Carla forms a geometrical composition with a large, round mirror that’s bisected by a wooden shelf on two legs, still leaving plenty of room to gaze at yourself. The narrow shelf can hold your jewelry, makeup, accessories, or even your cell phone, as there’s a cable guide hidden behind the shelf. The shelf is reflected in the mirror making it appear larger than it really is. It even looks like it has three legs. Then there’s Carla’s partner, Carlo, another dressing table that was designed to be used while standing with its tall, rectangular mirror.
Carla and Carlo Dressing Tables, by Florian Schmid
The client wanted a cabin for the whole family, but at the same time it needed to be divisible in some way. The solution was a cluster of three structures, which can be used individually. Each of the buildings is defined as a clarified geometric volume, organized around the outdoor area that binds them together as one unit. Toward the northeast, a hill borders and defines the site, together with the view in the opposite direction. The spatial interaction between landscape and the structure creates a beneficial microclimate. This is reflected by the structures’ southwest orientation, where the gable end is glazed. In the other directions the buildings appear more closed.
Micro Cluster Cabins, Norway, by Reiulf Ramstad
Photography by Gessato
The Loftcube based on the new urban concept to establish rooftop living on high rised buildings around the world has now been installed on top of the Hotel Daniel in Graz. The interior of the 1950s hotel building has been designed by studio aisslinger in 2005 and won in 2006 the expo real “hotel of the year” award. Now finally the unique 44 square meters loftcube featuring all-round panoramic views like to the Graz clock tower or Schloss Eggenberg has found its way to the rooftop. A unique nomadic architecture on an iconic building will be a new Graz attraction. The special Hotel Daniel – loftcube also tops everything in terms of its furnishings and appointments, including a specially made bed measuring 2,20 x 2,20m, a jungle feeling in the huge raindance shower, a comfy sofa unit and a superb home cinema experience.
The Brutalism project is a collaboration with Black Dragon press about Brutalism architecture in London. Three A2 poster, 5 colors screen print, edition of 100, signed. Eight A4 pages concertina litho booklet on 350gsm paper. With words by Michael Abrahamson architect and creator of Fuck Yeah Brutalism.
Brutalism, by Thomas Danthony & Michael Abrahamson
Located on the Alentejo Coast, the Monte Novo da Cruz is a rural property strongly characterized by a gently undulating land with slopes sometimes relevant. The presence of a curtain of high trees along the south-eastern perimeter of the site and a dense vegetation near a south-western stream stand out in the landscape. In the centre of the property, in a high position, there is an old rural construction in an advanced state of degradation.
The proposal for the Monte Novo da Cruz seeks to establish a contrast dialogue between the existing and the new building which sometimes merge with each other, creating a smooth transition between the past and the present. This relationship is materialized through two types of intervention, placed at different levels on the ground: In the upper level, the intervention consists on recovering and expanding the existing building for owners’ house. The planimetric composition is made up by a succession of spaces, which ends with a double height common lounge with a central fireplace. On the north-west side are located the main entrance and supporting spaces intercalated with small garden courtyards for natural lighting and ventilation. On the south-east side, to the contrary, are located the main spaces overlooking the garden and pool.
In the lower level, the intervention results in a new independent building that adapts to the topography of the site and uses the slope of the ground to differentiate the owners’ house of the guest areas. This long volume, half-buried and perpendicular to the line of trees, preserves the scale of the house and reinforces the verticality of vegetation. Its unique façade is characterized both by a wide opening framing vistas of the landscape as well as by a stand-alone pergola reducing the amount of direct sunlight coming inside the rooms and providing privacy for guests. At the level of arrival the building is almost imperceptible to the eye, only a long terrace with seating areas for contemplation of the surrounding nature is visible.
Pe No Monte Rural Tourism, Odemira, Portugal, by [i]da Arquitectos
Photography by Joao Morgado
Designer Adrian Magu’s interest for everything green and his work in the automotive industry has resulted in the Kasokudo Bonsai Planter; a stunning fusion of form and function. Referencing speed forms and manufacturing processes used in transportation design, this piece juxtaposes movement applied to what is usually a static object. The piece gives the impression of an accelerating form that effortlessly floats to house a bonsai tree, evoking a perfect balance of dynamic harmony. The latest manufacturing processes of the highly polished finishes of the planter and 3D-printed ‘mountains’ contrast to that of nature that usually takes many decades to grow, sculpt and form the gnarled bonsai forms. In all, a unique synthesis of cutting-edge precision with the imperfect beauty of nature.
