Voici le dernier projet d’Elemberg Fraser Architects. Appelée « 33 Mackenzie Tower », cette superbe structure a été érigée dans le Central Business District de Melbourne. Visuellement magnifique et inspirée du mythe de l’ange Metatron et de la boîte de Pandore, cette création est à découvrir dans la suite.
Spanish lighting designers Luzinterruptus scattered 10,000 glowing books across the ground at Federation Square in Melbourne this summer for a lighting festival dedicated to reading.
Entitled Literature Versus Traffic, the installation was designed to resemble a river that winds along the pavements and roads of the busy public square.
The designers sourced the discarded books from local libraries and placed LED lights behind the pages of each one to illuminate the printed words.
Over the course of the month they were also able to gradually move the books into different configurations.
On the final day visitors were invited to choose a few to take home, while others were donated to passing drivers through open car windows.
“The objective was to create a symbolic gesture in which literature took control of the streets and became the conquerer of the public space,” explained one the anonymous artists.
The installation remained in place throughout June for the Light in Winter lighting festival. Reading was the theme, so the organisers had asked Luzinterruptus to create a scaled-up version of a similar installation they had completed in New York.
Other temporary lighting projects by Luzinterruptus include skips filled with glowing carrier bags and illuminated nipples stuck to statues.
See all our stories about Luzinterruptus »
See more installations on Dezeen »
The post Literature Versus Traffic
by Luzinterruptus appeared first on Dezeen.
Cardboard tubes divide up an old factory in Melbourne to create new gentlemen’s outfitters Epatant, founded by Dennis Paphitis and Lachlan Smeeton.
“We worked with the bones of this building, which was an old wire works factory built in the late 1960s and was more recently used as a bicycle warehouse,” says Paphitis. “We cleaned up and retained the original steel trusses on the ceiling and scrubbed back the concrete floors.”
The shop stocks luxury menswear and accessories including “beautiful wallets, scarves, and obscure Nordic hammers,” displayed on pegs round the walls and tables with deep cases in their tops, all made of local woods. More cardboard tubes were cut to form pendant lighting overhead.
“The building is flooded with natural light and butts onto an adjacent park so we look through to large eucalyptus trees from the saw-toothed roof,” says Paphitis. He’s also founder of skincare brand Aesop, whose stores have frequently featured on Dezeen, including one fitted out with materials from a demolished house and a kiosk at Grand Central station made of thousands of copies of the New York Times.
See more stories about Melbourne | See more stories about retail
Here’s some more information from Epatant:
We at Epatant believe that there are two fundamental categories of objects in the world: there are those that function without flourish, that soullessly satisfy and exist at the most basic level, and then there are those all-too-rare items that excite and amaze with both their form and function, belongings that sing, inspire and delight with every use.
Those objects used in day-to-day life ought to deliver the utmost pleasure and that’s why you’ll discover, in our modest Collingwood store and within the pages of our forthcoming website, a collection of these exceptional items, considered and collated so that you may explore and be amazed.
From individually selected vintage eyeglasses to superb silk pocket squares in just the right Neapolitan hues, whistles of supreme British quality to German underwear of the finest weave, Epatant’s product offer is founded on distinctive and authentic design, quality engineering and a celebration of irreverence.
Of course, what are mere objects without words? We have likewise pored over countless paperbacks, hardcovers and hours of footage to bring you a concise and carefully selected array of works from our favourite authors and auteurs. And in to this heady mix we offer some of our own words, thoughts and suggestions, reserved for those ideas and individuals we feel warrant particular attention.
And so it is that in July, 2012 we launch Epatant as a considered, intelligent and streamlined retail experience. Our collections and collaborators will evolve with the passage of time; measured against the seasons, our mood, and always tempered against the evils of mediocrity. Expect to be seduced and surprised.
The post Epatant by Dennis Paphitis
and Lock Smeeton appeared first on Dezeen.
