Après avoir déjà pu parler de son talent pour la typographie, l’artiste new-yorkaise Dana Tanamachi a réalisé récemment « Flourish », un projet personnel fait en collaboration avec Andrew Ryan Shepherd à découvrir en vidéo dans la suite. Une fresque typographique dorée magnifiée par le vidéaste.
Le duo de réalisateurs Fleur & Manu, interviewés dans notre saison 1 de Fubiz TV, a mis en images le morceau « Hate or Glory » de l’artiste éléctro français Gesaffelstein. Une production Division très sombre, montrant un jeune homme ambitieux et féru d’or courir à sa perte. A découvrir dans la suite de l’article.
A gigantic golden chasm welcomes visitors to this shopping centre in Malmö by Swedish architects Wingårdhs (+ slideshow).
Located to the south of the city in Hyllie, the Emporia shopping centre is Wingårdhs‘ first realised building from a competition-winning masterplan of proposed housing and office blocks. Once all the buildings have been completed, the “amber entrance” will be the only section of the shopping centre visible from the surrounding new streets.
“The main idea of our winning competition entry was to hide inward-looking retail behind a wreath of residential and commercial buildings,” said the architects.
The curving golden glass stretches across a gridshell structure, which curves up and back to allow daylight to penetrate the entrance courtyard. From here, shoppers are led towards three storeys of retail arranged around a figure-of-eight plan.
The roof of the structure accommodates a large park with a faceted landscape made up of lawns, terraces and pavilions.
“In the future the roof will be developed with outdoor dining and a spa facility,” added the architects. “Like amusement parks, shopping centres need to offer new attractions at regular intervals.”
Atriums in bold shades of blue, green and red help shoppers to navigate the building, while the adjoining car park can be identified by an assortment of coloured panels.
Wingårdhs is led by architect Gert Wingårdh. Past projects by the studio include a thatched visitor centre at Sweden’s Lake Tåkern and a high-rise hotel in Stockholm. See more architecture by Wingårdhs »
Other shopping centres on Dezeen include a former bullring in Barcelona and a rippled concrete building in Hong Kong. See more shopping centres »
Photography is by Tord-Rikard Söderström, apart from where otherwise indicated.
Here’s a project description from Wingårdhs:
Emporia
Emporia is first and foremost an urban planning project in which offices, housing, and retail come together in a mixed-use development along Boulevarden and Stationsgatan in Hyllie, on the south side of Malmö. The main idea of our winning competition entry was to hide inward-looking retail behind a wreath of residential and commercial buildings. The whole shopping complex would thereby eventually become integrated into the fabric of the city.
It is a huge development, of which only the corner building with the Amber Entrance has yet been completed. This entrance will be the only part of the Emporia shopping centre that remains visible when the development is completely built out. The idea of lining the streets with mixed-use buildings demanded a strong form that could attract visitors from Station Square to come in and shop. A sequence of vaults from a previous competition proposal, along with a memory from the Pantheon, reemerged in a bronze-ochre tone. Double-bent glass encloses the diagonal slit that cuts through the building. Here the weather of the Öresund Strait, its fast-moving clouds chasing glimpses of sun, becomes present and tangible.
The diagonal entrance from Hyllie Station Square leads deep into the block. Inside, retail is organised around a three-storey figure eight. Shops are grouped together around boldly coloured atriums, each with a different theme. On the north side of the complex, a ramp leads into a rainbow-coloured parking garage (for 2500 cars) with direct access to the figure eight. To the east is a surface parking lot (for 500) right outside the supermarket.
The rooftop park is designed as a bit of cultivated nature. Its vegetation (sedum, prairie grass, and trees) and its sun-facing, wind-sheltered patios are accessible from both inside and outside the building. The hills that provide protection from the wind are actually hiding mechanical rooms. In the future the roof will be developed with outdoor dining and a spa facility—like amusement parks, shopping centres need to offer new attractions at regular intervals.
