2Modern Design Talk - Modern Furniture & Design Blog

Klein Bottle House by Mc Bride Charles Ryan at Rye, Australia

This holiday home is situated in sand dunes full of trees, directly behind 16th beach at Rye on the Mornington Peninsula, only two hours from Melbourne. There was in this home to be the sense of arriving at a natural and built environment which was unique and in complete contrast to the owner’s city home.

The architects, Mc Bride Charles Ryan practice in Melbourne, began with the idea of the spiral, an acknowledgement of the end of the weekend journey to the beach. An Australian icon, McIntyre’s 1950’s Snellman House came to mind. As the project developed they carefully considered where the building should be located, its relationship to the prevailing winds, and possible points of entry, topography and vegetation. Subjected to numerous distortions, the topology of the spiral gave way to the topological classic The Klein Bottle.

The architects were keen to remain topologically pure, to distort the shape as need dictates but not to appear to sever this form. The idea of the origami version of the Klein bottle was attractive to them, not just because it was able to be approximated in cement sheet (the resonance with the ubiquitous 1950s fibre shack was compelling) but both because of its beauty and the perversity of an origami Klein Bottle. To accommodate ‘rooms’ within the bottle they thought of them like objects inserted (the ship) within the bottle.

The mathematician’s complex topological surfaces like the Klein bottle are appealing to many architects. They look like the new architecture of the computer age, and hold the promise of new form and spatial sequence. Radically they merge the floor, wall and ceiling, inside and outside. The fact that there are so few examples is evidence that they are actually almost impossible to achieve in reality. In this project, the Klein bottle was the perfect fit to the constraints of the site. Once adopted, the shape of this building had something of a life of its own, the genie was out and she was difficult to temper. The development was intense, the serious pursuit of joyful nonsense.

The result is a unique shape and internal space, an unexpected entry sequence and series of new relationships between the traditional components of the home. The process was also a reminder that architecture does not spring naturally from place, and yet it is the beautiful abstract idea, that when carefully selected and developed can suddenly seem as natural as the tee tree that surrounds it. The building required extensive use of 3d software for both its development and eventual execution.

The building is largely steel framed, the complexity of which required the architects to develop representations for use in the shop drawing and production process. It is a lightweight structure largely clad in cement and metal sheet; incombustible and lightweight, these materials meet stringent fire overlays. It harvests water, is double glazed and the large cavities between the external and internal cladding allow packing with bulk insulation. The central courtyard adds cooling and cross ventilation, Windows are hardwood, the flooring is bamboo and the artificial lighting was selected with efficiency as a primary concern. The project was awarded first prize in the House category at the World Architecture Festival Awards 2009.

Mapungubwe Interpretation Centre by Peter Rich Architects, South Africa

I am very happy that this particular project won this year's Building of the Year award at the World Architecture Festival. It embodies so many values that big building projects should in the world today: ecology, economy, aesthetics, consideration of the human and the environment together. The Mapungubwe Interpretation Centre is sited at the confluence of the Limpopo and Shashe Rivers. The Mapungubwe National Park celebrates the site of an ancient civilization linked to the Great Zimbabwe trading culture in the context of a natural setting that re-establishes the indigenous fauna and flora of this region. The Interpretation Centre is set on the side of a mesa, formed from the dramatic geological events that resulted in the Limpopo River changing its course from flowing into the Atlantic Ocean to discharging into the Indian Ocean. The ceremonial centre of this civilization ilocated on a sister mesa, one kilometre away from the site, is the visual climax of the architectural experience orchestrated in the design of the Centre. This is a poverty relief project using ecological methods and materials.

The complex landscape was both the inspiration for the design by Peter Rich Architects of South Africa and the source of most of the materials for its construction. This resulted in a composition of structures that are authentically rooted to their location. The equilateral triangle provides the primary layout, set out from a line running parallel to the contours. Secondary elements are fixed in position by this geometrical system, significant because of its reference to triangular motifs etched on stones uncovered on Mapungubwe Hill. The heart of the Interpretation centre is visually contained by two hollow cairns that evoke the route-markers found in Southern African cultures. Timbre vaulting is used to construct the billowing forms that expose the arched edges of their thin shells, an analogy of the archaeological revelation of past cultures.

