jueves, 18 de julio de 2013
Michael Anastassiades for Casamica / Kasia Bobula
Furniture designer Michael Anastassiades at his home and studio in South London. You can find the pictures in the new issue of Casamica - a design supplement to the highest circulation newspaper in Italy, Corriere della Sera.
via lewoandwe.
miércoles, 17 de julio de 2013
Renzo Piano Building Workshop
“My studio pays clear homage to my homeland... it’s nestled between the mountains and the seaside, a situation that we Ligurians are quite accustomed to”.
The Renzo Piano Building Workshop’s Genoa studio is located in Punta Nave, on the seaside just west of the city of Genoa between Voltri and Vesima.
The rather small complex (approx. 1000 square metres) was built upon a terraced plot of land in 1991. The terraces, which were originally constructed by Ligurian farmers to cultivate the steep hillsides, were in fact preserved. Its transparent sloping roof maintains the continuity of the terraces themselves. The building is situated halfway up a steep hillside: a cable car, which runs vertically up the steepest section and changes orientation to follow the profile of the mountainside, provides access to the studio from the roadway below.
The building is structured like the wing of a butterfly. The side that runs along the upward path is straight. From this section, an internal staircase runs along the window pane, connecting all of the various levels. The opposite side has an alternating profile, which decreases from top to bottom and offers an ample view of the seaside and the surrounding greenery.
The roof is comprised of a frame of laminated wood insulated with plastic frames and thin membranes, which have been selected for their ability to insulate against the heat and filter the light. The entire structure is supported by thin steel uprights, with steel connecting elements. A series of photocells are used to detect the external weather conditions and automatically adjust a motor-powered system of slats in order to protect the roof against the elements and to regulate the amount of sunlight entering the building itself. The lights, which are oriented towards reflective screens on the ceiling, turn on at dusk. In this manner, even the artificial lighting comes from above.
The walls are made of non-framed glass panels, which are only fastened together using thin strips of the same material.
With its terraces, traditional materials and multi-level layout, the project evokes the history of its location, but at the same time represents a modern structure for the activities that are carried out within. The work areas follow the line of the slope and are arranged on various levels: in addition to creating a sequence of spaces, this solution also allows the view of the surrounding landscape and seaside to be enjoyed from every level. The space has no intrinsic hierarchy or barriers: the studio’s architects, clients, students and technical staff are all brought together under the same sloping roof, and are visible to one another from each of the building’s various levels.
The greenery is one of the space’s essential components. The shape of the place itself is derived from the needs of the crops, and the local vegetation, along with the terraces, provide the place with its distinctive form. The plants that surround and penetrate the building are well-rooted in the work areas and are clearly visible through the glass walls. Suggested by Cecilia Diaz via fondazionerenzopiano
With its terraces, traditional materials and multi-level layout, the project evokes the history of its location, but at the same time represents a modern structure for the activities that are carried out within. The work areas follow the line of the slope and are arranged on various levels: in addition to creating a sequence of spaces, this solution also allows the view of the surrounding landscape and seaside to be enjoyed from every level. The space has no intrinsic hierarchy or barriers: the studio’s architects, clients, students and technical staff are all brought together under the same sloping roof, and are visible to one another from each of the building’s various levels.
The greenery is one of the space’s essential components. The shape of the place itself is derived from the needs of the crops, and the local vegetation, along with the terraces, provide the place with its distinctive form. The plants that surround and penetrate the building are well-rooted in the work areas and are clearly visible through the glass walls. Suggested by Cecilia Diaz via fondazionerenzopiano
martes, 16 de julio de 2013
Austrian Contemporary Barn / Bernardo Bader Architects
Bernardo Bader Architects based the design on traditional barn houses of the Bregenz district, with a pitched gabled roof, rectangular floor plan and clean simple lines.
Locally sourced materials and finishes is what lies at the heart of this design, giving it a sense of belonging and a renewed connection to the surrounding environment. Spruce, Fir and Elm trees were used for all doors, kitchen joinery and various pieces of furniture, as well as cladding inside and out. Bernardo Bader Architects also salvaged much of the clay that was removed from the site during excavation, reusing it for pressed mud bricks in the under-floor supports.
Bernardo Bader Architects took the same sensitive approach inside, reminding us of Claudio Silvestrin’s design philosophy – simple, minimal, pure. Only the essential is included with black Thonet B9 chairs contrasting to the soft blonde timber. Classic black Artek A330s pendants hang humbly above the table, with jet black leather and heavy blackened steel near by.
With such a careful approach to the design, the focus really is on pure living and the surrounding environment – the perfect country escape!
lunes, 15 de julio de 2013
Nomad Patterns / Livia Marin
Nomad Patterns, 2012
Ceramic, resin, plaster, transfer-print. 32 objects Dimensions variable. Eagle Gallery, London. via liviamarin
Jean-Marc Houmard /apartment Greenwich Village
Looking for a table at one of New York’s hottest restaurants on a Friday night? Then you’d better book ahead of the crowd. Upon meeting one of New York City’s most popular and charming restaurateurs, Jean-Marc Houmard, his passion for perfectionism, food, and above all else, hospitality is obvious. Situated in the neighborhood of NoHo, his restaurant, ACME, is one of those sizzling and very new destinations. Being involved with the well-known Indochine since 1986, and taking it over in 1992, Jean-Marc and his business partner Huy Chi Le’s newest metropolitan gem comes with great expectations and counts among the current favorites of New York’s culinary scene.
Beyond its laid-back brasserie-style interior and atmosphere, ACME boasts a menu that is a cut above the rest. Aiming sky-high, Jean-Marc lured Danish chef and Noma co-founder, Mads Refslund, away from Copenhagen and has subsequently introduced the American public to his award-winning new nordic cuisine that includes: mackerel tart with black truffles and pickled vegetables, Arctic char with horseradish and buttermilk, and shrimp and bison carpaccio with elderberries and rye.
Just five minutes by bicycle from the restaurant and Jean-Marc is home. In his Greenwich Village staggered level apartment, complete with spectacular terrace and cityscape views, the Swiss native reflects upon his professional journey. Starting out with a budding law career and no intention to remain in New York long term, Jean-Marc traded this trajectory in for a bohemian dream and career in the restaurant business. Since then success and a loyal following of patrons have followed in his footsteps.
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