Emporia can expand upward and to the west, but not in any of the other directions. The freestanding residential buildings facing Boulevarden have yet to be built, as do those that will stand atop the podium along Stationsgatan on the south side.
Emporia’s interior challenges established shopping centre conventions. Its bold colours and bent sight lines break with the norm, as do the project’s size and ambition—which have made it possible to do custom designs for everything from ceilings, floors, and storefronts to signage, ropes of hanging plants, furniture, and cast glass door handles.
Our motto has been “no intermediate scale” — because that is the realm of the products on display. Large-scale patterns and intricate details characterise the interior. The terrazzo floor is typical of this approach, with its oversized triangular joint pattern, its gradual shift from white to graphite in seven steps, and its flashing inclusions of coloured mirror glass. The design has been wrought with extraordinary attention to detail, down to the leather-wrapped handrails and the colour of the stitching on the built-in seating.
Emporia also includes a quantity of art seldom seen in a commercial environment. A lighting installation (ninety-nine bollards) by Petteri Nisunen and Tommi Grönlund lifts the Amber Entrance, bronze sculptures by Joep van Lieshout and a glass art piece (4 x 81 m) by Silja Rantanen adorn the Sea Entrance, and a line painting on film at an extremely outsized format (20 x 114 m) by Per Mårtensson clads the façade of the parking garage. On the interior is a series of photos by Signe Maria Andersen.
Architect: Wingårdhs through, Gert Wingårdh, Johan Eklind and Joakim Lyth
Interior architect: Wingårdhs through, Helena Toresson
Graphic design: Wingårdhs through, Jennie Stolpe
Landscape design: Thyréns AB (Anders Dahl, Pamela Sjöstrand)
Landscape design (roof park): Wingårdhs, Landskapsgruppen Öresund AB
Client: Steen & Ström Sverige AB
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by Wingårdhs appeared first on Dezeen.
With a background in sculpture, drawing and design, any number of lines on NY-based artist Anne Fischer’s CV are worth a closer look. Her Cantos: The Rings of Hell…
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L’artiste allemand Johannes Schulz a réalisé ce superbe packaging d’une bouteille de vodka en y intégrant une colonne vertébrale dorée de façon à donner à celle-ci une identité forte, autant sur un plan symbolique que visuel. Un projet très réussi à découvrir en images et détails dans la suite de l’article.
Belgian studio AWG Architecten added pivoting golden cabinets and a golden platform to adapt an old church into a cultural centre in the Dutch village of Leegkerk (+slideshow).
Leegkerk Church dates back to the thirteenth century, but the local community felt that in the present day it would better serve the village as an centre for education, exhibitions and conferences.
AWG Architecten chose to leave the existing interior mostly unchanged, but added a series of interventions to allow flexible use of the church’s two large rooms.
The first addition is a freestanding golden cube, a two-storey metal-clad structure in the centre of the church’s nave that can function as a pulpit, a stage or a viewing platform. Toilets and a kitchen are relocated inside it, while a staircase ascends through its middle to reach the upper level.
Architects Jan Verrelst and Maarten Verdonschot told Dezeen: “The golden colour of the material, a copper-aluminium alloy, grew into the project as a result of the search for a material versatile enough to refer to ecclesiastical architecture.”
The architects also installed glass doors on either side of the cube to enclose a new meeting area tucked behind.
The pivoting golden cabinets were added between the nave and altar, where they double-up as room dividers.
Other recent church renovations on Dezeen include the conversion of a fourteenth century chapel with skeletons in its basement and a Romanesque church with a new marble podium. See more renovations on Dezeen.
Photography is by Harold Koopmans.
Here’s some more information from AWG Architecten:
Leegkerk Church, The Netherlands: Interior Renovation Completed
Renovation work on the interior of Leegkerk church has been completed. awg architecten has designed a new education and exhibition space, a conference room and polyvalent areas in, on and around a freestanding golden cube inside the monumental church.
