Après son oeuvre « Wallmonds Hanger Frame » le designer Gonçalo Campos nous présente sa nouvelle oeuvre. Un produit très simple, pratique à utiliser au quotidien. Une nouvelle solution offrant une décoration et une fonction pour des espaces réduits, fait pour accrocher les vêtements et les petits rappels.
Israeli designer Haim Evgi has created versions of Anglepoise lamps in solid oak using traditional carpentry techniques.
The direction of light from Haim Evgi‘s TZAP lamps can be altered by moving the joints between the wooden elements, which are fastened with decorative coloured bolts and wingnuts.
“The arms are interconnected using Tzap, a technique carpenters use for hidden attachments in their works,” said the designer, explaining where the title of the collection came from.
The lamps come in three designs, with the number of arms varying from model to model.
The four wooden sections that make up the stem of the Felix lamp get shorter towards the head, while all the zigzagging elements in the Flexi design are the same size.
The smaller Nuny desk light has just two joints. All of the lamps balance on circular bases.
A fabric power cord runs up inside the stem and hops out over the joints, allowing them to be adjusted unimpeded.
The head of each lamp is made from powder-coated aluminium, and all three are a slightly different shape.
Photography is by Yoav Gurin.
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balanced-arm TZAP lamps appeared first on Dezeen.
Voici cette maison Casa Del Arbol qui a été construite devant la vue imprenable du volcan Tungurahua. Mais la véritable attraction est la balançoire attachée à l’une des branches de l’arbre et située à la sortie d’une falaise à plus de 8350 pieds au-dessus du niveau de la mer sans aucun dispositif de sécurité.
Julian Calverley nous partage son voyage d’hiver écossais avec une série photos « Glen Orchy et Glen Etive ». Ce reportage photo traite et sensibilise également sur les dommages de la planète et de la nature. De magnifiques couleurs et une puissance naturel ressort de ces différents clichés.
Inspired by cigar makers in Spain, Austrian designer Helene Steiner has used thin strips of beech wood rolled into pipes to create a folding chair.
To make the Pepe chair, water is applied to one side of each slice of wood, or veneer, before glue is added on the other. This ensures there is tension on both sides of the sheet and the veneer doesn’t start rolling itself before the process has begun.
The veneer is then rolled into a pipe. Once it has set, each end is pressed to increase strength and make them easier to join to other components. The wood is then pressed in the middle in the opposite direction using a wooded mould.
“This helps to control the direction and position of the pressed parts so they are accurate,” explained Helene Steiner.
Because the veneers are just 0.5 millimetres thick, the material is pliable enough to allow the pipes to be squashed almost flat while still retaining structural strength. The pipes are then left to dry for a day before they can be sanded and waxed.
“Manufacturing in this way results in a strong structure with a novel 3D form and flat sections for assembly,” Steiner added . “The flexible process cleverly uses different pressing angles to make shaping in any direction possible.”
The Pepe chair is then assembled by passing two threaded rods through the middle of the chair. Spacers are added to create enough pressure to hold everything together. A separate rear stand made of two extra pieces of piping is attached to complete the chair.
“The squashed borders of the legs create the unique form and enable different structures with only one screw,” explained the designer.
The production method was first developed by CuldeSac, a Spanish design studio based in Valencia. Called the great tobacco project, the process was inspired by cigar makers in the small town of Torres de Quart in Spain, who have been making cigars there for more than 100 years.
“The name of the chair is an homage to my work at CuldeSac and an expression of thanks to my time as a designer there and the collaboration with Pepe Garcic from CuldeSac,” said Steiner.
In future, Steiner believes the process has wide-ranging applications beyond furniture. “The process gives great opportunity for strong and lightweight constructions as shelves and smaller architectural constructions,” she said. “For that, the process has to be translated to a industrialised process.”
Steiner is currently studying at the Royal College of Art in London and presented the Pepe chair at the recent Work in Progress show.
