Après SOHN, c’est Shlohmo qui a produit le nouveau titre de la chanteuse Banks, intitulé « Brain » et extrait de son EP London. Le clip a été entièrement réalisé en noir et blanc avec une dimension graphique, psychédélique et symétrique très esthétique qui accompagne la voix envoutante de l’artiste.
Big Boi feat. Phantogram and Sade: CPU 2.0 2014 may well be the year of OutKast. The “Southernplayalisticadillacmuzik”-bumping duo is set to headline over 40 music festivals throughout the year, including Coachella and Governor’s Ball, plus both Big Boi and André 3000 are…
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Francesco Carrozzini a réalisé le clip de Banks pour le morceau ‘Waiting Game’ et dont l’EP « London » sortira le 10 septembre prochain. Un titre produit par le groupe Sohn, et un clip doté de belles images en noir et blanc collant parfaitement à l’univers musical de l’artiste originaire de Los Angeles. A découvrir dans la suite.
Italian bank ChiantiBanca has opened a string of new branches in Tuscany that are designed to look more like traditional local eateries than financial institutions.
Italian design studio DINN! and branding agency Crea International devised the Restaurant Experience Banking concept to integrate ChiantiBanca‘s customer services with a familiar local environment, such as a bar or restaurant.
“The design concept is a clear metaphor for the typical atmosphere of Chianti inns and their welcoming service,” explain the designers.
Traditional cash desks are nowhere to be seen, replaced by groups of tables surrounded by bar stools, chairs and cushioned seating cubes. Brochures in the centre of the tables are arranged to look like restaurant menus.
Digital technologies include video teller machines (VTMs), which replace the standard ATMs, and a touch-screen wall displaying information and advertisements.
Informal spaces at the front of the banks function as welcome zones, plus there are also play areas for young children.
“Such innovative service design proves ChiantiBanca’s will to provide Florence’s downtown urban and financial fabric the alternative of a genuine bank that they can empathise with and come back to,” comments Andrea Bianchi, CEO of ChiantiBanca.
Each branch shares a similar colour and material palette, including timber, Corten steel and earthy shades of brown and green.
The first two branches are located in Florence’s Piazza Duomo and the town of Poggibonsi. Others have opened in Fontebecci and Monteriggioni, also in the region.
Other unusual designs for banking branches include a building with a chequered cloak and a bank with cardboard meeting rooms. See more bank design »
Photography is by Dario Garofalo.
Here’s some information from DINN!
Restaurant Experience Banking for ChiantiBanca
The first revolutionary bank branch design is coming: a project aimed to upset the relations by blending the local heritage and the strongest customer service innovation of ever.
Client understanding
Restaurant Experience Banking concept is born from the need of ChiantiBanca to enhance the social and economic potential of the Tuscan territory, through an innovative service design for its branches.
Project insight
Starting from the idea to consolidate the relationships, the new service design gives life to an environment that recalls the inns of Chianti. The relational approach is more reassuring and confidential, thanks to a revolutionary layout that introduces different counselling areas: low tables with chairs, high tables with stools and zones for a closer privacy.
Tradition and modernity have been harmonised to create this new ChiantiBanca branch. The innovation is perceived from the welcome zone, an open and informal space where the banking advisor receives and invites the customer to sit at one of the tables place centrally offering a prompt service with the support of brochures.
The use of digital tools facilitates the direct access to information, underlining the innovative identity of the bank. New ATM stations have been prepared to provide an automated cash service, the use of which will be explained to the users. In this way it is facilitated a multichannel strategy justified by the complete absence of cash desks, moved in an area accessible by the customer only with the operators.
The strong attachment of ChiantiBanca to its origins is further transmitted from the elements on the perimeter, which promote the excellence of Chianti through an integrated displays and a video wall of communication. A digital communication system on the walls, called “Bacheca del Chianti”, communicates the values and identity of the bank through information and graphical tools that recall the materials use in the concept design.
The spaces are characterised by the use of natural and sustainable materials, such ad wood and corten, and of pastel colors, such as walnut and green. The soft lighting enhances the rough pavement, creating a pure atmosphere where involve the client in the expression of Chianti.
Brand performances
The new layout marks the beginning of a new era for ChiantiBanca towards a relational approach with clients innovative that will increase the distinctiveness of the Cooperative Credit. Apart from being just a place for daily banking transactions, the new branches become an opportunity to promote local products.
The design, development and management of the project have been made by Crea International and DINN!
The post Restaurant Experience Banking
by Crea International and DINN! appeared first on Dezeen.
Designer Emmanuelle Moureaux has brought her trademark colour spectrum to a fourth bank branch in Japan by surrounding the facade with brightly coloured sticks (+ slideshow).
