May Grove was designed for a professional couple and Biggles the cat. The occupants required a modern, low maintenance, open plan sanctuary in the inner city. The design meets these requirements while offering a variety of engaging spatial conditions, light and volume to enhance their daily living experience.
May Grove, by Jackson Clements Burrows
Photography by Peter Clarke
Located in the Virgin of Guadalest Valley, an environment of high scenic value 50 minutes from Alicante, VIVOOD Landscape Hotels, the pioneering network of sustainable design tourist destinations inaugurated the first landscape hotel of our country this summer. It has been a challenge both architecturally, in terms of the landscape, as well as at the services level.
A challenge that begun by offering all the comforts of a luxury hotel in the middle of nature, as well as innovating with a modular architecture integrated with the landscape, through its 25 independent suites, a restaurant, lounge bar, a panoramic pool, and many terraces and private exterior jacuzzis.
Thus, VIVOOD is consolidated as a new hotel chain designed and managed by architects, preoccupied with the creation of spaces focused on the design of a new concept, an experience for the future guest who will live that place. A place of avoidance for the traveller who seeks new sensations of calm and exclusivity.
All the elements integrated into the concept, from the surroundings, the landscape, the views, the architecture, the interiors, the pool, to the jacuzzis, have been designed with the aim of building a hotel with special charm. The most pure, silent and tranquil environment to achieve avoidance: its true added value.
The Montebar Villa is a prefabricated wood house lying on a panoramic spot facing the Swiss alps, in a privileged position with sun light during the four seasons. A magical place where the silence is alternated with the gentle chimes of cows at pasture in the distance, where the calm breezes coax tree branches and grasses to release and carry a sweet and fragrant air.
The project was created around the local building code, which imposes each house to have a dark gray pitched roof for a better integration with the environment. Starting from this constraint, the idea developed into an homogeneous solution using the same material for both the roof and façades, in order to provide the building with a monolithic aspect, like a stone in the landscape. The only exception is the South elevation, facing the valley, which grants a spectacular 180 degree view through a curtain-wall that encloses the living area and folds inside creating a loggia to be used in the warmer months.
Montebar Villa, Medeglia, Switzerland, by JM Architecture
Photography by Jacopo Mascheroni
The lakefront site is entirely wooded. It is crossed by a stream on its south side and has a steep incline on the north. These characteristics and the need to build at a distance from the stream suggested a lengthwise placement, with the house slipped in between the stream and the slope. It is a low-profile, primarily single-storey building. Its meandering shape is determined by the opportunities offered by the surrounding landscape. The structure bends, opens, and narrows like a river carving its own path.
From the path leading up to the entrance, the building appears as a mostly opaque volume that follows the contours of the site. The garage is concealed from view. To the right, an opening in the palisade invites visitors to come inside. Along the south facade, the volume of the house bends and opens up to let in the light and make the most of the forest view. Further along, the volume bends again, turning toward an opening in the woods that offers a view of the stream flowing into the lake. On the north side, smaller openings frame perspectives of the surrounding landscape and allow the building’s occupants to enjoy the gentle murmur of the stream, which still runs over the property. Atop the roof, a small tree-house-like room looks out onto the surrounding greenery.
Inside, visitors are greeted by a large hickory wall unit, shaped to offer seating and a place to hang away coats. It also directs one toward the living space, a large, generously-lit area that culminates in a cantilevered, screened room with a view of the mouth of the stream and the lake. On the south side, the exterior wall makes way for a large glazed surface that opens onto the forest. During summer, the trees, like the green roof, create a natural screen to shield the house from heat. In winter when the leaves have fallen, sunlight filters through the forest and floods the space with warmth and light. The materials used for the surfaces are simple and refined. The white walls and polished cement floors contrast with the rugged natural surroundings, allowing the scenery outside to take centre stage. The large open area is occupied by three wooden masses. The large built-in unit in the entrance also screens off the more private areas of the home.
House on Lac Grenier, Estérel, Canada, by Paul Bernier Architecte
Today, the loss of life and humanitarian suffering, such as racism and terrorism, is considerable. Besides, it is now possible to make human beings artificially. Considering those, it seems that the value of ‘life’ is transforming, and therefore, it is time to re-think about the ‘life’. This chandelier is inspired by the weak electrical current occur from an ovum at the very moment of the fertilization.