Kasokudo Bonsai Planter, by Adrian Magu
Photography by Andy Beard
Based on the genetic of the place, the intervention holds, as the main goal, the creation of a contemporary space without disturbing the peace of the countryside area. A pure volume, with rectangular base, is adjusted to the ground and opens into the green landscape. The volumetric purity, desired by the customer, sets the mood for the project and the new inhabitant of the place is, now, one of the terraced fields of the perfectly balanced ground. Thus, the act of inhabiting unfolds through the volume of concrete, pure, raw, adjusted to the ground, just waiting to grow old as the days go by reflecting the life of the countryside.
Sambade House, Penafiel, Portugal, by Spaceworkers
Photography by Fernando Guerra, FG+SG
Two thin parallel concrete planes stretch over a gently curving topography acting as floor and roof, floating slightly above the terrain. The large rectangular footprint provides a 360-degree experience within and around the home, with a large concrete mass perpendicularly projecting out into the site containing the pool. Within the framing elements indoor and outdoor space are separated only by a transparent operable glass membrane that slides to connect the two states.
Structural materials are present throughout the interior and exterior lending to its conceptual purity. At the other end of the house, opaque volumes clad in closely-bound slender wooden slats offers privacy for the bedrooms and bathrooms and much needed shade during the day. Existing as individual forms within the horizontal concrete extents, hallways penetrate through the program so each room has a unique connection to the outdoors be it through immediate access to the site or through exposed patios formed from varying setbacks on the foundation slab. The floor of circulation through the spaces essentially dictates the location and size of each internal element so the home becomes more about ones movement through the site and through the structure.
Redux House, Brazil, by Studio MK27
Photography by Fernando Guerra
Oversized pendant lamp shows sensitively the beauty of smooth glass in soft curves. The source of tubular light permeating daringly the delicate body of the lamp builds a thrilling tension of this concept. Sophisticated and strong look of the elegant hand blown lampshade resembling a shape of a futuristic helmet is based on the principle of penetrating forms, previously applied in the design of the Capsula light designed for Brokis in 2013. Natural combination of a wood, textile and blown glass reflects designer’s distinctive style. Lampshade is fixed on a stick sheltering LED source, suspended on textile straps secured by wooden buttons. Mona shade can be also pierced on a steel tube in order to create a standing version.
Mona Lights, by Lucie Koldova, for Brokis
Project EGG is an object measuring 5 x 4 x 3 meter, composed of 4760 uniquely shaped stones, 3D-printed by Studio Michiel van der Kley together with hundreds of co-creators all over the world. The largest 3D-printing community art project so far. A new way of creating and collaborating. You could call Project EGG a poetic pavilion. The building has an organic form and structure where the floor, walls and ceiling fully and seamlessly merge. It has been constructed with 4760 open, elegantly designed stones, each one’s shape unique. Many small elements together forming a large structure, as in the objects from nature that designer Michiel van der Kley likes to look at, such as crocodile skin, corn cobs, coral. He finds in these a language of segmentation which he merges with the possibilities of desktop 3D-printing; when you see a large object as the total of many small elements the potential is limitless. The material is new, PLA, re-usable and biodegradable. Also the way this object is produced is new; not by a factory but by a community. Project EGG invites you to enter it and to be inundated by the play of light and shade, to see 100 shades of white and to experience space and emptiness at the same time.
This is the largest desktop 3d-printed co-creation art project so far. During his research on the potential of the 3D-printer, Van der Kley came into contact with bloggers and digital communities all over the world. He learned much from them and invited them to print one of the stones for Project EGG. Since each stone has to be printed individually, it is very easy to make slight variations in each design. Participants received the digital version for their unique stone in which their name has been included.
Project EGG, by Michiel van der Kley