Steps built into the kitchen counter lead up to a suspended staircase in this Melbourne house by Australian architects Edwards Moore.
The open-plan living area on the ground floor is dominated by the angular red kitchen island.
Five steps in one side of it link up with the staircase, which hangs down from the first floor and is encased in yellow walls.
Upstairs, extensive storage is provided by a corridor of wooden wardrobes painted yellow and black.
The master bedroom and ensuite bathroom can be screened off with a sliding door.
A bath made from eucalyptus wood provides an unusual focal point in the bedroom.
A sink and shower room are concealed in the area behind the bath.
Other Melbourne projects by Edwards Moore we’ve featured on Dezeen include an art studio in a car park and an apartment fitted with chipboard furniture.
See all our stories about Edwards Moore »
See all our stories about Australian houses »
See our new Pinterest board of staircases »
Photographs are by Fraser Marsden.
Here’s some more text from the architects:
The renovation of an existing suburban house into a new home for our most colourful clients to date. A playful and vibrant insertion of elements within the newly created open plan space creates a seamless connection between levels, and a gentle transition between the functions for living.
Click above for larger image
The use of carefully sited geometries created the path of travel and necessary separations without the need for doors or corridors. Each element is made from a striking material and colour palette, intended to support the development of the occupants’ ongoing stylistic expression.
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Downstairs, the new open plan living area is defined by the oversized Marblo island bench and suspended staircase.
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Upstairs, the wardrobes create a generous entrance to the master bedroom, the black satin stained blackbutt wood lining contrasting with the vivid yellow lining of the stairs, which seamlessly wraps up the wall to become the enclosure for the wardrobe.
Once in the master bedroom the custom made blackbutt wood bath becomes the focus of the room around which the en-suite is arranged. Various levels of privacy ensure the space remains expansive yet modest.
The post Queen Street House
by Edwards Moore appeared first on Dezeen.
Pensée par Red Design Group, The Candy Room est un magasin surréaliste de friandises à Melbourne en Australie. Une idée réussie, avec comme but de penser une boutique permettant de découvrir une nouvelle expérience cherchant à interpeler le client.
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Slideshow: Australian practice March Studio conceived this Melbourne bakery as an oversized breadbasket.
The undulating wooden slats that cover the rear wall and ceiling of the shop function as shelves for storing and displaying breads of different shapes and sizes.
A wooden chopping board spans the length of the bakery to create a countertop with integrated pockets for scales, knives, crumb-catchers and checkouts.
March Studio were also the designers for a series of unusual shops for skincare brand Aesop – see them here.
Photography is by Peter Bennetts.
Here’s the story of the project from March Studio:
Baker D. Chirico
“Just bread”, he said, and passed us a loaf.
“Just bread?”, we said, and thought of containers for bread. Baskets, cooling racks, peels. A basket the size of a shop. A basket that was also a rack. A single gesture.
A Wall Of Bread.
Bread is a simple product, of few ingredients, traditionally displayed and sold simply.
The art of a baker such as D. Chirico is to perfect a simple process and do it like few others. The results are evident in their reputation.
At the Carlton edition of Baker D. Chirico, March Studio have taken inspiration from this example, crafting an interior with a simple purpose: to cool the bread fresh out of the oven, to display it naked of packaging and ready to be portioned and sold.
An undulation of CNC routed plywood forms wall and ceiling. Subtractions from the wall provide display areas for bread; the varying depths of the shelves and heights of the subtractions meticulously arranged to accommodate long baguettes, large round pagnotta, ficelle loaves and other creations. The variety and expanse of the wall gives freedom to arrange and alter the display according to mood or season.
“And I’ll sell it by the kilo”, he said, and showed us a knife.
“By the kilo?”, we said (we didn’t always repeat what he’d said as a question) and thought of chopping boards. A chopping board the size of a counter.
Standing in firm counterpoint to the wave of the bread wall, the central counter is conceived of as a giant chopping board, intended to wear and patina gracefully with age and use. Scales, crumb trays, knife holders and POS terminals each have a place on this working bench, all subsumed into the simple sales concept – chop loaf, wrap and sell.
