Christian Louboutin Mount Street Window by Studio XAG

Christian Louboutin Mount Street Window by Studio XAG

Designers Studio XAG have created a window installation in London for French fashion designer Christian Louboutin, spelling out the brand name in bright neon lettering. 

Christian Louboutin Mount Street Window by Studio XAG

The window is furnished with a neon arrow and an array of backlit oversized perspex letters decorated with bulbs.

Christian Louboutin Mount Street Window by Studio XAG

Shoes by Louboutin are perched on the letters.

Christian Louboutin Mount Street Window by Studio XAG

Photographs are by Susie Rea.

Christian Louboutin Mount Street Window by Studio XAG

Other projects by Studio XAG on Dezeen »
More window installations on Dezeen »
More fashion on Dezeen »

Christian Louboutin Mount Street Window by Studio XAG

Here’s some more information from the designers:


Christian Louboutin: Mount Street Boutique, Neon Graveyard.

Take a stroll down down London’s Mount St & be dazzled by studioXAG’s latest window.

Christian Louboutin Mount Street Window by Studio XAG

Gorgeous shoes & handbags sit amongst giant lit letters spelling out Christian Louboutin. Each letter has it’s own story to tell & can be traced back to original Vegas signage.

Christian Louboutin Mount Street Window by Studio XAG

After a lot of typographical experimentation we laser cut a 1:10 scale models in acrylic to get a real understanding for proportion, lighting configuration and colours.

Christian Louboutin Mount Street Window by Studio XAG

After much fine adjustment we went into production. We had metalworkers fold, roll and weld the stainless steel shells.

Christian Louboutin Mount Street Window by Studio XAG

The lights are a mix of Pygmy and Golfball bulbs, 4 different colours of neon, backlit perspex and crystal Cabochon.

Christian Louboutin Mount Street Window by Studio XAG

To make sure the window all came together beautifully each letter was powder coated in a rich, bright and glossy colour to match a shoe or a bag in Christian Louboutin’s current collection.

Christian Louboutin Mount Street Window by Studio XAG


See also:

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RCA graduates in Harvey Nichols windowsMaison Hermès Window Display by Tokujin YoshiokaClockwork Snow by
Tjep.

Ty Pren by Feilden Fowles

Ty Pren by Feilden Fowles

Slate roof tiles extend down the exposed north facade of this house in Wales by London studio Feilden Fowles.

Ty Pren by Feilden Fowles

Called Ty Pren, the gabled timber-framed building is clad on three sides in larch felled from the owners’ land.

Ty Pren by Feilden Fowles

More trees have been planted nearby in anticipation of replacing the larch cladding in 25 years’ time.

Ty Pren by Feilden Fowles

The Welsh slate used for the roof and north wall was reclaimed from demolished houses on the estate.

Ty Pren by Feilden Fowles

More residential architecture on Dezeen »

The following information is from the architects:


TY PREN, Trallong, South Wales

Situated in the midst of the Brecon Beacons, this linear Greenfield site in the village of Trallong has a southerly aspect and fine views towards Pen Y Fan. The rich local vernacular inspired the concept of a modern ‘long house’, following the contours of the land, embedding itself in the slope of the hill and responding to the prevailing conditions.

Ty Pren by Feilden Fowles

We spent two years researching and developing this design through site visits, models and prototypes. The design evolved into a crisp extrusion using skilled craftsmen to deliver a high-tech building. This period was used to procure local materials, research and to develop our Welsh vernacular adaptation. The typology of the long house leant itself to a passive solar plan, enhanced by the topography and aspect of the site.

Ty Pren by Feilden Fowles

Contemporary construction techniques have delivered a thoroughly modern and high performance building, which responds to the landscape. The design was environmentally driven throughout. The passive solar design strategy uses every natural energy source available, and supplements these with active features such as the log boiler.

Ty Pren by Feilden Fowles

Project History/ Background

Ty Pren was first conceived in 2005 by our clients, Gavin and Vina Hogg, committed environmentalists responsible for managing the Penpont Estate (recently awarded the Forestry Commission’s ‘Wales Business and Sustainability’ award), with the desire to create a uniquely environmental building drawing strongly from the welsh vernacular.

Ty Pren by Feilden Fowles

They placed their faith in Feilden Fowles, a young design team straight out of Part 1 and embarking on our first major project. This precedent of mutual trust and good will underpinned by a shared commitment to sustainability and green design, was shown by the entire design and construction team. This enabled the delivery of an exceptional building, small in scale but with huge ambitions.

