A magical light source with a graceful afterglow which lingers for up to eight hours once all the other lights have been turned off and the sun shines upon another hemisphere. The pattern on the cream FSC papershade is screen-printed with a special ink that charges itself throughout the day, and from the light of the lamp. Loena Lantern is a dream catcher for bedroom or nursery, and a shining beacon in the darkness – this celestial body is suitable for any ceiling.
Loena Lantern, by Ontwerpduo
Jaime Hayon reveals a total design for Room 506 at the iconic SAS Royal Hotel (now Radisson Blu Royal Hotel Copenhagen). In 1958, Arne Jacobsen designed a room in this hotel – Room 606 – which is still preserved to this day. Both designers are known as rare multi-talented artists with the ability and the courage to create designs on any scale. Hayon’s total design of the room that includes furniture, works of art, bedspreads, lamps etc.has a playful expression, with passion for organic shapes, exclusive materials, extraordinary craftsmanship and a clear aesthetic expression.
“In our past six years’ collaboration, I think we have achieved a great evolution for the Fritz Hansen brand but also a great evolution in my own work, moving forward my design with the idea of making the most of minimum means. Coming from the Mediterranean, to be able to make an imprint on Danish design has been an incredibly special experience for me. The idea for this room is to create a luminous space that brings joy and genuine comfort through the Fritz Hansen designs along with some of my own designs and art. Together with Fritz Hansen, I have created bespoke designs just for this room, always in reflection of our shared principles of working with the best materials and aiming for simplicity and maximum comfort,” says Hayon.
Room 506, by Jaime Hayon, for Raddison Blu Royal Hotel
The house is comprised of a series of parallel walls that provide layers of privacy and insulation from the sound of the village. The walls project beyond the living spaces and ascend in height, building from a human-scale wall at the entry to a high wall along the center of the house. The walls diffract the sound waves moving past them, casting an acoustic shadow over the property to create a quiet outdoor gathering area.
The walls are built with insulated concrete forms: a wall assembly nearly twenty inches thick, comprised of a poured concrete core, continuous from footing to roof, wrapped in insulating foam, that also serves as formwork during construction. These walls provide excellent thermal insulation and an extremely low sound transmission coefficient. Due to the strength of their concrete cores, the walls act as structural beams, enabling them to span over the gathering space at the center of the house and the covered deck.
The custom stainless steel clips that attach the wide cedar board siding to the walls were designed to prolong the life of the siding. Traditional wood siding eventually fails because the natural expansion and contraction of the wood is constricted by the screws or nails that rigidly fasten it in place, slowly pulling out the fasteners or splitting the wood. The spring-like clips, however, hold the boards in tension against the house while allowing freedom for the natural movement of the wood.
Elisabeth II, Amagansett, New York, by Bates Masi + Architects
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