Following the success of last year’s introduction of the Panerai Pocket Watch Tourbillon GMT Ceramica—a unique, gorgeous stealthy black ceramic watch with a skeleton movement—Panerai caught our attention with the introduction of two new 50mm pocket…
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Among the many magnificent watches we had the opportunity to preview at this year’s Salon International de la Haute Horlogerie (SIHH) in Geneva, more than a few incorporated visibility into their movements and complications. From skeletons to just a peek, watches that…
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A highlight of the annual Salon International de la Haute Horlogerie (SIHH), held every January in Geneva, is seeing the various brands compete against each other in the very technical…
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A pitched roof and six walls appear as a single block of concrete around these two residences in Geneva by Swiss architects clavienrossier (+ slideshow).
Named Two In One Villa, the building contains a pair of three-storey apartments separated by a party wall. Both have their own front doors and one is significantly larger than the other.
Grône-based clavienrossier gave the building a hexagonal plan to break down its scale, then used a uniform pale-grey concrete for all six elevations.
“The split geometry of the facades makes it difficult to get a grasp of the real size of the building, giving each individual facade a more domestic scale,” say the architects.
Larch-framed doors, windows and skylights puncture the walls and roof. Many of them are recessed to create balconies and terraces on every floor, but they follow a rectilinear grid rather than the angles of the walls.
Combined kitchen and living rooms occupy the ground floors of both apartments, while bedrooms and bathrooms are located on the first and second floors.
The site is flanked by woodland to the south and fields to the west, but has enough space for a large garden with a swimming pool stretching along one edge.
Another project we’ve featured by clavienrossier is a residence in the Swiss Alps where two concrete volumes sit atop the remains of a stone house. See more houses in Switzerland.
Photography is by Roger Frei.
Here’s some more information from clavienrossier:
Two in one villa
Geneva, Switzerland, 2012
The site is located on the edge of a residential zone on the outskirts of Geneva, flanked on its southern border by a forest and opening out to fields to the west. It sits right on the line between the city and nature.
The building, backed by a paved access ramp, is placed in the north-east corner of the site. The space between the building and the forest allows for a swimming pool and a large open garden.
The program includes two apartments of differing size, a continuous party wall separates the two.
A pitched roof over a diamond shaped plan, allows each apartment to have its own orientation. This distinct geometry allows for a greater degree of privacy for the residents and when viewed from the outside, gives the impression of a single unit.
The split geometry of the facades makes it difficult to get a grasp of the real size of the building, giving each individual facade a more domestic scale.
The exterior envelope of the building is entirely composed of integrally-coloured concrete, including the roof. Loggias built out of larch, perforate the facade and the roof of the building.
The building conforms to very high energy standards.
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by clavienrossier appeared first on Dezeen.
Marking the first kinetic machine made by MB&F that isn’t a timepiece, the MusicMachine confidently brings the innovative Swiss laboratory into new territory. While the spaceship-styled MusicMachine may not tell time and can’t be worn,…
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Swiss architects Bureau A have created decorative steel gates to discourage nocturnal “illegal activities” in the entrance to their Geneva studio.
Instead of designing an opaque barricade, the architects came up with a concept for a perforated gateway that would be both secure and ornamental.
The elaborate designs draw inspiration from textile designer William Morris and artist Kara Walker, and are laser-cut into the 10 millimetre-thick steel.
Bureau A also recently worked with students to create a travelling commune inside a collection of shipping containers – see the project here.
Photography is by Federal Studio.
Here’s some more text from Bureau A:
The realization of THE PORTAL, the latest design of Leopold Banchini and Daniel Zamarbide of BUREAU A, has just been completed. Located in the centre of Geneva, Switzerland. Régis Golay from federal studio has produced some images of the design piece.
Designer’s statement:
NEWS FROM SOMEWHERE
Like many places within the urban fabric the tiny area of intervention was of problematic nature. By the slight retreat of the street it formed a dark entrance close to some of the hot places in Geneva, hidden from direct views. It constituted thus a perfect place to hide and realize some of the things that are not allowed in our institutional life, a perfect nightspot for illegal activities. The portal appeared thus as a problem-resolution sort of project, the sort of project that is best served by the design of a wall with the pragmatic ambition to solve social issues or report them somewhere else. Within the modest size of the intervention it emerged during the short process of design a belief in the utopian decoration claimed by William Morris. The portal wanted to demonstrate the pleasure of designing and fabricating a decorated surface that could scape from the problem solving design formula. The modest utopia in this case would be to replace vandalism and nightlife odours by a naïvely ornamented pleasure. The same ingenuity sincerely believed in the Alice in wonderland effect that transforms a simple door into a magical threshold to be enjoyed on a daily basis. The portal proposes a game of light and shadows, appearance and disappearance through a very classical pattern that has been playfully modified by filling in or emptying the metal surface.