Ty Pren by Feilden Fowles

The client, acting as a construction manager, had an holistic environmental approach that facilitated the efficient delivery of a sustainable building within a tight budget, and ensured both the design and its delivery remained under continued scrutiny. The embodied energy of materials was under constant review and often took precedent over cost.

Ty Pren by Feilden Fowles

Design Approach

Due to the particularly sensitive location, situated on the edge of the Brecon Beacons national park, discussions on the vernacular were numerous throughout the early stages of design. Phrases like ‘sense of space’ and ‘local identity’ are abundant in the current debate regarding Welsh Architecture. Mathew Griffith’s suggested in ‘About Wales’ that ‘…the concept of ‘place’ is located at the heart of a fresh way of doing things. We need to be more effective in defining both the character of places and the value and significance that people attach to them…’

Ty Pren by Feilden Fowles

The real strength and identity of the Welsh culture is found in their simple plain chapels and vernacular buildings embedded in the counrtyside, gradually added to and elaborated. We were keen to take reference from these while avoiding simply reproducing an explicit version of the historic vernacular, an approach that would devalue the original. Instead we hoped to reinterpret, not necessarily by imitating historic details or using authentic materials, but through a subtle reinterpretation of familiar forms and ideas coupled with an holistic approach to environmental sustainabilty.

Ty Pren by Feilden Fowles

Passive Solar Design

Analysis of the seasonal sun paths determined the building’s location in order to maximise solar gain, views over the valley, and provide a south-facing garden to grow produce. The radical design was backed by a forward-looking planning department, who recognised the potential for the building to set a precedent for future sustainable housing. The compact design is 20m long and 6m deep, forming a sealed box that opens to the south and selectively frames the northern views. Internally, the building is less than 6m deep, enabling natural light and optimal cross and stack ventilation throughout.

Ty Pren by Feilden Fowles

The 1 m deep north wall creates a buffer that runs the length of building and accommodates the services, stairs, storage and en-suite bathrooms. The south facing elevation and fenestration use optimal proportions of glazing; approximately 30% of the south elevation is glazed compared with about 5% of the northern elevation. Deep window reveals and sliding shutters prevent excessive solar gain in the summer, while the flush north windows emphasise the building’s clean form. All these measures are designed to maximise solar gain in the winter and minimise overheating during the summer.

Ty Pren by Feilden Fowles

Active Design Features

From the outset, we collaborated with “Green Earth Energy” environmental engineers who helped design and fit the services. Over £25,000 was invested in green technologies; nearly 10% of the overall budget, with a further £20,000 on high performance Danish windows. The active heating strategy combines hot water from the 8KW log boiler and the solar collectors in a 500 litre accumulator tank located in the north wall.

Ty Pren by Feilden Fowles

The collectors supply all domestic hot water needs and supplement the under floor heating system. A Mechanical Ventilation Heat Recovery (MVHR) system efficiently ventilates every space during the winter months. A Klargestor Biodisk operates as a sealed ‘waste water processing plant’ in the garden.

Ty Pren by Feilden Fowles

Click for larger image

Materials

Ty Pren translates literally as ‘House of Wood’, as timber drove the design strategy throughout. The building was clad in larch, sourced and felled from the client’s estate 2 miles away, and subsequently milled on site. The untreated cladding has a predicted life of 25 years, 8 larch trees have been planted on the client’s estate to replace this when necessary. The removed cladding will be burnt to heat the house. Recycled welsh slates from derelict buildings on the estate wrap over the roof and down the exposed north wall.

Ty Pren by Feilden Fowles

Click for larger image

The east, south and west ‘Solar Elevations’ incorporate a more filigree larch skin. The use of Structural Insulated Panels (SIPs) coupled with the high performing windows has resulted in a super airtight building. Secondary insulation (Thermafleece) made from a sheep’s wool blend was used to reach a U-Value of 0.15W/m2K in the walls. Internally, locally sourced oak was used on the fit-out, and the entire north wall constructed from sustainably sourced birch faced plywood. Lime based plasters and paints from Ty Mawr lime were used throughout. These natural materials are non-toxic and have a low embodied energy.