Here’s some text from the designer:
Pepe
Pepe is made of paper-thin veneer and therefore lightweight but also very stable.
The process is as exciting as the result. The veneer is only 0.5 mm thick and moistened on one side with glue, this is then rolled into a tight pipe and pressed. Manufacturing in this way results in a strong structure with a novel 3D form and flat sections for assembly. The flexible process cleverly uses different pressing angles to make shaping in any direction possible.
Pepe is lightweight and stable and uses a production method developed at CuldeSac Valencia during “The great tobacco project” in 2011.
Old production processes, materials, factories and the people who work and create there are a real inspiration for life. In a small town near Valencia you can find one of those factories full of history and a fascinating atmosphere, with authentic people and a special patina. The great tobacco project was inspired by the unique process of hand rolled cigars that have been produced at Torres de Quart in Torrent for 100 years.
Every table leg of the great tobacco project will be produced out of a thin sheet of wood and will be hand rolled to a perfect pipe. The squashed borders of the legs create the unique form and enable different structures with only one screw. Each table leg is unique. The etiquettes are aligned to the typical cigar banderoles and give every single leg the last touch of its personality. The great cooperation between CuldeSac and Torres de Quart brought the handmade cigars back to the place of inspiration.
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from rolled-up beech veneer appeared first on Dezeen.
Travaillant le bois comme personne, à l’image d’une boulangerie à Carlton, les australiens de March Studio ont eu l’excellente idée de suspendre 2000 pièces de bois suspendues dans l’enceinte de ce building Nishi à Canberra, pour un rendu absolument incroyable. Plus de détails dans la suite de l’article.
Créé par le designer suédois Erik Åberg « Ghostcube » est un système de verrouillage de cubes de bois qui peut être tordu, tourné, et plié pour créer des formes de plus en plus complexes qui rappellent l’origami. Une création unique et complexe, et un œuvre esthétique qui ravira tous les passionnés d’origami et de casse-tête.
Huge sliding doors at the front and rear of this weekend house in rural Hiroshima allow residents to open out their timber-lined living spaces to the scenic mountain landscape (+ slideshow).
Designed by Japanese studios DYGSA and Koura Architects, Hinanai Village House was constructed from wood and positioned at the peak of its hilly site to take advantage of the panoramic scenery.
A concrete driveway leads up to the house from the adjacent road, arriving at an door within a timber panel. Not only does the door hinge open to create a simple entrance, but the entire panel slides across to reveal that the concrete surface extends right through the building.
“When you open the front door you get the feeling as if the inside space is the continuation of the outside one, and that makes it possible to bring the outdoor activities inside,” explained DYGSA principal Dominik Yoshiya Setoguchi.
The single-storey house has a square-shaped plan and is separated into two sections by a split level. The concrete floor runs along one side to create an entrance lobby and a living room, while a wooden platform creates a step up for kitchen and dining areas.
Floor-to-ceiling windows along the rear elevation open all of these spaces out to the landscape. “The glass doors’ frame acts as a picture frame with the natural landscape in it,” added the architect.
A partition wall runs diagonally through the building, screening bedroom and bathroom spaces along one wall, but also helping to widen views through the rear windows.
Views of the countryside can also be enjoyed from the bath, which has been placed in a corner room with two glass walls.
Timber walls and ceilings are left exposed throughout the interior, while the four outer walls are each treated different differently, displaying a mixture of black, white and exposed timber surfaces.
Photography is by dygsa.
Here’s the project text sent by Koura Architects:
Hinanai Village House
This is a house in Hiroshima, Japan. The house is ideally suited for the client’s family of four – parents and two kids – with the purpose of spending weekends in the natural environment. It is situated on the top of a hill with the spectacular view over the surrounding area.
The one-storey house is in the shape of a square with sides that are 9.5m long. It stands on the front edge of the lot of about 2000 square metres, so the facade of the house shuts out the sight of the garden from the side of the road.