The historic Leegkerk church, a national monument, dates from the thirteenth and sixteenth centuries. It was originally conceived as a place for contemplation, assembly and refuge on high ground. Leegkerk church is inextricably linked to the locale and to the people of the province of Groningen.
The foundations “Stichting Oude Groninger Kerken” and “Bijzondere Locaties Groningen” realised that Leegkerk church merited a new function as a centre for appreciation of the environment and their (cultural) history. The foundations saw that the church needed to be integrated into their (super)regional recreational/educational networks. Furthermore it was essential that the church retain its original, “traditional” multifunctional spaces for social, cultural and spiritual activities. The range of facilities and their quality – both technical and ’emotive’ – necessitated preeminent treatment. The architecture firm awg architecten, from Antwerp, designed a new interior to achieve these ends and to add a new layer to the church’s long and significant history.
The aim of the plan was to come up with a design for multiple functionality. Certain (prosaic) additions that are necessary for the church’s infrastructure are now housed in a free-standing volume that was constructed to be as compact as possible: a golden cube, a treasure chest as it were, a shrine.
New (revolving) golden cabinets between the nave and the choir function as rotating room dividers. Ample space for modern pursuits is reconfirmed thanks to these additions. Setting the cube at the centre of the church, detached from any walls, defines functional zones and maximises spatial experience. Placing the education and exhibition space on top of this volume, accessible by an almost monumental staircase, accentuates its broad range of possible functions. From this “balcony/stage” it is possible not only to oversee the church interior but also to overlook the landscape of Groningen from an entirely new perspective.
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AWG Architecten appeared first on Dezeen.
Foster + Partners has completed a new gallery wing clad with golden pipes at the Lenbachhaus art museum in Munich (+ slideshow).
The three-storey extension branches out from the southern facade of the 120-year-old Lenbachhaus, which was first constructed as the home and studio of nineteenth-century painter Franz von Lenbach. It was converted into a museum in the 1920s and had been incrementally extended over the years, so architecture firm Foster + Partners was brought in to rationalise the layout, as well as to add the new gallery wing.
“Our main challenge has been to maintain the same amount of exhibition area within the museum’s footprint, while creating new circulation and visitor spaces,” said architect and studio founder Norman Foster. “Given the way that the different parts of the museum had evolved, there was no such thing as a typical space – every corner is unique and required individual attention and different design decisions.”
Rows of metal pipes made from a copper-aluminium alloy clad each elevation of the extension, designed to complement the restored yellow-ochre render on the walls of the original building. Together, the new and old structures frame the outline of a new courtyard with an entrance at the point where they cross.
Beyond the entrance, visitors are greeted with a triple-height atrium that wraps around the corner of the old exterior walls. A long narrow skylight runs along the edge of the roof and is screened by louvres that cast stripy shadows across the walls, while an installation by Olafur Eliasson is suspended from the centre of the ceiling.
“[An] important aspect of our design has been creating new opportunities for works of art to be exhibited outside the traditional confines of the gallery, such as in the atrium,” added Foster. “This space develops the idea of the ‘urban room’. It is the museum’s public and social heart, and point of connection with the wider city.”
Galleries occupy the two upper floors of the new wing and are dedicated to the display of the Blue Rider collection of expressionist paintings by artists including Wassily Kandinsky and Franz Marc.
The ground floor contains a temporary exhibition space and an education room, plus a glazed restaurant that opens out to a terrace around the edge of the building.
As part of the renovation, the architects also addressed the energy efficiency of the existing building. They added new heating and cooling systems in the floors, replaced lighting fixtures and introduced a rainwater harvesting system.
Past museum and gallery projects by London firm Foster + Partners include the Sperone Westwater gallery in New York and the Great Court at the British Museum. The team is also currently developing an art museum with four overlapping peaks for Datong, China. See more design by Foster + Partners.
Other museum and gallery buildings we’ve featured with golden cladding include a brass arts centre in Portugal and the Islamic art galleries at the Musée du Louvre in Paris. See more golden buildings on Dezeen.
Photography is by Nigel Young.
