Hasta La Ideas

Curving metal forms frame the glass facade of this market hall in Barcelona by Spanish firm MiAS Architects.

Wrapping around a bomb-damaged nineteenth century structure, the suspended metal shapes give the Barceloneta Market a new profile.

Containing restaurants and shops, the market faces onto a large public square.

More stories about markets on Dezeen »

Photography is by Adrià Goula.

The following text is from the architects:

The Market in a Neighbourhood called l’Òstia

When I was a student at the Barcelona School of Architecture (ETSAB), Barceloneta was the subject of much conversation. Restaurants on the beach which later disappeared… narrow streets, cramped flats, the clothes hanging out on the balconies, the shops, the artisans’ workshops… and its people, who talked, and still talk, fast and loud.

The project meant a chance to go back to the neighbourhood in an interested manner; it was no longer a trip down there for fun, to discover its people, its bars, its smell… but rather a survey of the place with the object of identifying what would enable us to reveal its qualities and to describe it accurately for the purposes of a project.

An attempt, ultimately, to explain a reality, to offer a new and fuller meaning to an architectural project, beyond resolving a programme or commission.

As early as the competition stage we did a collage with some of César Manrique’s fantastic fish, drawings for children we hoped might embody and express the joy of these people: their liveliness, their energy, their enthusiasm in the face of frequent hardship.

In fact the Market has always been an element of social cohesion in the neighbourhood, a landmark, sometimes almost secret and visible only to its inhabitants.

This condition of density that the market has in relation to the city should be a condition of the project, so that the building and its immediate surroundings actually become a clear point of reference in this corner of the city of Barcelona.

It is surprising to see now the photos we made of the market during construction, when the pieces, the bones, of this huge animal were being carried through the streets to their final place. 
This animal is now a prisoner in a military-imposed town plan, this neighbourhood, with no chance of escape.

I think it’s nice to think of the memory of these very streets of each of these transported parts; each neighbour, witness alike to the construction, or at least some fragment of the market. 
And it is surprising even now, to recall that building process, which we shared with neighbours, with workers… the final construction done in parts, little pieces of a greater reality; the assembly of these pieces, these fragments, previously cut up in the factory, to facilitate transport, and their passage through the narrow streets to the space allocated for the market.

The market seeks to form part of the neighbourhood, its urban fabric, and is redirected toward the squares front and rear – formerly no square existed, and the bays that made up the market crossed.

The new metal figures create new market spaces, not touching the ground, but suspended from the old structure, not a in real manner, since the two structures, the old and new, never really overlap structurally, rather they do so in a false equilibrium.

The imprisoned, tamed building writhes within this space, a certain violence in its rebuilt form, acquiring a reality that lies between the memory of its former self and its new ambition. It uncurls, curls back up, and offers a succession of new spaces to discover.

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I think we have succeeded in making the market belong to the neighbourhood again naturally: from inside, the windows of neighbouring buildings overlay our enclosure, and vice versa. It is a market that can be understood as an extension of the city, of the neighbourhood, of its shops, of its bars, with a day-to-day continuity. And it can be crossed as one does a pedestrian crossing, hardly looking from side to side. Halls, restaurants, shops, spaces of and for the neighbourhood, ultimately… and a sense of necessarily belonging to a place, of identifying with it, and participating in its energy.

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I would like the building to be, beyond its market, a part of the neighbourhood’s impudence, to match the gutsy character of this neighbourhood ― so special, so vital ― of Barcelona that they call, for some reason, l’Òstia.

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See also:

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Abu Dhabi Central Market by Foster + Partners	Barceló Temporary Market by Nieto Sobejano	Besiktas Fish Market by GAD

Shoes are displayed in numbered slots on row after row of plywood shelves at this Sydney shop by Facet Studio of Sydney and Osaka.

Called Sneakerology, the shop displays sneakers in neatly ordered boxes, with each row staggered by half a unit.

Customers can learn more about each style using interactive screen in the centre.

See also: Habitat Antique by Facet Studio

Photographs are by Katherine Lu.

The information that follows is from Facet Studio:

Sneakerology

A sneaker shop interpreted as a sneaker museum

In each of the 200mm x 600mm boxes, one by one, sneakers are carefully collected. The boxes are repeated, and offset by half unit on each level, and carried through repeatedly over an entire wall. Something which has little meaning on its own, when repeated 281 times over, it creates a euphoric effect for one to experience a heightened emotion.