“And maybe some nougat”, he said. “Nah, just bread”, we said.
Brightly coloured and patterned panels chosen by different groups in the local community adorn a new library and learning centre in Melbourne, Australia.
The combinations of ceramic tiles, timber, powder-coated steel, fritted glass and composite panels were selected in consultation with the centre’s intended users, many of them Middle Eastern.
Designed by H2o Architects of Australia, the project offers an upgrade to the existing gymnasium on the site plus a new building to house the library and learning centre.
The main, larger block contains the library while a more compact adjoining volume contains study rooms and a foyer.
Photography is by Trevor Mein.
Here’s some more text from the architects:
Avondale Heights Library & Learning Centre
Form
Twin-conjoined volumes -one high for the taller and much larger library space and the other low mostly containing cellular rooms plus foyer – define the form. The new building is surrounded by adjacent car parking and landscaping and linked to the existing upgraded gymnasium.
Sustainability
The building was conceived as being low-energy, naturally-ventilated, heated and cooled, thermally efficient and utilising appropriate materials with low or no off-gassing. The saw-tooth roof form allows maximum south light with no sun penetration into the library.
Contexturalism
The site is a highly public one. Opposite is a MacDonald’s restaurant en route to the local shopping strip including rows of brightly coloured garages. The adjacent intersection carries high volumes of traffic. The design reflects its eclectic neighbourhood and attempts to recall atypical Anglo Saxon imagery for its mostly immigrant local residents.
Special qualities
The specific building type of the centre evolved in an unusual manner. The facility was originally briefed as a Community Centre with two principle components – a 200 seat flat floor Multipurpose Hall for hire by local community groups and associated staff areas, foyer, amenities and flexible, wireless classrooms.
Mid way through construction the brief changed to a Community library. The high ceilinged south lit MPR simply adapted to reading and reference area, support spaces generally maintained the same functions and one classroom was converted to a Computer Lab.
Originality
Deliberate choices were made of brightly coloured Trespa panelling as the primary cladding and the feature end wall palette of ceramic tile, timber, powder coat steel, alucobond and fritted glass to reflect the material choices and vivid colourings of the largely Middle Easern users.
We felt strongly that public acknowledgement of the built form aspirations of these cultures by Melbourne designers had been largely ignored.
Innovation
Materials and colours were selected from examples amongst local building stock.
Site plan
The buildings innovative and iconography reinterprets the lurid colourings and exaggerated realities of well-known Australian artists, Barry Humphries and Howard Arkley in their depictions of the ‘Oz’ suburb.
Ground floor plan
Section
East elevation
South elevation
Designer: H2o Architects
Architects: Tim Hurburgh, Mark O’Dwyer
Project Team: Natasha Wheatland, Matthias Ott, Vanja Joffer, Soizic Bernier, Anne-Claire Deville, Adriana Stelmach, Julie Buckton
Structural Engineer: Felicetti Consulting Engineers
Services Engineer: Fryda Dorne Associates
Landscape Architect: Rush Wright Associates
General Contractor: Ireland Brown Constructions
Client: Skills Victoria
Project Manager: Coffey Projects
User: Moonee Valley City Council
Location: Corner of Military Road and Clarendon Street, Avondale Heights, Victoria, Australia
Built Area: 1,625m2 / 835m2 (new building), 790m2 (existing gymnasium)
Completion (date): October 2010
Finishing Materials:
Facade: Trespa Meteon high pressure laminate from HH Robertson
Feature wall (south elevation): Vogue System Ceramic tiles from Classic Ceramics, grey ironbark recycled timber with expressed joints, digitally printed glazing from Digiglass, CNC routed Trespa custom-designed routed panels from Alclad Architectual, Alucobond composite panel cladding
Australian architects Edwards Moore have completed this glowing art studio in a car park.