Ty Pren by Feilden Fowles

Click for larger image

Exterior

The low embodied energy, flexibility and character of larch lent itself perfectly to this environmental house; particularly given that the client, an arboriculturalist, was able to source much of the timber from within his woodlands. The larch was felled just two miles away and sawn on site with a mobile sawmill. It was fitted green in order to naturally weather to a silver-grey, complementing the moorland backdrop. New trees were planted within the client’s woodland when the original cladding was felled, starting a rolling 25-year timber life cycle. The discarded cladding will then be burnt to heat the house, harnessing the last of its energy.
Ty Pren by Feilden Fowles

Click for larger image

The solar facades include deep-set window reveals that prevent excessive solar gain, while sliding shutters avoid overheating to the first floor spaces. The larch was sawn into chamfered battens, mounted 10 mm apart and set out on 100 mm vertical studs. This improves ventilation, produces a filigree appearance to the rain screen cladding and incorporates flush eaves details that emphasise the crisp ‘long house’ typology. Larch boards are inserted into the window reveals, covering the window frames and highlighting the punched openings.

Ty Pren by Feilden Fowles

Click for larger image

Interior

The plan is modernist in its simplicity, set out on a 1.2 m grid, driven by the standard SIP panel and sheet material size. The continuous birch-faced ply north wall incorporates all the services and utilities, including bathrooms, stair, pantry, storage and solar thermal store. This wall is articulated by home-grown oak studs with shadow gaps running along the datum lines of the house.

Ty Pren by Feilden Fowles

Click for larger image

The pop fit doors deliver a seamless and subtle wall, structuring the space. The stair is recessed into the depth of the back wall, emerging on the viewing gallery with direct views north, west, east and framing Pen Y Fan to the south. Welsh oak floorboards run the length of the upper gallery and throughout the lower ground floor expressing, the linear design.

Ty Pren by Feilden Fowles

Click for larger image

Performance

We achieved a SAP rating of 79 and Dwelling CO2 emissions rate 5.5KgCO2/m2/ year  – six times more efficient than the government’s target emissions rate for a home of this size. Overall, this 175m2 house produces 968.9kg of carbon annually. Further testing is intended. With a small amount of energy generation on site, this home has the potential to be zero carbon. The logs for heating the house are already produced on the client’s estate. Unfortunately however, the ratings do not account for sustainable timber fuel.
Ty Pren by Feilden Fowles

Click for larger image

The dwelling has been occupied for one year now and initial user feedback has been excellent. The building only requires active heating throughout 2 months of the year, and sustains internal temperatures through passive solar heating in the shoulder seasons. We intend to carry out further detailed analysis to determine if the performance meets the projections. A BREEAM assessment is due to be carried out in the Autumn.

Ty Pren is an exceptionally sustainable house, which came about through the close collaboration of the client, design team and contractors to deliver a uniquely local and sustainable building. The intention has been to push the environmental debate surrounding green homes and will hopefully set a precedent of excellence for future developments in Welsh housing.


See also:

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Het Entreehuis by
Bureau B+B
Hunsett Mill by
Acme
Wooden House by
Atelier Martel

One Hyde Park by Rogers Stirk Harbour + Partners

One Hyde Park by Rogers Stirk Harbour and Partners

Here are some photos of the recently-completed One Hyde Park residential development in London by Rogers Stirk Harbour + Partners, which boasts the most expensive apartments in the world.

One Hyde Park by Rogers Stirk Harbour and Partners

Opened in January this year, the project comprises four linked towers of differing heights.One Hyde Park by Rogers Stirk Harbour and Partners

Floor plans are wider in the middle and taper towards the ends in order to maximise views out over the city.

One Hyde Park by Rogers Stirk Harbour and Partners

Circulation routes connecting the buildings are located between the blocks.

One Hyde Park by Rogers Stirk Harbour and Partners

The development consists of 86 apartments with the top level of each block housing a two-storey penthouse suite.

One Hyde Park by Rogers Stirk Harbour and Partners

A reception, business centres, leisure facilites and retail units are also included.

One Hyde Park by Rogers Stirk Harbour and Partners

The towers face Knightsbridge on one side and Hyde Park on the other.

One Hyde Park by Rogers Stirk Harbour and Partners

Photographs are by Nick Rochowski.