Here’s a statement from Foster + Partners:
Lenbachhaus Museum reopens
The Museum’s historic buildings have been carefully restored and the exhibition spaces augmented by a spectacular new wing, which provides an ideal environment for viewing the magnificent ‘Blue Rider’ collection. As well as radically improving the buildings’ environmental performance, the remodelling has created a new entrance and social spaces, including a restaurant, terrace, education facilities and a dramatic full-height atrium, where the old is articulated within the new.
Built in 1891 as a studio and villa for the artist Franz von Lenbach, the Lenbachhaus Museum has been gradually extended over the last century. However, its buildings were in need of renewal and the museum lacked the facilities to cater to a growing audience of 280,000 people a year. Redefining circulation throughout the site, the project has transformed a complex sequence of spaces of different periods into a unified, legible museum that is accessible and open to all.
Peeling away the unnecessary historical accretions, a 1972 extension has been removed to reveal the wall of the original villa, which has been sympathetically restored in ochre render. The different historical elements are then unified along Richard-Wagner Street by a new gallery pavilion, containing two levels of exhibition space. The new building is intended as a ‘jewel box’ for the treasures of the gallery – it is clad in metal tubes of an alloy of copper and aluminium, their colour and form designed to complement the villa’s rich ochre hue and textured facades.
Inside the new building, a sequence of intimate galleries display the Museum’s internationally-renowned ‘Blue Rider’ collection of early twentieth-century Expressionist paintings, echoing the domestic scale of their original setting in the villa Lenbach. As many of the works of art were painted in ‘plein-air’, indirect natural light has been deliberately drawn into the upper level galleries to create the optimum environment for their display.
A new entrance has been created adjacent to the restaurant, accessed via a new landscaped piazza to the east of the museum – this move reclaims the courtyard garden, turning it from a pedestrian thoroughfare into a tranquil space for visitors. The restaurant is open outside of the Museum’s opening hours and its seating continues outside, helping to enliven the surrounding streets and attracting new visitors into the galleries.
The new social heart of the building is a dramatic top-lit atrium, with ticket and information desks, access to a new temporary exhibition space on the ground floor and a grand, cantilevered stair to the upper level galleries. Clearly articulating the old within the new, its impressive volume incorporates the ochre exterior wall of the original villa and is scaled to accommodate large-scale works of art. The Museum commissioned the artist Olafur Eliasson for a site specific work titled Wirbelwerk. During the day sunlight washes the white walls via a long, slender opening at roof level and horizontal louvres cast changing patterns of light and shade within the space.
As well as repairing the fabric of the existing buildings, one of the main aims of the project has been to radically improve the museum’s environmental performance. A water-based heating and cooling system within the floors has been implemented – using significantly less energy than an air based heating, this represents an innovative step in a gallery context. Rainwater is also collected and recycled and lighting has been replaced and upgraded with low-energy systems.
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by Foster + Partners appeared first on Dezeen.
As proper reward for forging new frontiers and landing Apollo 11 on the moon, astronauts Michael Collins, Neil Armstrong and Buzz Aldrin traveled to Paris where they were presented with a trio of solid gold Lunar Excursion Module replicas created by Cartier. The gifts were a way of commemorating…
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Berlin studio Gnädinger Architekten has completed a faceted golden museum dedicated to medieval marksmanship beside the fortified city wall of Duderstadt in Germany.
Like many historic towns in Germany, Duderstadt is filled with timber-framed buildings that are referred to as “half-timbered” and Gnädinger Architekten added the faceted golden structure to one of these old houses to create the two wings of the new museum.
“The expressive, outstanding form was chosen to create a new landmark in this old medieval town and a signature architecture for this unique museum,” architect Christoph Claus told Dezeen. “The inclined facades of the new wing refer to the similarly inclined facades of the old typical half-timbered houses in the neighbourhood, but in totally different and new ways.”
