We raise high stone walls built of the same stone as the Zamora Cathedral, that follow the outline of the site, like a box open to the sky. We thus achieve a secret garden in which we conserve and plant leafy trees, aromatic plants and flowers. And we open openings in these stone walls that frame, from within, the cathedral, the landscape and the surrounding buildings. And in this verdant garden we build a transparent glass box that makes it seem as if one is working within the garden.
For the stone wall, qualities and dimensions were studied to express the strength of the stone in the same way as it is in the Cathedral. The same stone in large dimensions and with great thickness that accentuate the strength of the proposal. For the building itself, a glazed and perfectly controlled facade was conceived, with maximum simplicity in its construction system. The facade works actively in regard to the climate, able to hold in heat in the winter (Greenhouse effect) and at the same time to expel the heat and protect the building in the summer (Ventilated facade). It is a stone box open to the sky that holds a crystalline box and protects it and tempers it, immersed in the midst of a wonderful garden.
Offices for Junta de Castilla y León, Zamora, Spain, by Alberto Campo Baeza, In collaboration with Pablo Feméndez Lorenzo, Pablo Fledondo Diez, Alfonso Gonzalez Gaisan and Francisco Blanco Velasco
The Nymphea project is a chandelier that reverses the usual workings of ceiling lights. Whilst suspended from the ceiling, one looks at the chandelier from above. This switching between up and down creates an original lighting atmosphere, both intimate and close to the floor. The possibility to change the orientation of the lights also contributes to the design of the lamp. Like water lilies, the disks that make the lamp seem to float above an invisible surface. The observer can think that one has his feet in the water and looks to the bottom of an imaginary pond.
The space, in its raw form, was long, hollow, and had high ceilings. Arthur Casas built out the shop and used it’s length to his advantage. The architect deisnged a long hallway, where the walls are angled and lined with a high gloss white plastic, black mirror, and vertical slats of raw wood. Wine bottles are held in the wall by cut-out holes, just big enough for the bottle shaft. With each label facing upward, Mistral’s store guests can walk through the shop and easily view the products. The long hallway leads into the bar area, where the wall materials from the wine display area continue. The space is modern, yet warm and approachable; making it a great spot to grab some friends and enjoy a wine tasting.
Designed for Papafoxtrot London, Postlerferguson have selected the 5 most iconic unmanned spacecraft circling the earth and transformed them into Papafoxtrot’s iconic design language. The satellites are made out of maple as well as laser etched stainless steel parts with polished natural wood, matte white and glossy red finish.
Satellites, by Postlerferguson, for Papafoxtrot
The story of Can Manuel d’en Corda is a very happy one. In a stunning plot in Vénda des Cap de Barbariain in the West of the picturesque island of Formentera, Spain, sits a traditional and pretty special house called Can Manuel de’n Corda. The house, which encapsulates the domestic vernacular architecture developed in Formentara between the late eighteenth and mid nineteenth centuries, was crying out for some tender love and care. Sitting pretty, surrounded by a forest of pines and junipers, it sat tight, waiting to be noticed and transformed. And one day, that’s just what happened.
Architects Marià Castelló and Daniel Redolat realized the potential of Can Manuel de’n Corda and set out to preserve the house, whilst adding volume to create a home that embraces its location without necessarily impacting its habitat. Whilst the house’s common areas have been maintained, the limited palette of materials used in the design, acts in turn to showcase the house’s traditional features. And so alcoves, stone walls, sloping ceilings and striking beams really stand out in the fresh minimal scheme. Like the original beams, the external joinery is made from solid iroko wood, and additions such as a striking steel fire place in the living room really complement this home’s existing character. The featured furniture includes Mediterranean design classics such as the Torres Clavé armchairs and Miquel Mila Cesta luminaire, as well as the traditional esparto skating chairs made by local artisans, thus enhancing the sense of this house’s rustic native roots.
Can Manuel d’en Corda, Vénda des Cap de Barbaría. Formentera, Spain, by Marià Castelló + Daniel Redolat, Photography © Estudi Es Pujol de s’Era, via: Yatzer
This is Sarjaton. Meaning ‘no series’ in Finnish, it’s a range that redefines the freedom of flexibility. Comprising 26 essential parts that can be used whenever for whatever, Sarjaton gives you the natural tools to create as you like. Touch the embossed relief on the plates and mugs, relax with the soft and muted tones of the colour palette, and embrace the small details.
Alongside the patterns of ‘Letti’ and ‘Metsä’, Musuta also designed the fish for the bottom stamp on each piece from the range. Symbolic of the ancient Finnish saying ‘there’s no point in going fishing further than the sea’ it reinforces Sarjaton’s celebration of simple living and having all we need right here.
Sarjaton is born from the collaboration and concept development of six talented designers from fashion, product, graphic and digital design that share the same vision to interpret Finnish traditions in a modern way. Harri Koskinen designed the soft, round shape of the new ceramic dishes and Aleksi Kuokka gave the shape for the universal drinking glass. As well as the colour scheme, the patterns ‘Letti’ and ‘Metsä’ were hand-drawn by Musuta, whilst the ‘Tikki’ pattern was created by Samuji.