The Birth Lamp, by Satoshi Itasaka
Photography by Elly
Throughout history, Japan has faced numerous natural disasters. Each time, its people have stood strong and gone on to rebuild their communities. On 11 March 2011 the Great East Japan earthquake struck the country and has once again reminded us of the importance of disaster and emergency preparedness. Rather than the conventional emergency preparedness kits that all tend to resemble one another, people are now seeking a more versatile solution that is appropriate for a variety of situations. This called for the development of an emergency preparedness kit that includes the bare minimum necessary for a city-dweller to make it to a place of refuge during an earthquake or other disaster. The result is a whistle to alert others of one’s presence, a radio, raincoat, lantern, drinking water and a plastic case, all packaged inside of a 5cm wide tube that is waterproof and floats. The radio is equipped with manual charging functionality, which can also be used to charge your smartphone, lantern, or other devices via USB. The plastic case can be used to store medicine or anything else the user might deem necessary, and the tube in which the drinking water foil pouch is stored can also be used as a cup. Despite its compact design, the kit offers a rich set of features.
Slimmer and more compact than conventional emergency kits, it’s easy to carry and can also be worn over the shoulder using the included strap. The design makes it easy to keep it near the entrance and ready to go at all times – just leave it in the umbrella stand or hang it from a coat hanger. The outer tubing is available in silver, white, or black, and each tool is available in a selection of 3 different colours.
MINIM+AID, by nendo, for SUGITA ACE
Photography by Kenichi Sonehara
Kiosque are two modular pavillons commissioned by Emerige with the Galerie kreo that will be donated to the City of Paris to be used for social and cultural projects. The Kiosques can be visited until begining of November in the Jardin des Tuileries in Paris as part of the Hors les Murs extension of FIAC Contemporary Art fair. The construction, manufactured by the Ateliers of La Machine in Nantes, was built like an urban furniture: the pavilions can be easily transported inside a truck and assembled in three hours. Idea was to create an itinerant and versatile platform that could welcome different kind of events. A modular rectangular unit with a broad roof that amply overhangs the wall, creating a sheltered external terrace illuminated by hanging lamps. The roof can fold into itself in two-panel sections, which can then be stacked and moved in a trailer.
Kiosque, by Ronan & Erwan Bouroullec
Manshausen Island is situated in the Steigen Archipelago off the coast of Northern Norway. The Island´s position between dramatic mountains and the Barents Sea is in itself the inspiration for celebrated Polar Explorer Børge Ousland´s newest adventure; an adventure and exploration resort. The area is home to the world´s largest population of Sea Eagles and the fishing is spectacular. To the north the horizon is dominated by the mountain-range of Lofoten.
Manshausen Island was historically part of one of Northern-Norway´s largest trading posts for the fishing industry, today only visible in the massive stone quays on the Island. Additionally there is an existing 18th century small farmhouse on the Island.
The resort was planned and laid out in consideraton of the Island´s topography and the two main existing structures – the old farmhouse and the stone quays. The old farmhouse is situated on a small protected grassy plain on the Island and has been carefully restored, but also opened up towards the view of Lofoten in the North. The interior gives room to a professional kitchen and dining area on the ground floor and a relaxing library on the first floor. The cabins are all but one placed on the stonequays, partially cantilivered above the sea, one placed on a natural shelf on the rocky formations above. The positioning and orientation of all the cabins is based on the consideration of their individual panoramic views and privacy for the guests.
Manshausen Hotel, by Snorre Stinessen
With the major exhibition »The Bauhaus #itsalldesign« (26.09.2015 – 28.02.2016), the Vitra Design Museum presents, a comprehensive overview of design at the Bauhaus for the first time. The exhibition encompasses a multiplicity of rare, in some cases never-before-seen exhibits from the fields of design, architecture, art, film and photography. At the same time, it confronts the design of the Bauhaus with current debates and tendencies in design and with the works of contemporary designers, artists and architects. In this way, “The Bauhaus #itsalldesign” reveals the surprising present-day relevance of a legendary cultural institution.
The Bauhaus #itsalldesign, by Vitra Design Museum
A collection that was created for the solo exhibition held at the “EYE OF GYRE” a gallery in Omotesando during Tokyo Designers Week 2015.
Since it is difficult to grasp beforehand the status of furniture being used when designing furniture for mass production, the designs inevitably tend to become one of an “average specification” that can respond to various scenarios. What’s more, the space will become evened out by such furniture filling the space. Thereupon, we expected a new relationship to develop between space and furniture by conceiving the design of the furniture from a specific space. By walking around the gallery we went through a special design process of being inspired by elements that are normally “troublesome”, such as the corner of the room or protruding columns. In the process, we took turns in verifying how the furniture was balanced as it was placed within the space, as well as the proportion of the furniture itself. This resulted in the creation of mysterious tables that consisted of a 5mm square metal rod with a small tabletop measuring a radius of 100mm attached to it.
The design utilizes the element of space as a part of its structure by “parasitizing” on to the corners or edges of the walls, the edge of the floor and exhibition stands.
Border Table, by Nendo, for EYE OF GYRE
Photography by Hiroshi Iwasaki, Masaya Yoshimura