Located in a residential car park outside a Melbourne apartment, the studio accommodates storage, a shower room, a toilet and kitchen facilities.
The front of the studio is clad in translucent fibreglass, causing the lights inside to illuminate the surrounding car park.
Small circular windows perforating the white render-covered rear of the structure create peepholes.
We also recently published proposals for another small artist studio, this time in Finland – see this project here.
Photography is by Peter Bennetts.
Here’s a short description of the project from Ben Edwards:
Artist car park studio
An artist’s studio adjacent to an existing first floor art deco apartment situated in Elwood, Melbourne.
The site occupies a former parking space & ownership was restricted to a maximum above ground height of 3m.
The studio has been designed to accommodate a shower/wet area, canoe storage, kitchenette & WC.
The external skin is a combination of a white render finish and semi-translucent fibre glass sheeting to allow light to the interior whilst also relating to the adjoining building.
Internally the timber structure is expressed and partly lined with plywood.
Operable porthole windows (made from inspection hatches) provide ventilation and additional natural light.
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| Studio R-1 by architecten|en|en | Coldwater Studio by Casey Hughes Architects | A Mono Struct Office by Masato Sekiya |
Une commande pour la ville de Melbourne et Federation Square sur 16 mètres de long avec cette œuvre imaginée par le studio de design Numen / For Use. Une installation éphémère composée entièrement de ruban d’emballage et de multiples couches d’adhésifs transparents.
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This shimmering silhouette in the shape of three overlapping houses is in fact a junior school for boys in a Melbourne suburb.
The two-storey school building is faced in glossy black tiles and was designed by Australian architects McBride Charles Ryan.
Inside the extruded silhouette the school provides six classrooms, breakout spaces, a meeting room and a staff room.
Classrooms on the first floor have curved ceilings that wrap into the pitched roofs above, while walls in ground floor classrooms have rounded edges.
A long timber bench lines the corridor that links ground floor rooms.
Similar buildings from the Dezeen archive include a hotel that looks like a pile of houses and a furniture showroom that looks like stacked barns.
Photography is by John Gollings.
Here are some more details from the architects:
Penleigh and Essendon Grammar
School – Junior Boys Building
Brief + Design:
Penleigh and Essendon Junior Boys School began in an Italianate mansion on windy hill, opposite the Essendon Footy Club. This building is exceptional in a residential area where Federation housing dominates.
Slowly the school has accumulated much of the property in the block bounded by Nicholson, Raleigh, Napier & Fletcher Streets. Many of the ‘houses’ are now occupied by the school. This new project, a two storey year 5 & 6 block with 3 classrooms above and below, is an important addition to the school and public interface to Nicholson Street.
We wanted this building to acknowledge and exploit its unusual urban condition. All wanted this building to be a unique acknowledgment of an important threshold stage in the boy’s school life. All wanted more than just good accommodation, and we wanted a building of the imagination.
Click above for larger image
This proposal takes just the silhouette of a Federation Home, it is up-scaled, extruded and sliced. The front of the building might be described perhaps as a haunted house, the centre (the extrusion) is vaguely a Shinto Shrine, the rear (which interfaces with the schools ovals), if you squint – The Big Top.
Click above for larger image
The planning is arranged so as to provide northern courtyards to the ground floor classrooms, upstairs the corridor is switched to reduce overlooking to the adjacent neighbour. The ground floor Grade 5 classrooms have rich deep colours and an earthy ambience. The first floor is ethereal. With more than a nod to Utzons Bagsvaerd Church the complex silhouette is smoothed to a cloudlike shape. The extruded chimney a source of light and a means of naturally ventilating the classroom space.
Click above for larger image
Principal Architects: Rob McBride, Debbie-Lyn Ryan
Project team: Benedikt Josef, Amelia Borg, Natasha Maben.
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| Evelyn Grace Academy by Zaha Hadid | Leimondo Nursery School by Archivision Hirotani Studio | Sandal Magna School by Sarah Wigglesworth |
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