The museum also adjoins the historical Westerturm gatehouse tower, which dates back to the thirteenth century and features an unusual twisted spire. The architects added a new steel bridge to allow visitors to walk from this fortification to the next along the parapet of the ancient stone wall.
Sheets of copper alloy give the new wing its golden cladding and were installed by a traditional tinsmith. ”The golden skin was choosen in reference to the metal shiny surfaces of old weapons like armour, swords and shields,” said Claus.
“A wonderful side-effect is the sun reflection in this very narrow street,” he added.
Visitors enter the building through the old house and an angled staircase leads up through the extension to galleries on each floor.
The stone structure of the wall is exposed inside some of the rooms and the architects also used materials such as black-painted timber and raw steel.
Completed in 2011, the museum is already open to the public and offers an insight into shooting, city defense and local town life in the middle ages.
Other golden buildings we’ve featured include the Islamic art galleries at the Musée du Louvre in Paris and an extension to a Tudor-style museum in Maidstone, England.
See more stories about golden materials »
Here’s a project description from Gnädinger Architekten:
Museum of Historical Markmenship, Duderstadt, Germany
Duderstadt, which is situated in the neighborhood of Göttingen, ranks among the 10 most important half-timbered towns in Germany. Besides the historical town hall, one of the most striking landmarks is the medieval “Westerturm”, with its distinctive twisted spire, integrated in the oldest sections of the city fortifications.
Above: ground floor plan – click above to see larger image
In 2009 it was decided, to undertake the renovation of an abandoned half-timbered house next to the tower and to install a museum for historical marksmanship, thus incorporating the tower with another house on the east side of the tower, that has been flashily restored some years before.
Above: first floor plan – click above to see larger image
The massive historic stonewall acts as a support for the structure on one side of the ensemble. In addition to the reestablished half-timbered structure, Gnädinger Architects designed an expressive new wing made of concrete, consisting of assembled triangular folds. The addition, mainly houses the emergency staircases, as well as a gallery with a void in front of a big window. In keeping with the shape of the new building, the three story open staircases are also sculptural in design and form.
Above: second floor plan – click above to see larger image
The facade is clad with golden copper metal panels of various sizes, set in a uneven pattern; this has been executed by a tinsmith, in accordance to high craftsmanship standards.
Above: roof plan – click above to see larger image
The result reveals a completely foreign body, an exciting new quality, both partly rigid and partly organic among the other houses in this idyllic neighbourhood.
Above: front elevation – click above to see larger image
The interior design is mainly characterized by the use of a few materials: raw steel on the floor and the balustrades, black painted wood surfaces for furniture and doors imprinted with sulphur yellow texts and pictos and exposed concrete inside the new wing, contrasting with the old stone wall.
Above: facade details – click above to see larger image
The exhibition offers three stories of different media installations and historical exhibits, giving insights to such themes as shooting, city defense and town life in the middle ages. An interactive town model of Duderstadt allows the visitors to reenact different attack scenarios. The first floor is dedicated to the archers and shooters who formed a special militia to defend the city in the middle ages. Visitors can try their hand at target shooting or the crossbow, at two virtual shooting ranges. Further audio installations are spread throughout the overall museum and give insights ito medieval city life.
A new steel bridge, a reconstructed parapet walk, makes it possible to take a walk along a part of the ancient town fortifications, it also connects the ensemble to the adjacent historic “Georgsturm”, build onto the town wall in the eighteen century.
Completion: 2011
Volume: old part 765 m3, new wing 430 m3
Costs (without exhibition) 1.01 Mill. €
Designteam: Rolf Gnädinger, Babette Drillig, Karin Hirschmiller, Markus Hattwig
Project Director: Christoph Claus
Exibition-Design: Art+Com, Berlin
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by Gnädinger Architekten appeared first on Dezeen.
As one of the more prominent makers of synthesizers in the industry today, Moog Music has played a significant role in music innovation since its introduction more than 40 years ago. To celebrate the success of the Minimoog Voyager—the best-selling analog synth of the last decade—Moog is releasing a…
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