The merchandises neatly displayed in the fashion similar to the museum artefacts; through touch panels centrally located within the shop, one can gain further understanding of the background stories of the merchandises. Although there is really no such field of study as “sneaker-ology”, by placing our design focus on ways to correctly understand the merchandises, it is for us an attempt at capturing “sneakers” in a scholarly fashion.

“That one is nice….. this one is nice too!”; There is no better way to shop than whilst enjoying an academic high.

Program: commercial fitout: retail
Project team: Olivia Shih, Yoshihito Kashiwagi
Location: Sydney, Australia
Main material: Plywood
Area: 55 m2
Built: 2011
Photo: Katherine Lu
Mural: Babekühl
Structure: Simpson Design Associates
Lighting: Electrolight

See also:

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Puma House Tokyo by Nendo	Munich Fractal Arena by Dear Design for Munich	Munich La Roca by Bailo+Rull ADD

Swings serve as shelves in this Tokyo shop by Japanese designer Hiroaki Matsuyama of Minorpoet.

Minorpoet were commissioned to show off the new collection of planters and accessories by stainless-steel company Steor.

Enormous rolls of material serve as seats either side of a small table in the middle of the concrete floor.

Photographs are by Satoshi Shigeta/Nacasa & Partners.

The information below is from Minorpoet:

Play on the swings.

We created the setting for the exhibition ‘STEOR Spring Collection 2011′.

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STEOR is the stainless steel product brand from Japan. All items are worked with Japanese artisans.

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On this collection, they produced various products for houseplants and flowers.

We proposed the swings hanging from the ceiling as shelves.

By this swings, a wide variety products and green are organised into a one space.

This familiar form for all the ages goes well together with simple and playful products.

STEOR http://steor.com

STEOR Spring Collection 2011
Size: 41.55 sq m
Client: STEOR MARKETING Ltd.
Location: Tokyo, Japan
Exhibition period: May 2011
Design: Hiroaki Matsuyama / Minorpoet

See also:

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Aktipis Flowershop by Point Supreme Architects	Moving Forest by NL Architects	Garden by Kazutoyo Yamamoto

New Zealand designers Gascoigne Associates have complete this outfitters in Auckland for airline staff at Air New Zealand.

Called Clothes Hangar, the facility allows staff to choose their uniform and get advice on grooming, makeup and presentation.

Blue tubular steel rails wind their way through the space an into the fitting rooms, while a blue dotted line snakes across the floor.

Graffiti-like graphics are taken from the uniform designs and polaroids of staff in their uniforms form a backdrop to the counter.

See also: Cocoro restaurant by Gascoigne Associates

Photographs are by Katrina Rees unless otherwise stated.

Here are some more details from Gascoigne Associates:

Air New Zealand’s ‘Clothes Hangar’

Air New Zealand’s ‘Clothes Hangar” brief was to create a space that embodied Trelise Cooper’s new uniform design direction and the Air New Zealand brand. The solution the designers came up with is a nod to a swept up eclectic kiwi Bach, providing staff a ‘shopping’ experience like none other.

Gascoigne Associates designers Clark Pritchard and Theresa Ricacho consulted with Saatchi Design Worldwide to ensure the tie in with ‘the common thread’ sub-brand idea and on the design of the wall decals, wallpaper and ‘pictures’.

The ‘Clothes Hangar’ is located amongst factories and industrial warehouses, not the usual place where you would expect to discover a full service head to toe styling and grooming experience. However, a unique experience is exactly what Air New Zealand staff encounter once they pass through the blocked out front entrance and enter into a bright, clean and white space. On arrival staff are greeted by the ‘Clothes Hangar’ stylists. They can watch the welcome video on the LCD screen and view mannequins dressed in the new uniform, giving them an opportunity to see how the different uniform pieces can work together as a total wardrobe solution, as well as touch and feel the final fabrications.

Above image is by Rebecca Swan

The ‘Clothes Hangar’ walls are entirely finished in random patterned ‘V’ grooved panelling. Floors are a washed oak laminate and together they provide the perfect backdrop to the ‘blue’ tube racking, which ‘taxis’ its way around the ‘shop’ and into the fitting rooms and which reflects the ‘common thread’ concept throughout the space.

Kartell furniture and accessories are positioned on shelves around the walls alongside ‘framed’ ‘graffiti’ prints extracted directly from the back of the men’s waistcoat design. The ‘check-out’ area is highlighted with a bright pink counter with ‘graffiti’ designs printed on textured wallpaper. Outside the ‘check-out’ space is a large ornate framed window covered in Polaroid images of staff in their new uniforms.