One Hyde Park by Rogers Stirk Harbour and Partners

More projects by Rogers Stirk Harbour + Partners on Dezeen »

One Hyde Park by Rogers Stirk Harbour and Partners

More residential architecture on Dezeen »

One Hyde Park by Rogers Stirk Harbour and Partners

The following information is from the architects:


The brief was for a landmark development which complements and enhances the rich textures of the existing local architecture, whilst creating a structure which integrates well with the neighbouring buildings.

One Hyde Park by Rogers Stirk Harbour and Partners

The existing rooflines – a dynamic and prominent feature of the local context – are characterised by the cupolas, turrets, gables and chimney stacks of the adjacent Mandarin Hotel.

One Hyde Park by Rogers Stirk Harbour and Partners

Detailed analysis of the context suggested that the buildings separating the Park from Knightsbridge were disjointed and varying in height, style and composition, resulting in a varied architecture along the northern side of Knightsbridge.

One Hyde Park by Rogers Stirk Harbour and Partners

With the exception of Bowater House, one of the key consistent features was the expression of verticality, ranging from the bays of the Mandarin Oriental Hotel to the verticality of the Hyde Park Barracks Tower.

One Hyde Park by Rogers Stirk Harbour and Partners

In recognition of the context – and in contrast to the design of the former Bowater House – a series of interlinked pavilions was conceived allowing permeability and offer views of Hyde Park from Knightsbridge.

One Hyde Park by Rogers Stirk Harbour and Partners

The separation of the pavilions was conceived to create a stronger visual connection between Knightsbridge and the Park than previously existed.

One Hyde Park by Rogers Stirk Harbour and Partners

The relationship of the pavilions with each other and with their neighbours followed a radial pattern emanating from a central point well within the Park.

One Hyde Park by Rogers Stirk Harbour and Partners

This resulted in a complementary alignment with the immediately adjacent buildings of Wellington Court and the Mandarin Oriental Hotel, as well as reinstating, as close as possible, the sweep of the original road and pavement alignment to the northern edge of Knightsbridge.

One Hyde Park by Rogers Stirk Harbour and Partners

The shaping of the pavilions – which widen towards the centre of the site and taper towards the perimeter – allows for oblique lateral views from each pavilion towards Knightsbridge to the south and the Park to the north.

One Hyde Park by Rogers Stirk Harbour and Partners

The pavilions vary in height, responding to the existing heights of Wellington Court to the west and Mandarin Oriental Hotel to the east.

One Hyde Park by Rogers Stirk Harbour and Partners

The circulation cores are located at the ends of – and between – each pavilion. These provide both primary and secondary access.

One Hyde Park by Rogers Stirk Harbour and Partners

The detailing of the cores is intended to be as light and transparent as possible, to maximise visual connections between the Park and Knightsbridge.

One Hyde Park by Rogers Stirk Harbour and Partners

The form of the residential pavilions and their separation at the cores breaks down the overall mass of the development and seeks to create a roof profile that does not compete with the mass of the neighbouring Mandarin Oriental Hotel.

One Hyde Park by Rogers Stirk Harbour and Partners

The upper levels of the pavilions are deliberately intended to resemble the roofscape of the immediate context in terms of colouration and texture.

One Hyde Park by Rogers Stirk Harbour and Partners

The base of the proposal responds to the differing terrains of the Park and Knightsbridge sides, at those places where they provide a street frontage.


See also:

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Leadenhall Building by Rogers Stirk Harbour + PartnersShard 2012 exhibition by Hayes Davidson and Nick Wood100 11th Avenue by
Jean Nouvel

Restaurant at the Royal Academy by Tom Dixon

New Royal Academy Restaurant by Tom Dixon

British designer Tom Dixon has completed the interior of the new restaurant at the Royal Academy of Arts in London.

New Royal Academy Restaurant by Design Research Studio

Created for restauranteur Oliver Peyton of Peyton & Byrne, the dining area features a free-standing metal-framed glass unit to house sculptures that were previously hidden away in the Academy’s archives.

New Royal Academy Restaurant by Design Research Studio

A bar made of lava stone and handmade bricks lines one end of the room, while the dining area has been divided into zones each inspired by an architect or artist key to the Academy’s history, including John Soane and J.M.W Turner.

New Royal Academy Restaurant by Design Research Studio

Furniture and lighting designed by Dixon also features, including a new range of chairs and the perforated Etch lamps (see our earlier story), which hang in clusters.

New Royal Academy Restaurant by Design Research Studio

Dixon oversaw the project as creative director of interior design firm Design Research Studio.

