls, and semi-external spaces allow the depth of foundations to be minimised.
Other green features include:
» An open loop ground source heating system that pumps underground water through a unit to extract/inject heat energy. This enables the building to be heated and provides some cooling without the need for fossil fuels.
» Fully insulated cavity walls – the timber pod is constructed of structurally insulated panels (SIPS), which enables efficiencies in construction whilst minimising material waste and ensuring the building is well insulated.
» Mixed mode ventilation – the building will be naturally ventilated whenever external conditions allow, switching to an efficient mechanical ventilation system that enables the heat energy in the exhaust air to be ‘recovered’ and transferred to the supply air, thereby reducing the load on the heating plant and saving energy.
» “Grey water”, including rainwater collected from the roof of the building, will be used for the bulk of water required at the visitor centre, e.g. for flushing toilets. Other water – e.g. for drinking – will be drawn from the aquifer, a local and renewable resource.
» The facilities will use on-site water treatment for sustainability and to avoid intrusive trenching for connections to water and sewer mains.
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Corker Marshall opens tomorrow appeared first on Dezeen.
This cluster of wooden cabins in Norway by architecture studio Rever & Drage features a hut with a retractable roof and a pair of sheds that slide open to frame views of a nearby fjord (+ slideshow).
Rever & Drage were asked to create a multi-purpose facility near to the client’s existing summerhouse, which they planned to used as a toolshed, a rain shelter and a camping area.
The architects responded by designing a group of three structures surrounding a small patio, entitled Hustadvika Tools. Each building integrates folding or sliding mechanisms, allowing them to be adapted for different activities or to suit changing weather conditions.
The largest of the three buildings is a rectilinear hut with a roof that slides forward, creating a canopy for the patio in front. Rather than exposing the interior to the elements, the open roof reveals a layer of glass that lets light into the space, but protects it from rain.
“Making the roof slide back and forth gave the project a tiny hint of Leonardo da Vinci activity, with its wheels, wires, sliding beams and counterweights,” said architects Tom Auger, Martin Beverfjord and Eirik Lilledrange.
The other two cabins function as storage areas and feature doors that slide apart. The rear walls of both sheds are glazed so that when open they allow views through to the coastline.
“The building in its closed position gives somehow the impression of an old prudent virgin preparing herself for the winter storms, whilst in its open position it is a decorated shed blooming in the midsummer night,” said the architects.
The structures are subjected to a daily spray of salt water from the strong tides, so they architects treated the wood with a layer of tar to protect it from corroding.
“The tar, whilst bringing out the visual depth of the wood, also makes the building quite charming in the low evening sun,” added the architects.
Photography is by Tom Auger.
Here’s a project description from Rever & Drage:
Hustadvika Tools
This small but multifunctional building was designed and constructed, both as an answer to the clients need for a wind-and-rain shelter at their outdoor summer house-piazza, and as a combined tool-shed and special-occasion-sleep-under-the-stars-facility. A complex program for a modest building, making way for double-functional elements and architectural ambiguity.
The site at the utmost north-western-coast of Norway, presented it with some harsh and always changing weather conditions including a daily spray of salt water.
Finally the building turned out looking both new and old. The main forms, in their abstract expression and lack of cornice, are typical modern looking, while the exterior surface is typical old-school with the wood panels coated in tar, just like the traditional waterproofing for local wooden boats. The tar, whilst bringing out the visual depth of the wood, also makes the building quite charming in the low evening sun.
The building in its closed position gives somehow the impression of an old prudent virgin preparing herself for the winter storms, whilst in its open position it is a decorated shed blooming in the midsummer night. All over the final result is also a Stonehenge-like place to be with its high and heavy features transported there from hundreds of miles away.
If the sun is out, but the northern wind is a bit chilly (which is a typical condition in this area), sliding out the doors from the smaller sheds will form a continuos embracement of the small piazza. At the same time the back walls of the sheds are made of glass, such that the ocean view is maintained.
If the weather is warm, but there is some rain in the air, the upper roof of the main building can be slid out by an electrical engine, simultaneously uncovering a skylight inside.
This glass roof is the main-roof of the building in terms of waterproofing, leading water away from the piazza to the back of the building, whilst the wooden roof on top is tilted the opposite way, to face the stronger western winds and also taking the snow burden during winter.
Making the roof slide back and forth gave the project a tiny hint of Leonardo da Vinci-activity, with its wheels, wires, sliding-beams and counter-weights.
In this problem-making, as much as problem-solving, the building generates interested smiles from engineer-hearted passers-by, as well as solving the original program and satisfying the clients.
Project name: Hustadvika Tools
Architects: Rever & Drage Architects
Design team: Tom Auger, Martin Beverfjord, Eirik Lilledrange
Location: Hustadvika, Norway
Area: 15 sqm
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with sliding doors and a retractable roof appeared first on Dezeen.
Situés dans le sud de San Francisco, les bureaux de la société AirBnB sont situés dans un ancien batiment industriel datant de 1917 réaménagé par le cabinet d’architecture Gensler. Des locaux magnifiques, avec notamment un espace central de toute beauté avec un mur de végétation. Plus dans la suite.
This is site is run by Sascha Endlicher, M.A., during ungodly late night hours. Wanna know more about him? Connect via Social Media by jumping to about.me/sascha.endlicher.