The Tokyo-based French designer wanted to visually tie together the interior of the bank and the street beyond, so she added 29 vertical rods outside the glass facade and 19 behind it.
“This rainbow shower returns colours and some room for playfulness back to the town,” explains the design team.
When the bank is open, the glass panels pivot open to let visitors through to an indoor terrace filled with an assortment of colourful chairs.
Two glazed courtyards separate this informal meeting area from the rest of the bank. Each one appears as a glass vitrine and contains bamboo trees intended to reflect the verticality of the sticks.
Located in Ekoda, near Tokyo, this is the fourth Sugamo Shinkin Bank designed by Emmanuelle Moureaux. Others include a Tokyo branch with horizontal bands of colour and a Tokiwadai branch with colourful window recesses. See more banks on Dezeen.
Moureaux has also used coloured sticks in furniture design and previously launched the Stick Chair with narrow rods for legs. See more design by Emmanuelle Moureaux.
Here’s a project description from the design team:
Sugamo Shinkin Bank / Ekoda branch
Concept: rainbow shower
Sugamo Shinkin Bank is a credit union that strives to provide first-rate hospitality to its customers in accordance with its motto: “we take pleasure in serving happy customers”. Ekoda is the forth branch (third for designing the entire building) Emmanuelle Moureaux designs, responding to the client’s expectation: “creating a bank the customers feel happy to visit”.
The site is located in a commercial district with many stores. The site’s closeness to the town’s activities – also the heavy traffic and narrow sidewalk – inspired the architect to express this proximity in the building by merging the exterior and interior.
The building is offset approximately two metres from the property line, and the timber-decked peripheral space is filled with colourful 9 metre-tall sticks. These 29 exterior sticks, reflected on the transparent glazed façade, mix naturally with the 19 interior sticks placed randomly inside the building. This rainbow shower returns colours and some room for playfulness back to the town.
Entering the building, the visitors would notice that they are still in an exterior courtyard leading to the bank’s interior. Here also, the inside and outside are integrated. Walking around the glazed courtyard inside, there is a cafe-like open space filled with natural light. The bamboos in the courtyard extend skyward in concert with the colourful sticks.
The exterior deck space, interior open space, exterior courtyard, and the interior teller counters compose four layers of spaces. The layers are reflected on the glazing, and, combined with complex shadows, they create depth in the space.
Above: site plan – click for larger image
The post Sugamo Shinkin Bank, Ekoda
by Emmanuelle Moureaux appeared first on Dezeen.
A chequerboard of solid and void cloaks the tapered glass walls of this bank in Innsbruck by Austrian architect Rainer Köberl (+ slideshow).
The four-storey building, for European bank BTV, has a steeply gabled profile that creates enough height for two more storeys than are usually permitted in the area by local planning authorities.
The fibre-reinforced concrete panels function like louvres to moderate the daylight passing into the building.
Below the chequered screen, a wall of concrete surrounds the ground floor, with windows in the shape of overlapping circles.
The bank occupies the ground and first floors of the building, while the two upstairs floors are rented by a doctor and a shipping company.
We’ve featured a few interesting banks on Dezeen, including one with cardboard meeting rooms.
See all our stories about banks »
Photography is by Lukas Schaller.
Here’s a project description from the photographer:
Black and white squares cover the building in a regular pattern. It suggests a chessboard, but also has something of the white snow-covered mountains that surround Innsbruck. What really inspired Rainer Köberl for this new building on the edge of town he did not divulge to me.
But one thing is for sure: he succeeded in making a strong statement. He created a building that can hold its own in an urban architectural jumble without having to resort to great formal contortions.
We are standing on Mitterweg, a street extremely busy with both car traffic and pedestrians. A building supply store, even several large supermarkets, schools, residential buildings and commercial enterprises extend along its right and left sides.
The Vier Länder Bank, known as BTV for short, wanted to have a new building for a branch built here on Mitterweg and held a competition by invitation for its design.
The jury was chaired by the Viennese architect Heinz Tesar, who had built the head office for BTV, the so-called Stadtforum (completed in 2006), in Innsbruck’s historic centre.
In the course of the competition, the bank realised the property was actually too small for its needs and it did not award a prize. After being able to purchase an additional small lot adjoining the property, it invited the same participants to a second round.
That provided the Innsbruck architect Rainer Köberl a good opportunity to give his design an edge. He kept the pointy cap-like shape rising up to a peak, but proposed a different material for the facade and was able to win the competition.
The striking feature of this bank building is its steeply rising roof – Köberl wanted to make the building as tall as possible so it is not swamped by the surrounding urban architectural jumble. Actually, only two storeys are allowed in this location.
Site plan – click above for larger image
That is why the body of the building bends sharply towards the roof ridge from the second storey upward. Underscoring the shape is the striking pattern of the facade.