On another angle, the project was confronted to urban and city regulations and official commissions that lack of real competence on historical matters when it comes to intervene on sensitive ancient sites. They tend to find shelter on standards of contemporary recipes and catalogues of possibilities that might or might not be adequate when studied thoroughly. The portal wanted to play around the idea of what is classical and how much the question of contemporaneity needs to be addressed and constitute an issue or not. Manipulating a stereotype pattern borrowed to a traditional French blacksmith the design wanted to address the question of modern craftsmanship as much as the transmission of a certain vernacular classicism in dialogue with our own 2012 culture. The installation of the portal in this context of debate around classical, vernacular and contemporary languages in our city was an attempt to address the absurdity of these debates and place the aesthetic pleasure of design and craftsmanship at the centre of our preoccupations. In a sort of Kara Walker approach (particularly her work on black cut-paper silhouettes in dialogue with folklore traditional images from the south of the United States) the Portal uses the communicative potential of traditional patterns.
‘Before I leave this matter of the surroundings of life, I wish to meet a possible objection. I have spoken of machinery being used freely for releasing people from the more mechanical and repulsive part of necessary labour; it is the allowing of machines to be our masters and not our servants that so injures the beauty of life nowadays. And, again, that leads me to my last claim, which is that the material surroundings of my life should be pleasant, generous, and beautiful; that I know is a large claim, but this I will say about it, that if it cannot be satisfied, if every civilized community cannot provide such surroundings for all its members, I do not want the world to go on”
“How We Live and How We Might Live”
William Morris in a lecture of 1884
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Bureau A appeared first on Dezeen.
Bespoke detailing, matte paint jobs and cute cabriolets from across the industry
This year’s International Auto Show in Geneva brought about design innovations and curious concepts hitting all different market segments. From customizable supercars to cute cabriolets, the following themes prevailed at the show.
Customers shopping for the latest supercar have more options than ever on factory paint and interiors. But for the truly discerning and unique individual, more and more companies are offering a genuinely bespoke design service where customers can take part in every step of the process. Much like getting a suit made, this time intensive approach requires picking from an extensive selection of some of the most beautiful materials in the world.
Ferrari unveiled its personalization service, called Ferrari Tailor-Made, which actually draws its roots from the custom coachbuiding that occurred in Maranello in the 1950s. The lucky few that qualify will be teamed with an expert Ferrari designer who will guide them through each step of the process, much like a tailor might explain the various options for tuxedo lapels.
Aston Martin also debuted their version of this deep customization program in Geneva. Called “Q” (you’ll forgive them the 007 references), the service offers to elevate customization beyond paint and leather selection, giving a customer the ability to alter the external and internal styling of the cars themselves. Since almost every car in Aston’s lineup is based on a common underpinning, the ability to manufacture a one-off masterpiece to a customer’s specification is within reach.
A predominant theme at the show came centered on the use of non-traditional paint finishes on new models. Once seen only in rap videos and aftermarket customization, matte and satin paint have hit the mainstream. From Aston Martin and Audi down to Hyundai, nearly every major manufacturer had a model on display done up in a dull finish. Of particular note were the Mercedes Benz SL63 AMG (having its world premiere at Geneva), the new Ferrari F12berlinetta in a stunning satin aluminum, and the Aston Martin Virage in a dark blue satin with yellow accents. Of course these finishes tend to work better in the showroom than in day-to-day practicality, but this was a show after all.
Last year at Geneva was the year of the hybrid, but with GM stalling production of the Volt due to slow sales, Tesla dealing with customer backlash from a technical issue gone viral, and general tepid interest across the industry in hybrids and electric cars, automakers were less enthusiastic this year. While the penchant for gas-free vehicles may have cooled in the general market, fuel efficiency is here to stay. Manufacturers from Mercedes to Ferrari were quick to point out their gas efficiency improvements and plans for even leaner engines to come, whether they be hybrid, diesel or just evolved gas technologies.
Geneva debuted several new convertible models, ranging from accessible to the “if you have to ask” variety. The first one to note is the VW GTI Cabriolet, a topless version of Volkswagen’s excellent compact car, slated only for the European market. Other droptops include the Mercedes-Benz AMG SL63, a 1200 horsepower Bugatti Veyron Grand Sport Vitesse, and the one-off, completely insane Lamborghini Aventador J, which does away with a windshield as well.
The most unexpected topless rendition was the Range Rover Evoque, introduced as a concept to gauge customer interest. A convertible SUV may seem like a gamble—especially after the unfortunate Nissan Murano still fresh in memory—but luckily the Evoque maintains the character that makes it appealing as a coupe. The addition of a roll-bar on a production version would go a long way to balancing out the rugged looks with the top down.
Four standouts by Ferrari, Bentley, Subaru and Toyota
Each year Geneva plays host to the International Motor Show, drawing in every relevant brand in the auto industry to show their latest, greatest and most innovative cars. While navigating the labyrinth of new releases and concept cars at the 2012 show we took note of four standouts across all categories of design, function and luxury.
While Geneva was packed with new model launches from almost every major manufacturer, the most consistently crowded floor belonged to Ferrari and its stunning new F12berlinetta. Even Internet leaks couldn’t dampen the enthusiasm for the model that Ferrari is calling the harbinger of a new V12 era. This is the most powerful and high-performance Ferrari ever, with aluminum construction using some alloys never before seen in a car. Aerodynamics play a critical role in the overall style of the F12, which Ferrari also claims to be the slipperiest they’ve ever made. While we were lukewarm on the overall styling in photos, in person it’s a horse of a different color (satin aluminum, to be precise). We look forward to getting behind the wheel soon.