New Royal Academy Restaurant by Design Research Studio

More projects by Tom Dixon »
More restaurants/bars on Dezeen »

New Royal Academy Restaurant by Design Research Studio

Here’s some more information from Design Research Studio:


Interior design practice, Design Research Studio, under the direction of British designer Tom Dixon, are creating the interior for the new restaurant at the Royal Academy of Arts. This is the latest project for renowned restaurateur Oliver Peyton of Peyton and Byrne. The 150 cover restaurant will open to the public 18th January 2011.

The 250 m2 refurbishment references the long and illustrious history of the Royal Academy of Arts with materials chosen to complement the existing fabric of the Regency building including marble, brass and velvet.

The dining area is divided into different zones, with each area inspired by the work of a different Royal Academy Great such as Turner and Sir John Soane. To extend the gallery experience for diners, Design Research Studio has designed a dramatic free-standing unit in the centre of the space. Consisting of a number of glass cubes, the structure will house an extraordinary selection of sculptures and busts dating back to 1897. The pieces belong to the Royal Academy of Arts permanent collection but have long been stored out of public view.

The new bar is set to be a key focal point in the restaurant made from Mount Etna lava stone and hand-made glazed brick. Designed as a robust, sculptural object, its grandeur is enhanced by a dramatic cast glass chandelier suspended above. Other interior highlights include digitally etched brass pendant lights and injection-moulded foam seating.


See also:

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Paramount by
Design Research Studio
Shoreditch House by
Design Research Studio
Flash Factory by
Tom Dixon

Google office by Scott Brownrigg

Google office by Scott Brownrigg Interior Design

Architecture firm Scott Brownrigg have completed the London office of internet search engine Google, with a giant logo in the lobby forming doorways through the two Os.

Google office by Scott Brownrigg Interior Design

Designed with a Brighton beach theme, the interior is filled with dodgem cars used as work spaces, red telephone booths, beach huts and giant dice.

Google office by Scott Brownrigg Interior Design

Wallpaper in the meeting rooms and video conference booths is printed with seaside imagery.

Google office by Scott Brownrigg Interior Design

The space also includes a gym, spa centre and restaurant offering free meals for the 300 strong staff.

Google office by Scott Brownrigg Interior Design

More office interiors on Dezeen »

Here’s some more information from Google:


SCOTT BROWNRIGG INTERIOR DESIGN COMPLETES PHASE ONE OF GOOGLE’S NEW LONDON OFFICE

Scott Brownrigg Interior Design has created a new 40,000 sq ft office for Google at 123 Buckingham Palace Road, London to accommodate over 300 staff.

Google office by Scott Brownrigg Interior Design

The new office is designed to create a dynamic and collaborative work environment that supports the growing number of Google staff in London. As with many other Google offices worldwide, the office has a strong local theme. Joe Borrett and Jane Preston from Google, working with the Scott Brownrigg Interior Design team chose a theme of London-Brighton and as a result many iconic elements of both are incorporated into the office design.

Google office by Scott Brownrigg Interior Design

For example, brightly coloured timber beach huts are meeting rooms and giant colourful dice accommodate individual video conference booths, original dodgem cars and traditional red telephone booths are all work spaces available to staff and visitors. Open plan workstations for all staff are mixed with a few offices, meeting rooms and open break out seating areas and support spaces for printing and IT technical support. Google look after the health and welfare of their staff in an exceptional way and Scott Brownrigg Interior Design has designed a fully fitted out gym/shower facility, massage and spa treatment centre, and an Asian Fusion/Sushi restaurant that is free for all staff.

Google office by Scott Brownrigg Interior Design

Ken Giannini, Interior Design Director of Scott Brownrigg stated: “It is little wonder that Google is one of the most desirable places to work in the UK. We have enjoyed every minute of this exciting project. All the Google staff are up for innovation, brilliant ideas and they like to be challenged. We also recognise that Google is a serious business and demands efficiency, value and solutions that can support their business practices. This project has it all – a fun working environment that also incorporates lots of practical solutions.”

Google office by Scott Brownrigg Interior Design

Joe Borrett, Head of Real Estate and Construction for Google commented that: “The office was designed and delivered in a very fast timescale (4 months) and the team of consultants and the contractor pulled out all the stops to get it done. It was an impressive effort.”