The structural language is contrasted by the delicate walkways that create a zigzagging ramped route through the complex. The visitor’s first view, across a seasonal stream, is of the principal vaults springing directly from the land on robust buttresses. Volumes are linked by terraced seating, contrasting the structured horizontal contours with the diaphanous domes and arches. The surfacing of all of the masonry in local rubble stone creates a timeless quality. It is as if they had erupted from the earth in a geological event similar to that which created the mesas of the site and Mapungubwe Hill.

The route provides the visitor with a multiplicity of experiences, evoking the complex social interactions of the many cultures that have traversed the site. The strong southern light is tempered by rusted steel screens that echo the network of branches of indigenous trees; horizontally slatted natural timber evokes traditional shade structures. The arrival point is marked by the first of the hollow cairns, lit by an oculus that tracks the path of the sun. The experience of the internal exhibition space is cavernous, articulated by the exposed tiles made from the local soil. Light is filtered through fused coloured glass, with dappled patterns reflected from the ponds that cool the air that naturally ventilates the buildings. The termination of this central space is a second cairn, representing the sunset and housing the golden rhinoceros that has become a Southern African icon.

Visitors have a choice of route: ramp and stair, internal and external, to move into the upper parts of the vaults and appreciate the privileged view of the lower volume, as did the ancestors from their elevated position on the plateau of the Hill. The route continues outside the covered spaces, leading to the highest part of the site and affording a view across a flat expanse to Mapungubwe Hill in the distance, with its backdrop of the Limpopo.

The project’s agenda extends beyond the presentation of ancient and more recent history of the area to awaken an understanding of the vulnerability of the local ecology. These objectives are manifested in the construction process of the Centre in which unemployed local people were trained in the manufacture of stabilised earth tiles and in building the timbrel vaults. This knowledge has been accepted into the culture of the region, with the masons continuing the skills they have learned by using the remaining tiles for their houses in nearby villages. Thus, the Centre not only tells a story, but has become part of a story that is still unfolding, of culture developing in symbiosis with its natural legacy.

Mapungubwe Interpretation Centre was selected from a total of 15 finalists, by a ‘super-jury’ chaired by Raphael Viñoly of Rafael Viñoly Architects PC, which included Kengo Kuma, Farshid Moussavi, Suha Ozkan and Matthias Sauerbruch. The finalists were whittled down from a shortlist of over 270 projects.

MYchair :: Walter Knoll

This sculptural lounge chair from furniture giant Walter Knoll pushes the envelope of modern furniture design.  A recent recipient of the coveted Red Dot Design Award: Best of the Best, MYchair offers up a dynamic and expressive form.  Straight lines give way to curves, concave and convex forms appear depending on your angle - I love this sense of playfulness!  The bold upholstery really accentuates this, as well.

Though its avant-garde appearance may deter some, I think this chair is quite versatile.  I'd love to see it in an actual home.  Do you think the MYchair would work in "realistic" spaces?  What about your home?  Share your thoughts!

MYchair by UNStudio/Ben van Berkel for Walter Knoll

Brazilian fun: Havaianas flagship store by Isay Weinfeld, São Paulo, Brazil

Havaianas Sandals, created in 1962, drew their inspiration from the “zori”, traditional Japanese slippers made of rice straw. A product of extremely low cost, for many years they were just rubber flip-flops, a long way from the fashion icon they are today.


To design a store at one of the world's most expensive addresses (Rua Oscar Freire, in São Paulo) to sell products that cost from € 2.30 to € 10.00 – and not more than that - was, at one time, the excitement and the joy of the work. This is Havaianas' first store in Brazil.