Bentley also drew crowds, but for a very different reason: the already infamous SUV Concept EXP 9 F. Perhaps the most controversial SUV since the original Porsche Cayenne, the EXP was met with both derision and curiosity. Online opinion also appears to be mixed, with some claiming Bentley is diluting its rich heritage by building a truck while others are embracing the possibility of a high-performance British luxury SUV in the tradition of the estate car and shooting brake, albeit one that would make even the top Range Rover look pedestrian by comparison (and small—the EXP is enormous).
One thing is clear: the EXP represents a large chunk of potential profit that Bentley could claim, especially in areas where both a commanding ride height and luxurious interior are in high demand (China and the Middle East, for example). While our opinion on the concept is mixed, we did get to sit down inside with its interior designer Robin Page to learn about the thinking behind the SUV.
Elements like a dual-use cabin interior that’s both luxurious and rugged, a traditional British hunting sport aesthetic and some advanced tech features combine to give the impression of a very thought-out and pure concept, especially impressive considering the time from sketch to show was less than nine months. There is no question that the EXP’s very existence is a controversial move for Bentley, and we were assured by more than one person within the company that this remains a concept built for feedback and to gauge interest. That said, we fully expect to be seeing a production version in some form within the next few years; we can only hope that some of the smarter elements of the interior make the cut.
Not every car can be a ultra-luxury SUV or a temperamental supercar. Sometimes simplicity is best, especially when trying to reach a new generation of driving fans. While not new to Geneva, this was our fist chance to get some one-on-one time with the Toyota GT86. Jointly developed by Toyota and Subaru (and almost identical—Subaru’s version will be sold as the BRZ, while the Toyota version will be sold by Scion in the U.S.), the GT86 represents a laser focus on pure driving joy at minimal cost.
No magnetorheological dampening or push-to-start here—the purely functional GT86 uses springs and a key. The interior is spartan as well, but the short-throw gear changer feels solid in the hand and the seats are supportive buckets. Overall, it was refreshing to find a sporty rear-wheel drive 2+2 coupe with a manual transmission and a penchant for drifting for under $25,000.
La nouvelle Ferrari California 2012 devrait être présentée officiellement au Salon de Genève avant d’être disponible dans quelques mois. Avec des lignes magnifiques et un poids allégé de 30 kg par rapport à l’ancienne version du modèle, ce bolide proposera un moteur plus puissant.
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London designers JamesPlumb present a solo show of their work in Geneva this month, including a three-piece suite made by inserting cast concrete seats between the carved frames of a reclaimed sofa and armchairs.
Called Goodnight Day, the installation at Blancpain Art Contemporain gallery is sealed off from daylight and features lighting by the duo alongside assemblages of rescued furnishings.
The surviving half of a large ornate mirror is combined with a dilapidated chest of drawers while the shades of pendant lamps perch on top of bare wire standard lamps.
JamesPlumb won the retail category at last year’s inaugural Inside awards for their Hostem boutique and you can watch an interview that we filmed with them at the award ceremony here.
The exhibtion continues until 17 February.
Here are some more details from the gallery:
Goodnight Day
Galerie Blancpain Art Contemporain and Giancarlo Camerana are proud to present JamesPlumb’s first solo exhibition in Switzerland. Two artists under one name, James Russell & Hannah Plumb will completely transform the traditional white cube gallery for the occasion. Shutting off the space to natural light as they say “Goodnight Day”, they will create a unique environment with their signature lighting and assemblage.
The couple welcome the return to exhibiting in a contemporary art gallery – having studied fine art sculpture and resisted the call to define themselves or their work as either “art” or “design”. Their emphasis is on one one-off pieces made by hand, and yet their desire is to see the work used and loved day to day. Theirs is a desire to create an experience for the viewer, a journey, an emotion.
Amongst the new work presented, the couple will unveil additions to their acclaimed “Concrete Stitches” series which sees them take broken and abandoned furniture and render it functional again by casting concrete in on and around the frames. For the first time they have created a “suite” that constitutes a three seat sofa, with two accompanying armchairs.
The new assemblage presented continues from their desire to marry apparently disparate fragments into new works that appear as if they could have always existed. Half of a battered yet still ornate mirror frame combines with a shattered set of drawers that are barely able to sustain their own weight.
JamesPlumb’s profile continues to rise having recently won a prestigious Inside award, presented to them at the World Festival of Interiors by an esteemed jury of international judges for their interior design of menswear store Hostem. Other high profile projects include a commission for six sculptural chandeliers at Bloomberg’s London offices, international private interior commissions, and the recently launched “Chalk Room”, a discreet and quietly beautiful addition to Hostem.
The pair relish creating interiors and unique commissions – bringing an eye for the unusual and a passion for the timeless. Their interiors have traces of history, but with new stories to tell. Their philosophy suggests that all that we need is often already existing, but without sacrificing our modern expectations of taste, comfort, and luxury.
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.