Google office by Scott Brownrigg Interior Design

Jane Preston, UK Facilities Manager at Google said: “The first impressions by visitors and our staff has been very positive. The project fits well with our real estate and HR strategy and will definitely help support our growth plans. We see the work environment as a major recruitment factor for us to compete for the best talent and this new office certainly does that.”

Client: Google
Interior Designers/Planning: Scott Brownrigg Interior Design
Programme Managers: CBRE
Project Managers and Cost Consultants: MottMacDonald
M&E Consultants: TBA
Main Contractor: Cameron Black
Size/floor space: 40,000 sq ft
Timetable: 16 weeks
Furniture: Desking System: Bene, Task chairs: Herman Miller, Knoll, Vitra, Hitch Mylius, Wiesner Hager, Arper, James Burleigh
Flooring: Interface Floor, Object Carpet, Dalsouple

Completion of phase one was November 2010 and phase two (10,000 ft2) completes March 2011.


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KK Outlet by
Fashion Architecture Taste
Cheap Monday Office by UglycuteA Red Object by
3Gatti Architecture Studio

Shard 2012 exhibition by Hayes Davidson and Nick Wood

Future London by Hayes Davidson and Nick Wood

Here is a selection of images created by photographer Nick Wood and architectural rendering studio Hayes Davidson to demonstrate how The Shard tower by Renzo Piano Building Workshop might be photographed once complete in 2012.

Future London by Hayes Davidson and Nick Wood

Shard 2012 is billed as an online exhibition of “future photography”, manipulating photos Wood took from different vantage points in the city to show how the iconic building will look in the context of London’s skyline and how it might be captured on camera.

Future London by Hayes Davidson and Nick Wood

Top: view from the south
Above: The Shard and St Paul’s, original photograph. Below: after manipulation

The images juxtapose The Shard with some of London’s most famous architecture, including Tower Bridge and St. Paul’s Cathedral.

Future London by Hayes Davidson and Nick Wood

All images are © Hayes Davidson/Nick Wood and issued under creative commons (Attribution-NonCommercial-NoDerivs 3.0 Unported (CC BY-NC-ND 3.0)

Future London by Hayes Davidson and Nick Wood

Above: from London Bridge

More about The Shard in our earlier story »

More skyscrapers on Dezeen »

Here’s some more information from the photographers:


Shard 2012 is an online exhibition of ‘future photography’
Hayes Davidson and Nick Wood

The Shard is rising fast. At 300m tall, the Shard will be the tallest building in Europe and for many this is one of the most exciting new buildings in London for decades.

Future London by Hayes Davidson and Nick Wood

Above: with the Millennium foot bridge

It is already beyond doubt that the Shard will be a highly recognisable, photogenic symbol of London as well as one of Europe’s most photographed buildings. Photographs showing the juxtaposition of the Shard with the historic and the iconic will be highly sought after.

Future London by Hayes Davidson and Nick Wood

Above: from Tooley Street

Shard 2012 is an online exhibition of ‘future photography’ of the Shard exploring some of the vantage points from where the Shard might be photographed in 2012 when it is completed. Shard 2012 project is a partnership between London based architectural CG studio Hayes Davidson and London photographer Nick Wood. The project was initiated and financed by the artists independently of the developer. The Shard is a development by Sellar Property Group and is designed by the Renzo Piano Building Workshop.

Future London by Hayes Davidson and Nick Wood

Above: view from the south

The project started with a question: “Imagine the Shard is now complete. Where and how might Londoners photograph it in the future to capture its form, beauty, juxtaposition with the historic, as well as its relationship with everyday London?” Nick Wood set about exploring potential vantage points from all over London and photography was captured in late 2010.  After the team reviewed and selected the preferred images, Hayes Davidson set to work to ‘complete’ the Shard.

Visit the online exhibition »


See also:

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The Shard by Renzo Piano Building WorkshopLeadenhall Building by
Rogers Stirk Harbour
More photography
on Dezeen

Hoxton House by David Mikhail Architects

Hoxton House by David Mikhail Architects

David Mikhail Architects won the New London Architecture‘s Don’t Move, Improve! competition with this project extending a London terraced house by just one metre.

Hoxton House by David Mikhail Architects

Called Hoxton House, the project involved reconfiguring the interior and connecting it to the small courtyard garden through the addition of a glazed facade with timber frame.

Hoxton House by David Mikhail Architects

Part of the living room floor was removed at the rear of the house to create a double-height kitchen and dining area in the basement.

