Meltdown is an interpretation and attempt to make something beautiful from the disastrous nuclear accident in Fukushima. Would an actual meltdown occur and what would the impact be? The disaster is reflected in the lamps where the process already begun and the bulb are about to melt through the last defense of the glass.
Connoisseurs architecture of the middle of the twentieth century, Michael and Gabrielle Boyd discovered a forgotten masterpiece of Oscar Niemeyer and brought him back to life.
Strick House, Santa Monica, California, USA, by Oscar Niemeyer
via: Architectural Digest
Read More: Strick House by Oscar Niemeyer I
Wall Shadows, by Charles Kalpakian, for Omikron Design
The house is situated on a corner lot in the typical 30’s district ‘de Elzent’ against the natural landscape of the Dommel valley, in the center of Eindhoven. The existing main house is relatively small in structure, however, the lot size is sufficient enough to resist an carefully threaded extension. An extension where extra comfort is added to the existing house. The transparent addition to the house is a continuation of an earlier exterior expansion with thin floating concrete eaves. These overhangs give a balanced picture, allowing the spaces seamlessly to blend, and gives the garden an intimate enclosed character. The sightlines are important, creating separate spaces as a study niche, a lowered seating area with wide windowsills and a hanging fireplace. The roof connects the spaces seamlessly into each other. Much attention is paid to careful detailing. Positioning of roof lights, (curved) walls, steps, niches which store the curtains, floor heating and cooling ceiling, acoustic panels and lighting are seamlessly concealed and determine the appearance and character of the area.
House IV, Eindhoven, Netherlands by De Bever Architecten
Photography by Norbert van Onna
The Washington Collection for Knoll, David Adjaye’s first collection of furniture, transforms his architectural and sculptural vision into accessible objects for the home and office. The collection consists of two cantilevered side chairs, a club chair, an ottoman, a side table and a monumental coffee table. David Adjaye said, “Knoll approaches furniture as making connections between people and how they work and live their daily lives. This project has been an exhilarating and collaborative experience – an unexpected balancing act between the design and engineering processes. My original idea of what this furniture should be was continuously refined and transformed throughout.”
Commenting on Adjaye’s work, Knoll design director Benjamin Pardo said, “David is doing really innovative and important architectural projects, and what really interested us was to see that work on an entirely new scale.” Adjaye’s limited edition cast bronze coffee table reflects this cross-over. The sculptural table with a clear glass top is constructed from four cast bronze panels, and four connecting plates. The roughhewn exterior contrasts the highly reflective, hand polished interior surface. To mark our 75th anniversary the bronze coffee table is limited to an edition of 75.
The Washington Collection, by David Adjaye, for Knoll
Friedman Benda will present Paul Cocksedge: CAPTURE the British designer’s inaugural solo exhibition, the works include Capture, a 5 ¼ ft (1.6 meter) hand-spun aluminum dome that appears to “hold” the peaceful glow of a warm white light. The piece is informed by a process of reduction–a recurring theme in Cocksedge’s work–as it subtracts the typical infrastructure around light, instead creating a hemisphere that seems to stop light from escaping. For White Light, Cocksedge will create a room within the gallery in which everything and nothing changes. For this work, the designer will create an illuminated mosaic of precisely calibrated and positioned colored panels on the ceiling of the gallery. The ceiling will slowly fade from a spectrum of colors to a warm white light, while the room itself will remain unchanged, demonstrating the ways in which we do and do not perceive the interplay of color and light.
The inspiration for Poised comes from the elegance and amenability of paper. Half a ton in weight, the steel table appears improbable upon investigation. Created following an intensive series of calculations regarding gravity, mass, and equilibrium, the table looks as though it is about to fall, but is perfectly weighted and stable.
In addition to these new works, Cocksedge will present three architectural models that take conceptual threads from Capture and White Light and reapply them to architectural settings outside of the gallery space. Central to Cocksedge’s work is an appreciation for the ways in which people respond to and interact with his designs. As a result, potential real world applications of these new works will be explored in a series of architectural models.
Casa Almare, Jalisco, Puerto Vallarta, Mexico, by Elias Rizo Arquitectos
Photography by Marcos García
The OSLO sofa is designed by Anderssen & Voll and becomes the third sofa series this Norwegian design studio creates for Muuto. OSLO consists of a 3-seater sofa, a 2-seater sofa, a chair and a pouf, all with build in pillows that makes each furniture comfortable and airy at the same time. OSLO has a round and embracing top, upholstered in fabric from Kvadrat. The seats are lifted up from the ground by slim legs of aluminum. OSLO has multiple functions and works well both in a home setting, in a reception, in a lounge area, or in a lobby.
Anderssen & Voll explain the design “We wanted to make an organic and human sofa series with a light and inviting appearance, without compromising on comfort. The horizontal division in the seat is important, as it allowed us to add extra comfort in the lower part of the furniture while maintaining an airy overall expression. The OSLO sofa series is crafted in the west coast of Norway and with its embracing and rounded softness it stands as a natural extension to the Nordic touch and friendliness that characterises the designs of Muuto.”
With the façade radically horizontal, the Lee House is organized in a single volume ground-floor site. All of the rooms therefore, establish a strong relationship with the external, opening out to the garden. The spatial continuity with the living room is larger: all of the windows are recessed creating an extension of the external space, with a large veranda. The living room then prolongs the pool deck and crosses to the other side of the lot. These solutions are fit for the climate, the interior of the State of São Paulo, in the Brazilian southeast, which has elevated temperatures almost every day of the year. Strategies of traditional ambiental comfort of vernacular architecture and even Brazilian modern was used. The living room has cross-ventilation, which greatly lowers the internal temperature and the other rooms are protected by wooden muxarabis panels placed on sliding doors which filter the Sun without removing the ventilation. The front veranda is delimited by a foyer in the façade revealing two wooden boxes divided by the social area. The kitchen opens to the living room, encrusted in one of the boxes that hold the utility areas. The bar opens out to the social area and is contained in the box that holds the bedroom as well. At the end of the corridor of the bedrooms, which can also be accessed from the outside of the house, there is a spa delimited by external walls and composed by a gym room, a sauna and a small outdoor pool encircled by the deck. Besides the wood of the wooden boxes, the house is clad by White mortar and the internal patio of the spa is encircled by stones. The few materials used by the Lee house and the simple organization of the program create a minimalist atmosphere that extends from the outer to the inner areas of the house.
Lee House, Porto Feliz, São Paulo, Brazil, by Studio MK27 – Marcio Kogan + Eduardo Glycerio, Photography © FG+SG – Fernando Guerra