Ground floor plan – click above for larger image
Like a chessboard, the outer skin consists of square, concrete-coloured panels made of fibre-reinforced concrete alternating with black air holes of the same size. In order to be better able to gauge the size of the individual panels, Köberl recounts, he went to Vaduz. There, Hans Jörg Göritz had realised a similarly steeply rising form of roof ending in a point for the Landesforum and Landesparlament (parliament) of the principality of Liechtenstein, though in this case of small-sized bricks.
First floor plan – click above for larger image
Using the measurements of the bricks, Köberl was then able to count up and calculate what seemed to him the right size of panel for his own building. Behind the facade’s outer skin, the reinforced concrete structure with glazing all around tapers towards the top like a stepped pyramid. A 60-centimetre-wide steel maintenance balcony is positioned between the glass skin and outer skin of the facade.
Second floor plan – click above for larger image
Attached to it are steel struts which, in turn, hold the fibre-reinforced concrete panels. From the outside this net house allows hardly any views of the interior. From indoors, on the other hand, the dark squares scarcely obstruct the view out – better still, they help shut out the ugly neighbouring buildings and allow the focus on beautiful sights such as the silhouette of the mountains.
Third floor plan – click above for larger image
A concrete wall beginning its gradual ascent parallel to the garage entrance wraps once around the whole building at a certain distance from it, but then comes into contact with it on the east side after all.
Section – click above for larger image
Round windows are cut into the wall here; they provide views into and out of the more public part of the bank. Everywhere else the wall protects the offices from direct view but, because it is at a distance, it lets enough daylight indoors and creates a small inner court planted with greenery.
Section – click above for larger image
The bank occupies the ground floor and the first upper storey. Downstairs are the staff offices, reception counter and self-service area. Upstairs are meeting rooms and a small terrace, popular for private telephone calls or short breaks for smoking. The bank rents out the top two storeys to a doctor and a shipping company respectively.
The post BTV Branch Innsbruck
by Rainer Köberl appeared first on Dezeen.
The subtly different proportions of two concrete gables fronting a bank building in northern Germany create the illusion that one side is fatter than the other.
Strips of glazing outline the outer edge of both gables, so that even though one is taller the two elevations still appear to mirror one another from certain angles.
Berlin studio Stephan Braunfels Architekten designed the four-storey building for financial company Volksbank.
A glazed rotunda separates the two gabled wings and accommodates the entrance lobby.
The building’s rear elevation features the same gabled facades as the front, although one projects further than the other to frame an open courtyard.
You can see a few more unusual banks here, including one with protruding layers of colour.
Photography is by Olaf Mahlstedt.
Here a few more details about the project, plus a description in German:
Design for an financial service center for the Volksbank in Gifhorn
1st Prize in a competition for the realization
Historische Gebäudetypologie Der Gifhorner Fachwerkhäuser Wird Mit Minimalistischer Formensprache Moderner Architektur Weiterentwickelt
Die historisch gewachsene Struktur der Gifhorner Altstadt war geprägt durch zumeist schmale, tiefe und daher giebelständige Fachwerkhäuser, zwischen denen kleine Gassen die Verbindung zwischen öffentlichem Stadtraum und privat genutztem Landschaftsraum bildeten.
In den letzten beiden Jahrhunderten wurden viele dieser sogenannten Ackerbürgerhäuser zu bürgerlichen Stadthäusern mit traufständigen Walmdächern umgeformt.
Der Neubau für die Volksbank in Gifhorn nimmt die Struktur des historischen Stadtgrundrisses mit den ursprünglich giebelständigen und durch schmale Gassen getrennten „Ackerbürgerhäusern“ wieder auf.
Die minimalistische Architektursprache reduziert die historische Gebäudeform jedoch radikal auf seine wesentlichen Elemente Giebel, Dachhaut und Gasse.
Das Gebäudeensemble gliedert sich in zwei Riegel, die im spitzen Winkel aufeinander zulaufen.
Zwischen ihnen öffnet sich eine Gasse, in deren Zentrum sich eine gläserne Rotunde – der „Marktplatz“ der Volksbank befindet.
Die helle und 24h geöffnete Rotunde dient als Gelenk zwischen öffentlichen Stadtraum, Gebäudeinnenraum und privatem Landschaftsraum und verbindet die flexibel teilbaren Geschäftsräume und Büros der beiden Gebäuderiegel miteinander.
Im Kontrast zu den weitgehend geschlossenen – in hervorragendem Sichtbeton gegossenen -Giebelwänden öffnet sich die mit Ton-farbenen Elementen verkleidete Gebäudehülle der dazwischen liegenden Längswände und Dachflächen zum Innenhof hin mit raumhohen Verglasungen – gleich einem Vorhang.
