This small loft on the top floor of a 1644 building originally built in Rome by Architect Mattia de Rossi (pupil of Bernini) and renovated in 1719 by Architect Alessandro Specchi ( famous designer of The Spanish Steps in partnership with Francesco De Sanctis ) consists of an open-plan living area and kitchen on the main level in which only the bathroom is compartmented, with a private bedroom on the mezzanine level.
The living area is characterized by the use of reflex glass to produce a sense of expansion and compenetration of space. The table and the sofa are in solid chestnut like the original beams in the ceiling. The floor in the living area is of matt Roman Travertine slabs and the access to the bathroom is characterized by a flush door to the wall of elevated height.
The sleeping area accessed by a suspended staircase is characterized by a white finish curved parapet, by a suspended bed and by the suspended serpentine tv stand (Alessandro De Sanctis prototype). The lighting around the loft is dominated by luminous grooves that produces an indirect light that make the atmosphere more suggestive.
Apostoli Loft, Rome, Italy, by Alessandro De Sanctis – des interior architecture
Moore constructed a new body of work that fuses his bold, graphic, op-geo vocabulary with extruded mosaic forms that bring the works to life in three dimensions. The series is activated by the angle and intensity of the light source, be it a deliberate directional lamp, or the natural curve of each day’s sun cycle. Symmetries and depth are revealed in a spectrum of proportions, and color palettes are expanded upon, into numerous parallel hues revealed by the shadows.
The exhibition is comprised of 5 chapters, each with its own concept and aesthetic. A series of greyscale cut-paper mosaics created in Montreal in Fall 2014 is displayed as evidence of the explorations that led to the layered sensibilities of the more elaborate colorful works created during this Bay Area residency. A series of 4 pure symmetry colorful compositions reminiscent of sacred geometry grids, timeless diamond cuts, and architectural monuments hangs as a family on one side of the space. Opposite this wall is a series of 12 square works that bring Moore’s signature graphic syntax into three dimensions, playing with the eye when viewed from different vantage points. One extra large modular construct composed of 5 pieces that hang synchronized is displayed void of color to allow the viewer to explore the subtle nuances of light and shadow without the distraction of color.
On the back two walls of 886 Geary Gallery, Moore has constructed a large mosaic dimensional mural comprised of the same forms used in the rest of the series. This in-situ installation has been left to chance and intuition, with Moore opting to freestyle the build spontaneously rather than reference drafted blueprints.
Shadovvs, Artist Residency & Exhibition, San Francisco, California, by Matt W. Moore, for 886 Geary Gallery
Photography by 886 Geary Gallery and Matt W. Moore
The extreme climatic conditions in the mountains introduce a design challenge for architects, engineers and designers. Within a context of extreme risk to environmental forces, it is important to design buildings that can withstand extreme weather, radical temperature shifts, and rugged terrain. Responding to environmental conditions is not only a protective measure, but also translates into a matter of immediate life safety. The harsh conditions of wind, snow, landslides, terrain, and weather require a response of specific architectural forms and conceptual designs.
The outer form and choice of materials were chosen to respond the extreme mountain conditions, and also provide views to the greater landscape. Its position within the wilderness requires respect for natural resources, therefore must meet the ground in a light and firm manner to ensure the shelter is strongly anchored while having a minimal impact on the ground.
The design consists of three modules, in part to allow for transport and also to programmatically divide the space. The first is dedicated to the entrance, storage and a small space for the preparation of food. The second one provides space for both, sleeping and socializing while the third features a bunk sleeping area. Windows at both ends offer beautiful panoramic views of the valley and Skuta Mountain.
Alpine Shelter, Skuta Mountain, Slovenia, by OFIS architects
Photography by Anze Cokl, Andrej Gregoric, Nikolaj Gregoric and Janez Martincic
An unparalleled view west, over the Bright Leaf preserve and up the Colorado River, and the desire to live casually amidst a collection of mature live oak trees combined to make a powerful circumstance for this family of four. The new house emphasizes view and a dynamic spatial sequence while at the same time creating an abstract backdrop for the serendipity light, circumstance and view.
The visitor arrives, meandering under a grove of ancient trees into an intimate entry sequence of limestone, vertical cyprus and verdant planting. Still unaware of the expansive panorama to come, views are revealed slowly – with carefully framed vistas inviting expectations of what is to come, and the pursuit of which leading to new discoveries.
Oriented for optimal cross ventilation and protection from the sun, the Lakeview house also utilizes geothermal HVAC systems, a photovoltaic array, and FSC certified woods throughout the building.
Lake View Residence, Austin, Texas, by Alterstudio Architecture
Photography by Casey Dunn, Whit Preston, Patrick Wong
For Another Country’s 5 year anniversary exhibition The Dorset Series, during London Design Festival, Studio Dessuant Bone were invited to design a limited edition object inspired by the brands Dorset origins.