Sarjaton has been strongly influenced and shaped by Finnish traditions, with the concept and design for the range firmly rooted in folklore and artisan rituals.
Embossed patterns based on traditional basket braids, embroidery motifs and the forest that covers half of Finland, deliver a handcrafted feeling that invites you to touch. While modern life has made us crave for an authentic feeling, the Sarjaton collection takes us back to the way things were made before. The real way.
“We hope that Sarjaton lets people discover things they like and find beautiful. We don’t wish to offer ready-made solutions, but stimulate the imagination.”
Sarjaton Tableware, by Harri Koskinen, Aleksi Kuokka, Musuta, Samuji, for Iittala
Shanghai-based architects Neri&Hu recently completed a 250 square-meter private residence in a high rise tower in the heart of Singapore. The client’s mandate was simple: “Give me three bedrooms and a project that will challenge the conventional notion of what a flat should be.” Rising up to this challenge, Neri&Hu initiated the project by questioning the fundamentals of the “house” typology itself, asking themselves: How can we free up the plan and make it feel light and loft-like? What is the relationship between the communal and private? When and how should privacy be maintained, if at all? What are the essential and non-essential program components that make a “home”? What is domesticity?
The resulting parti breaks though all conventions of the standard apartment layout by placing the rooms away from the building edge, reserving a continuous corridor along the entire perimeter. Rather than enter into the center and then radiate outwards towards individual rooms, a configuration often taken for granted as the ideal condition in high rise residences, here, the private zone forms the core of the space, while the public circulation zone envelops and ties everything together. The strategic insertion of three free floating volumes, clad in wood, stone, and copper, adds to the depth of the spatial layers, enclosing within them the most private and intimate rooms of all–the study and the two bathrooms. The remaining space is kept transparent, pushing the boundaries of how open and extroverted a room can be, while still maintaining privacy. The project rejects the parcelization of spaces found typically in apartment layouts, creating an openness and expansiveness that is more conducive to the contemporary lifestyle.
Wu Residence, Singapore, by Neri&Hu, Photography by Pedro Pegenaute
Consisting of an office & a residential space the division of the two lifestyles has been executed with symmetry and complete severity. The small architecture studio is present in the north side and repeated on the south side in the form of a space of identical dimensions in the small but smart dwelling. One of the greatest features of indication for these two divisions is the subtle niche present exteriorly on the two sides of the structure subtly indicating the division between work and play. This is a great detail representing continuity beyond the walls of the structure and onto the landscape. Wanting however to achieve the perfect harmony between earth & man the small setback around the edge in section creates the sensation that the building is floating over the site.
Moving inside the interior follows the exact same language of harmony. Dividing the two type structures from within is a nucleus of services consisting of bookshelves, bathroom, kitchen, fold out beds, cupboards and two sliding walls which divide these main areas in order to create more intimate spaces such as an annexed office or guest room. The interiors are both bright and pure where one’s focus is drawn to the outside views. The main internal presence is of course the Iroko wood element, which in combination with the naturally white interiors, is portrayed as the dominant feature. With its horizontal and vertical presence, it dominates the areas and successfully brings together all the relations.
More about this project: Home-Office in Formentera
The chair, composed of a minimalistic rigid polyurethane shell, distinguished by its unmistakable high back. The wood base version transmits warmth and harmony. The version with the ring, encircling the apparently more rigorous metal base, gives the chair its playful character and craftsmanship. The generous proportions of the Luc lounge chair give freedom of motion, but in the same time defines a personal space, intimate that invites you to relax.
Luc Chair, by Lorenz*Kaz, for Rossin
This flat was originally the atelier of the painting school, a spacious room with a lot of light, surrounded by a corridor with several serving rooms. In the 1920s two conventional flats were built in.
We stripped everything back to the original structure, looking for space and light and interpreted the corridor and the additional rooms as one entity with the atelier, by enlarging the original door openings into proper wider gaps. So in the end there was just one big space, with the necessary remaining fragments of the original supporting wall. These slices of walls we are the semen out of which we created the 5 sculptures, new objects playing and generating different living situations. Each sculpture can unfold by sliding room high, partly soundproof elements.
Different room situations occur, when the sculptures touch each other. The flat can be used as a loft or, great for a family, as a 4 bedroom flat. By creating sculptures rather than rooms (the bath is an open stone sculpture, which can be separated by a fine glass membrane) the maximum amount of space is available and usable the whole day. the sleeping room is like the bath room part of the living room, but can be separated from it by a large sound proof sliding door (part of the kitchen sculpture).
The 5 sculptures give light to the whole place through indirect in built light gaps and become a lively part of this world and not just periphery furniture. Those light gaps indicate the trace of the old supporting wall, the semen and the freshly grown sculpture. They are witness of time and the progress of our perception of living. We impose various programs on the sculptures, which influence the materialization. So holds a stone the bath and shower, the y shaped cupboard sculpture creates a new room by touching this stone, in the same time cuts the ceiling and exposes its inner skeleton and the kitchen is a flying cube, telling of the original spacious structure. The sculptures write their own script.
5sculptures, Zürich, Switzerland, by Gus Wüstemann, Photography by Bruno Helbling