Use it how you like. Upholstered sides and an island top lend this coffee table an air of luxury.
Ninfea, by Matteo Ragni, for Poltrona Frau
“In architecture, there is a part that is the result of logical reasoning and a part that is created through the senses. There is always a point where they clash. I don’t think architecture can be created without that collision.” -Tadao Ando
Philippe Starck describes him as a “mystic in a country which is no longer mystic.” Philip Drew calls his buildings “land art” that “struggle to emerge from the earth.” He is the only architect to have won the discipline’s four most prestigious prizes: the Pritzker, Carlsberg, Praemium Imperiale, and Kyoto Prize. His name is Tadao Ando, and he is the world’s greatest living architect. Combining influences from Japanese tradition with the best of Modernism, Ando has developed a completely unique building aesthetic that makes use of concrete, wood, water, light, space, and nature in a way that has never been witnessed in architecture.
Ando: Complete Works, Edited by Philip Jodidio, 500 pages.
Buy it here: Amazon
Related post: Model: Tadao Ando
Scheisse, by Hans Bleken Rud, for Northern Lighting
The project is combined design of a dental clinic and a dentist’s residence, located in the suburbs of Nagano, Japan.
A concrete plate 300 millimeters thick forms zigzag structure, which makes up three shells and two open courtyards. As well as lying in alternate shifts, they face each other across the plate. Each shell has different functions inside, residence, clinic and waiting lounge. In each courtyard two glass boxes are set and used as pathways and entry halls between two adjacent shells. Inside the glass there is the same visual environment as outdoor. People pass through the glass can see the sun or the rain falling above their head. They move from one function to another with change in mood.
Minami-Nagano Dentai Clinic & Residence, Nagano, Japan by Hiroki Tanabe
“Here we will build a monument dedicated to nature and we will make it our lives’ purpose”.
Le Corbusier’s ‘chapel of our lady of the height‘ is a pilgrimage chapel, though on most days more frequented by architectural pilgrims than the intended variety. Perched on a commanding hill above the village of Ronchamp, it is the latest of a long history of chapels on the site. Its predecessor was destroyed in fighting in the Second World War, though much of its stone is used in the walls of Le Corbusier’s building.
The thick, curved walls – especially the buttress-shaped south wall – and the vast shell of the concrete roof give the building a massive, sculptural form. Small, brightly painted and apparently irregular windows punched in these thick walls give a dim but exciting light within the cool building, enhanced by further indirect light coming down the three light towers.
Notre Dame du Haut, Ronchamp, France, by Le Corbusier
In 1954, following his initial success at the Salon des Arts Ménagers, Paris of 1953, Pierre Paulin began a collaboration with Thonet-France, for whom he designed a number of pieces, most notably desks and chairs.
It was at this time that he designed the ‘CM 141’ desk. with its black lacquered steel frame, black melamined writing surface and block of two drawers in ash veneer. A long way indeed from the rounded, organic forms which characterised Paulin’s established style in the 1950s and 1960s, this functional, minimalist desk is a direct descendant of the Bauhaus movement.
Ligne Roset is reproducing this desk in 2008 under the name Tanis.
Tanis, by Pierre Paulin, for Ligne Roset