Hoxton House by David Mikhail Architects

See more stories about residential extensions on Dezeen »

Here are some more details from David Mikhail Architects:


An extension of only one metre combined with a reworking of the interior, has transformed this Victorian house. A two-storey cruciform façade is engineered from timber (Douglas fir) and structurally bonded double-glazing.

Hoxton House by David Mikhail Architects

A white kitchen and concrete floor are offset with natural materials and warm brick hues in the small courtyard.

Hoxton House by David Mikhail Architects

Like our ‘Square House’ in Camden, this property had a multitude of small rooms, and the architectural organisation is very similar, only on a smaller scale. A tiny kitchen sat underground in the semi basement, with a head height of only 2m.

Hoxton House by David Mikhail Architects

Above: front of the property

The garden was accessed from the half landing of a cramped servants staircase.

Hoxton House by David Mikhail Architects

Above: rear of the property before project began

Aims

Whilst modest in scale, we wanted to give the house a grander architectural order to complement the existing rooms. The clients are a young couple and they wanted a great place for eating or watching each other cook or chat. They felt it essential that the new room should be connected to the garden, even though it is small.

Hoxton House by David Mikhail Architects

Strategies

By taking away fabric as well as adding it, we have been able to carve out a set of new relationships. The house was extended to the rear by only one metre so as not to encroach too much on the rear garden, or to affect the neighbours. Even so, in such a small property this single move has revealed a new potential for how the house and its courtyard garden are experienced.

Hoxton House by David Mikhail Architects

We also removed part of the upper ground floor in two places; firstly to give access for a new stair at the front of the house, and secondly at the rear to give height to the basement. This provides a generous double height dining area and kitchen that connects directly to the garden. The vistas and drama that unfold within this small house, as you walk in directly off the street in Hoxton are a complete surprise.

Hoxton House by David Mikhail Architects

Material

A two-storey cruciform façade is engineered from timber (Douglas fir) and structurally bonded double-glazing. A white kitchen and concrete floor are offset with natural materials and warm brick hues in the small courtyard, which was also refashioned by the architects.

Hoxton House by David Mikhail Architects


See also:

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Extension by Anne Menke
and Winkens Architekten
Extension by
Ailtireacht Architects
Extension by
Neostudio Architekci

Matt Needle

matt1

Some nice illustrations by UK-based Matt Needle.

More great work on his site.

Maggie’s Centre Cheltenham by MJP Architects

Maggie's Centre Cheltenham by MJP Architects

Here are some photos of the recently-completed Maggie’s Centre Cheltenham, a cancer care facility designed by London practice MJP Architects

Maggie's Centre Cheltenham by MJP Architects

Located within the grounds of Cheltenham hospital in the UK, the centre comprises an existing lodge building and a new single-storey extension, clad in wood and surrounded by an enclosed landscaped garden.

Maggie's Centre Cheltenham by MJP Architects

The new extension includes a large communal space with a long table in the centre and seating bays lining the walls.

Maggie's Centre Cheltenham by MJP Architects

A fireplace and kitchen are located at either end of this room, with a private meeting and therapy room beyond.

Maggie's Centre Cheltenham by MJP Architects

Two semi-circular rooms in the garden can be used for private meetings and therapy sessions.

Maggie's Centre Cheltenham by MJP Architects

See our earlier stories on other Maggie’s centres:

Maggie’s Centre Gartnavel by OMA »
Maggie’s Centre by Rogers Stirk Harbour + Partners »

Maggie's Centre Cheltenham by MJP Architects

More stories on clinics, surgeries and hospitals on Dezeen »

Maggie's Centre Cheltenham by MJP Architects

Here’s some more information from the architects:


MAGGIE’S CHELTENHAM DESIGN

Maggie’s Cheltenham is the seventh Maggie’s Centre to open. The new centre encompasses a conversion of the existing Victorian Grade II Listed Pool Keeper’s Lodge which sits within the grounds of the Cheltenham Hospital, coupled with a new single storey extension to the building.

Maggie's Centre Cheltenham by MJP Architects

The extension, clad and lined in locally sourced hardwood and conceived as a series of highly detailed pieces of ‘furniture’, sits under a large, over sailing winged roof.

Maggie's Centre Cheltenham by MJP Architects

Situated a five minute walk away from the main hospital, the building sets out to provide a series of distinct and reassuring spaces.