Jurassic Light 117 is inspired by the Jurassic Coast’s Durdle Door, an iconic landmark of the Dorset coastline. The cylindrical negative space created by this arch has been interpreted to create the simple shape that forms the light. Jurassic Light 117 employs Portland stone that carries impressions of fossils from the Dorset area – so acting as a constant reminder of the origins of the design.
Material: Portland Stone & Brass
Jurassic Light 117, by Studio Dessuant Bone
Located on a windswept coast line, Moonlight Cabin is a place to retreat from and engage with the landscape’s ephemeral conditions. It is a small footprint shelter (60m2) that explores the boundaries of how small is too small, challenging conventional notions of what is actually necessary in our lives. It is designed to be passively environmentally responsive, ultimately reducing energy use and running costs whilst maximising occupant amenity. The plan is conceived as one volume with kitchen, bathroom and utilities inserted within a central island pod which effectively unlocks the corridor to become an important habitable space. The built form is fully screened in a spotted-gum rainscreen that acts like a ‘gore-tex jacket’ to protect the cabin from the elements while the timber is free to move naturally in the changing climatic conditions. Operable shutters enable cross ventilation and adaptability, open or closed, partially shut down or secured when the occupants leave and reopened when they return. Moonlight Cabin is grid connected and rainwater is sustainably harvested.
Moonlight Cabin, Victoria, Australia, by Jackson Clements Burrows Architects
Photography by Jeremy Weihrauch
The house consists of three volumes stacked in a pyramid shape, whereby the two lower ones contain the living areas and the upper volume houses three bedrooms; these three ‘blocks’ were made to stand out by using different materials on their facade, namely stone and metal for the lower ones and wood for the upper one. On top of the whole house sits a pavilion with a barbecue area and a sunbathing area which also acts as a viewing platform, offering a 360-degrees view of the city.
Two gardens were created on either side, the one at the front functioning as an open-air lobby featuring tropical plants that partially screen the house from the street, while the garden at the rear includes a swimming pool and a sauna. The interior of the house was given a simple concrete floor and was furnished with contemporary, understated furniture.
Casa Lara, São Paulo, Brazil, by Felipe Hess
Photography by Ricardo Basseti
At the moment a sushi chef makes a sushi above a beautiful chopping board stage in tranquil and serious space with a dim light, a sushi atmosphere arises. The act of making a sushi actualizes the stage and creates a food-art which is done in a minimum time. A reclaimed wood counter and a scale of the space which accentuate the stage are naturally derived. Art pieces as valuable as foods are placed around the counter.
The space provides an impressive experience of eating with wabisabi (Japanese philosophy of simplicity and tranquilness) based on the relationship between sushi and space. When people sit at a long table and art as food is provided, we call it a sushi restaurant. This is the beginning place of a sushi restaurant. The store has a new style of a sushi restaurant which is a genesis of it. The new is found in its history. (Makoto Tanijiri / SUPPOSE DESIGN OFFICE)
Sushi Yoshii, Minato-ku, Tokyo, by SUPPOSE DESIGN OFFICE
Photography by Toshiyuki Yano
The building is orientated in east – west direction parallel to the height contours. This marks the border between the two different site characters. In the south a more traditional villa garden is shaped in the terraced landscape, whereas in the east, west and north the untouched nature continues right up to the facade. The building is divided into four very narrow units, each 2.85m wide. This makes the building very naturally adopts its footprint to the terrain. Furthermore are the four units offset to each other both horizontally and vertically. The facade seems to fold itself in the landscape, avoiding trees and boulders and provides light from all points of the compass. A large centrally placed and retractable sky light (3.0 x 2.2m) fills the interior with light and contributes to the transparency of the building.
The interior is almost one continuous room. The building units offset relative to each other creates smaller private spaces within the large room. The family members private rooms have very generous proportions and borders directly to the common “negotiable” room. The relation between negotiable, and private rooms are regulated with large sliding wall partitions. The Construction is carried without any blasting on a plinth foundations. In situ cast floor, and roof slabs are supported with slender steel columns and the outer walls are constructed as in situ constructed wall elements. The roof has a very low pitch and is covered with a sedum-herb mixture.
Villa Altona, by Designer, Sollentuna, Sweden, by The Common Office
Serif is a collection of screens and televisions, which have been designed for Samsung during the past two years. They also designed the interface inside Serif.
Serif is a television that moves away from a preoccupation with ultra-flat screens. Instead, it is an object that can be turned around and manipulated. It can stand anywhere, even on the floor with its own legs. What designers were looking for was a solid presence that would sit naturally in various environments, just like an object or a piece of furniture. In profile, it forms a clear capital “I” shape, its slim body broadening to form a surface like a little shelf at the top.
Serif, by Ronan & Erwan Bouroullec, for Samsung