The main partition wall meets the ends at angles 80 and 100 degrees, which widens the view from the inside into the outside and raises awareness about the natural surroundings.
The path made of concrete and leading to the front wooden sliding door stretches to the inside space and reaches the glass sliding doors on the opposite side of the house. So when you open the front door, you get the feeling as if the inside space is the continuation of the outside one, and that makes it possible to bring the outdoor activities inside.
The line of the inside concrete path focuses on the old red pine tree in the garden. Thus, the glass doors’ frame acts as a picture frame with the natural landscape in it. Moreover, on opening the inside sliding doors separating the wooden floor space and the concrete floor space, you get one spacious room.
In this way the ordinary and extraordinary activities blend in one splendid hybrid space.
Location: Hiroshima, Japan
Principal use: house
Structure: wood
Number of storeys: 1 above ground
Site area: 2001.45 sqm
Building area: 91.30 sqm
Total floor area: 91.30 sqm
Collaboration: Koura Architects
Contractor: Fuji Construction
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to a scenic mountain landscape appeared first on Dezeen.
Cet espace est un ancien parking transformé par UTAA Studio dans un quartier moderne, le tout nommé « Reste Hole ». Les nervures en bois donnent une sensation d’espace, de lumière et de flexibilité, tout en fournissant l’épine dorsale de la structure, formant des sièges pour les étudiants de l’université.
Hidden at the bottom of a London garden, this glowing shed by British studio Weston, Surman & Deane was designed as a writing retreat for an author (+ slideshow).
Weston, Surman & Dean was asked to build a studio that reflected the client’s passion for children’s literature and mythology, and responded by creating a whimsical cabin that features a back-lit facade.
The inner facade of the Writer’s Shed is shingle-clad with a glazed sliding door that opens out to a covered veranda facing back towards the house. A cedar screen fronts the veranda and gaps between the narrow slats allow light to shine out at night.
The architects said that the wood was chosen for its reliance and sensitivity to ageing, “complimenting the role of the shed as a place of changing ideas and production.”
Tucked away behind the cedar frame are logs to be used in the wood burning stove that heats the shed, which sits on concrete paving slabs and leans against the gable wall. Oiled chipboard bookcases for the writer’s library fill the space around it and painted pine boards cover the floor.
A reclaimed sink with garden taps and a brass splash back sits on one of the shelves.
A large skylight in the asymmetric pitch roof above fills the workspace with natural light.
Weston, Surman & Deane, also known as WSD Architecture, was launched by three Royal College of Art architecture graduates after they completed their first project, the Royal College of Art Student Union Cafe.
The Writer’s Shed is one of 24 projects shortlisted for the AJ Small Projects Award 2014. The winner will be announced next month.
Here’s a project description from Weston, Surman & Deane:
Writer’s Shed
WSD Architecture were commissioned by an author and illustrator to design & build a ‘writer’s shed’. Capitalising on their multi-disciplinary backgrounds WSD acted as designers, project managers, and lead contractors.
The design responds to the client’s passion for children’s literature and mythologies.The space is conceived as a haven in the city; a fairy-tale hut at the bottom of the garden where the client can retreat and immerse himself in his work.
Externally, the glowing cedar facade, shingle cladding, log store and chimney all play a part in creating this world. Inside, a large north-facing skylight floods the workspace with natural light. On the gable wall, a bookcase meanders around the wood burning stove, providing a centre piece for the client to store his library of books. Looking back out over the garden, the glazed sliding door gives onto a covered verandah – a space perfect to enjoy the very worst of the British weather.
In February 2014, Weston Surman & Deane were short-listed for the Architects’ Journal Small Projects Competition 2014.
Budget: £31,000
Client: Private
Location: Hackney, London
Architects: Weston Surman & Deane Architecture Ltd.
Lead Contractors: Weston Surman & Deane Architecture Ltd.
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Writer’s Shed by Weston Surman & Deane appeared first on Dezeen.
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