Maggie's Centre Cheltenham by MJP Architects

The scale of both the existing lodge and the new extension offers a domestic context, distinct from the institutional character of the hospital itself.

Maggie's Centre Cheltenham by MJP Architects

The centre is entered through an enclosed and highly landscaped garden in which there will be several discrete sitting areas.

Maggie's Centre Cheltenham by MJP Architects

The entrance is located so that staff can guide visitors into alternative and contrasting environments.

Maggie's Centre Cheltenham by MJP Architects

New visitors may have their initial meeting with a member of staff in one of the ground floor rooms of the lodge which can offer the privacy of a one-to-one space.

Maggie's Centre Cheltenham by MJP Architects

In contrast, returning visitors can enter a room in the new extension that aims to facilitate communal interaction, rather like a country kitchen with a large table as its focus and a kitchen cooking range at one end and an inglenook and stove at the other.

Maggie's Centre Cheltenham by MJP Architects

Comfortable seating lines each side of the room, with bookcases, pictures and fresh flowers making it feel homely and comforting. Windows look out onto gardens on both sides.

Maggie's Centre Cheltenham by MJP Architects

Beyond this room with its family atmosphere is another room, large enough for group therapy and for meetings which can be conducted in relative privacy.

Maggie's Centre Cheltenham by MJP Architects

Two small, semi-circular ‘refuges’, one opening into the garden and the other with a prospect over the River Chelt provide the most secluded spaces for counselling, family meetings and private thoughts.

Maggie's Centre Cheltenham by MJP Architects

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The intention is that the building, with its combination of openness and intimacy and its secluded gardens, can provide a sanctuary away from the busy hospital and which will complement the emotional and psychological support provided by the Maggie’s Centre staff.


See also:

.

Maggie’s Centre Gartnavel by OMAMaggie’s Centre by Rogers Stirk Harbour + PartnersMore architecture
on Dezeen

Shingle House by NORD Architecture

Shingle House by NORD Architecture

The Shingle House by NORD Architecture is the second completed holiday home in Alain de Botton’s Living Architecture project.

Shingle House by NORD Architecture

Located on a beach in Dungeness, Kent, the house is clad in tarred black shingles.

Shingle House by NORD Architecture

The interior is clad in white-painted wooden panels.

Shingle House by NORD Architecture

Glazed concertina doors in the living areas and bedrooms open up the interior spaces to the beach.

Shingle House by NORD Architecture

The Shingle House sleeps eight people and is currently available to rent.

Shingle House by NORD Architecture

Living Architecture is a scheme initiated by writer Alain de Botton to create a series of vacation homes in picturesque locations, designed by prominent architects.

Shingle House by NORD Architecture

Peter Zumthor, Hopkins Architects, MVRDV and Jarmund/Vigsnæs Architects have all designed houses as part of this project (see our earlier story).

Shingle House by NORD Architecture

See also: Balancing Barn by MVRDV and Mole Architects

The following information is from Living Architecture:


The Shingle House is sited on one of the most unusual and poetic landscapes in England, on the shingle beach of Dungeness, near Romney Marsh.

Shingle House by NORD Architecture

The vast beach is empty save for a random collection of fisherman’s huts (many of them owned by artists, including – most famously – the late film-maker Derek Jarman), two lighthouses, the terminus of a miniature coastal steam train and in the far distance, the dramatic form of a nuclear power station.

Shingle House by NORD Architecture

The entire beach is classified as a nature reserve and is filled with unusual flora and is a haven for a plethora of birdlife.

Shingle House by NORD Architecture

Living Architecture’s house is by a young Scottish practice, NORD Architecture, who responded to the natural drama of the site with a simple monumental black house, finished in tarred black shingles on the outside and in a beautiful palette of concrete and timber within.

Shingle House by NORD Architecture

The Shingle House sleeps 8 people, and is available to rent from October 2010.

Shingle House by NORD Architecture

Shingle House by NORD Architecture

Shingle House by NORD Architecture

Shingle House by NORD Architecture

Shingle House by NORD Architecture

Shingle House by NORD Architecture

Shingle House by NORD Architecture

Shingle House by NORD Architecture

Shingle House by NORD Architecture


See also:

.

Houses for Living
Architecture
Het Entreehuis by
Bureau B+B
Balancing Barn by MVRDV and Mole Architects