Der spannungsreiche Wechsel des Gefüges verglaster Fassaden und kubischer, geschlossener Baukörper und deren kecke Durchdringung bringt eine dynamische Architektur hervor, die durch die Asymmetrie der gestaffelten Bauglieder in ihrer dramatischen Gestik noch gesteigert wird – ein Kontrapunkt zur eher monotonen Nachkriegsmoderne der Umgebung.
Location: Steinweg 51, D – 38518 Gifhorn
Client: Volksbank eG Braunschweig Wolfsburg
Planning and Construction Period: 2008 – 2010 [LP 1-9 HOAI]
GSF / GV: 3,900 m² / 14,000 m³
Construction Costs: 10 million euros
Amsterdam studio Sander Architecten designed cardboard meeting rooms inside a bank in the Netherlands.
Giant cylinders of cardboard and paper enclose meeting rooms inside the headquarters for financial services advisor Rabobank.
The multi-ply cardboard is layered to create textured patterns on the surface of one cylinder.
Translucent Japanese paper covers a second cylinder, as well as the springy lanterns that surround circular skylights.
Timber screens and furniture fill the surrounding open-plan areas.
This is the second project this month to feature paper or card, following a cardboard labyrinth at the Serpentine Gallery – see all our stories about cardboard here and all our stories about paper here.
See also a bank with faces in the walls and another resembling the Amazonian forest – click here to see all our stories about banks.
Photography is by Alexander van Berge.
Here’s more information provided by Sander Architecten:
Sander Architecten stretches the boundaries of the modern office.
Amsterdam firm Sander Architecten completed the Square of Rabobank Nederland headquarters. Rabobank selected Sander Architecten out of a group of twenty to create and supervise the execution of the entire interior design (56.000 m²), including the twenty-five-storey building.
As the office interior is being redefined by the introduction of new methods of working, interior architecture is facing new challenges. In today’s work environment, the emphasis is on cooperation in teams and group dynamics; people go to the office for the social aspect more than anything else. To realize this ambition, we view the building as a modern city. After all, the city is where individual freedom and spontaneous interaction are all-important.
The effectiveness of this concept is visible on the Square, located at the plinth of the new office building. Employees and visitors work, eat, read, and meet one another in a diverse landscape.
The ‘buildings,’ separate spaces with different functions, join up with the uncluttered grid of skylights and slim columns. The new style of working is based on freedom, trust and taking responsibility. In the client’s view, its employees are all entrepreneurs, responsible for their own performance in an environment free of fixed rules, fixed times and fixed locations. The work spaces are tailored to specific activities: multi-person meetings, face-to-face meetings or a place to write a report with maximum concentration. Each activity has its own space.
Click above for larger image
In nature routes are formed naturally; people intuitively find their way. Architect Ellen Sander was seeking that naturalness, that ‘flow’. The busiest routes automatically formed around the cores with the lifts and staircases, beyond which more peaceful zones naturally emerged. Moreover, the psychological concept of ‘flow’, the moment when need, desire and ability come together, connects the employee’s sense of happiness with an optimum result for the employer. The guiding principle for the interior design therefore became ‘form follows flow’. To enable flows vertical partitions were avoided so that the horizon would always be visible. ‘The office is my world and the world is my office.’
The design was generated by cooperation with a number of other designers. The Square on the plinth could not turn into a monotone, homogenous space. Diversity is required in order to stimulate people, and despite the enormous scale of the building, people are not left wandering around lost in sterile areas.
Click above for larger image
The meeting pavilions designed by Sander Architecten are made from washi paper and paperboard. In combination with the Chinese lantern from washi paper suspended from the skylight, a distinctively tactile experience is created. The paperboard pavilion, which features attractive patterns created by the different uses of the material, is particularly inviting to touch.
Sharing art with the city
The wall annex glass display case is the centrepiece of the Square, and features On the departure and the arrival, a work by Chinese artist Ni Haifeng. The vertical museum contains porcelain objects including scissors, a bottle of Glassex and an iron, each painted in delftware style. The work is featured in the interior, too, with stills and a film about ‘the making of’ on view in the area behind the case.
Click above for larger image
Client: Rabobank Nederland
Interior Architect and supervisor: Sander Architecten (Amsterdam)
Gross floor area: 56.000 m2
Completion: December 2011
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| Nothing office by Joost van Bleiswijk | Cardboard office by Paul Coudamy | Magma Art Bookshop by Blustin Heath Design |
Dezeen archive: the Sugamo Shinkin Bank in Tokyo by Emmanuelle Moureaux is one of our most popular recent stories so here’s a roundup of all our stories about banks. See all the stories »
Spanish architects Carlos Pereda Iglesias and Óscar Pérez Silanes have completed the offices of a bank that was founded by architects for architects in Pamplona, Spain. (more…)
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