The ‘Styling Room’ with on-site beauty consultants offers staff the opportunity to select new shoes and beauty consultants can demonstrate preferred make-up applications and hair do’s to fully accent the new uniform. On leaving staff are asked to write a comment about their experience on brightly coloured post-it notes, which are stuck to the entry lobby walls.

The response from Air New Zealand staff, management and uniform designer Trelise Cooper, has been tremendous, all have been ‘blown away’ by the whole experience.

Project name: Air New Zealand ‘Clothes Hangar’
Location: Auckland, New Zealand
Opening date: May 2011
Client: Air New Zealand

Design Team:
Clark Pritchard – Design Director Gascoigne Associates
Theresa Ricacho – Designer Gascoigne Associates

Design Firm:
Gascoigne Associates Ltd who consulted with Saatchi Design Worldwide to ensure tie in with ‘the common thread’ sub-brand idea and on the design of the wall decals, wallpaper and ‘pictures’.

Project Design Team:
Imogen Ovens – design manager/marketing – Air New Zealand
Kay Marshall – new uniform project manager – Air New Zealand
Clark Pritchard – Design Director Gascoigne Associates
Theresa Ricacho – Designer Gascoigne Associates

Fitout Contractor: Format Ltd, Auckland New Zealand (www.format.org.nz)

Suppliers:
Audio/Visual: Kenderdine Electrical Ltd
Fixtures: Format Limited
Flooring: Kaindl Flooring
Furniture: Kartell from Backhouse Interiors
Lighting: MN8 Lighting
Brand application and signage: Sign of the Times

See also:

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Twister by 42 Architects for Topshop	Ahoti by Studio Lama	Y. Di Cassanova by Van Halewyck & Marco

This motorway service station along Route 230 in northern Japan, by architects Code, has a black, rectangular form that snakes up from the ground towards a nearby mountain.

The shape of the building was influenced by the curves of the landscape, but internally it has a simple single-storey arrangement.

A number of shops and food outlets are contained within, serving drivers travelling between the towns of Kutchan and Rusutsu.

More Japanese architecture on Dezeen »

Here are some more details about the project from the architect:

GR230
Concept Text

GR230 is a highway service centre located in the town of Kimobetsu, Hokkaido. Situated along Route 230 at the crossroads leading towards Kutchan and Rusutsu, the facility is a vital hub that connects various towns and areas in the Shiribeshi sub prefecture, including popular tourist spots, museums, workplaces, homes and a diverse range of other everyday destinations.

GR230’s primary function is to provide services centring on food from the local area. It features a simple, flat layout that consists of shops and kiosks, rest areas, and food and beverage outlets.

This project began in 2005 as part of a plan to widen Route 230, a national highway that runs right through the centre of Kimobetsu. The town offered us the use of a site for our proposed building, with the car park, toilets and tourist office managed by the local municipal government. Construction and business operations were undertaken by private corporations.

A town planning committee was launched in Kimobetsu at the same time that the project was getting started, which we joined from the outset. One of the issues involved in planning this highway service centre was how to project its presence in relation to the passing traffic. We made careful, repeated studies of building forms that would be appropriate to the location as well as how the centre would serve as a local landmark, finally deciding that the architecture itself ought to serve as a kind of signboard.

Although the completed form of the building was designed to incorporate multiple meanings within it, the motif on which the shape of the facility was based is in fact concealed within the landscape of ravines and gorges, with Mount Shiribetsu to the south and Mount Yotei to the west.

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While the magnificent scenery that surrounds the building may bring to mind a lush, green summer season, this part of Hokkaido actually sees long winters that last for almost half the year. The black band made up of various trees whose leaves have fallen is a bare expression of the vast land that is obscured during the warmer months. Undulations in the structure, combined with colour gradations in the black band and the contrast with the white snow-covered fields in the distance, create an abstract visual effect.

When the architectural form of the building first emerged over the course of our studies, we felt as if a vision of the pristine winter landscapes of northern Japan had surfaced from the depths of our memory.

With GR230, we have created a beautiful piece of architecture that commands a dignified presence during the foliage-rich summer months, and a quieter one that seemingly dissolves into the surrounding landscape during the long, reclusive winters.

Project credits/data
Architects: Naoji maekawa
Total floor space: 371.38sq m
Structure: Wooden flat building

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Lolita by Langarita-Navarro Arquitectos	Viamala Raststätte Thusis by Iseppi/Kurath	Little Chef by Ab Rogers Design