The greatest challenge for architect Isay Weinfeld and his team was to cast onto the architecture the climate the brand inspires: freshness, casualness, comfort, ease, well-being, Brazilianness. It seems though that he achieved more than this: the store was awarded 1st prize in the Shopping category at the World Architecture Festival Awards in Barcelona this year.

 
The shop has a very informal atmosphere and the outcome is nearly a square - a space fully opened onto the street, practically an extension of the sidewalk, without doors or window displays, with lush greenery and intense natural lighting, only covered by a metal grid alternating glass/wooden closures and openings for ventilation and irrigation.

The building develops in descending levels. At street level, just a small lounge area, a mezzanine overlooking the whole store; the store per se, one level below, occupies an ample clear span featuring double-height ceilings, marked by independent elements: a street market stand reminds of the origin of the sandals, initially sold at the city's free markets.

A container displays the " export" models, so far unseen in Brazil; a transparent cylinder features the so-called "new products" (bags, socks, towels, etc.); and a high-tech cube tells the story of Havaianas. Amidst all that, a lowered area for customization services and featuring displays for the children's product line. At the back of the store, on a half-raised level, there is a small garden for exclusive use by staff; the underground houses offices and storage areas.

Sustainable products

These products are some of the finalists of the Planeta Casa Awards, a Brazilian award that recognizes the best in sustainable design, interiors and architecture. They all have one thing in common: they`re good for us and for the planet.

Tupi Chair, by Lattoog Design

Sao Joao Bench, by Ronaldo Edson da Silva 

Eco Pipa Lamp, by Bruno de Avila 

Maack Bench, by Paulo Dias 

Cricket Poli Lamp, by Andre Wagner 

 

 
 
 
 
 

Sustainable trophy

I`m so proud of my friend Danilo Conti. Not only he`s an excellent designer, but also he firmly supports sustainable living, and that`s why he only works with the right materials and the good producers. Danilo`s last work was a range of trophys for a very popular sports event in São Paulo, Brazil, the "Megarampa".

The result couldn`t be any better. He was clever enough to combine the elements of the sports envolved (such as rollerskating and cycling) with the beauty of a FSC certificated wood. Other than that, the pieces were made by youngsters who are learning a new skill (and doing that they are kept out of the streets).

 

 

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Portland, OR Soap Box Derby

Every year since 2001, The Portland Adult Soap Box Derby hits the streets of Mt. Tabor with all sorts of cool, slick and off the wall box cars racing for the finish line. It's a good time had by all!

"It is our drive towards success of our ongoing experiment to stay young, yet not so young. Practicing safety with speed, ingenuity with science and creative tenacity in art of building and racing Adult Soapbox Cars. With a bit of luck, hard work and communication with all parties we will persevere. "We thank our beloved Volcano for allowing us to tickle her back."

This year's Winner for Best Engineering was Twin Barrels Burning by Charley Wheelock. Although not that fastest box on the road, it sure was creative!

"we put disc brakes on wine barrels with a '57 Ford F100 drop axle for a frame and rode them down a mountain."

Mr. Wheelock also runs Kapow Design, specializing in modern contract furniture design, tradeshow booths, children's furniture, environments, design/manufacturing consultation, and of course, any interesting projects.

You can see more pictures of the The Twins here

Neither Myth nor Minas Tirith

Some have made Lord of the Rings references in regard to the award winning designs of Studio SHIFT‘s ultra- modern tower rising out to the Anning River’s edge.  It is neither myth nor “Minas Tirith”.  The Miyi Tower, developed in the form, and function of a highly sophisticated multi-use project for the New South Town of Miyi County in Sichuan Province, was chosen as its cultural centerpiece.  Together Studio SHIFT and SWA Group are creating a master plan for the developing area.  This Miyi County landmark denotes the transition between the new development to the north and the new wetlands, leisure and agricultural districts to the south with its impressive kilometer long promenade.  

The multi-use cultural center piece incorporates an auditorium, exhibition spaces and restaurants featuring local cuisine can be found on the interior while open-air floors are used as event spaces, gardens and an observation deck.

The designers were intent on utilizing natural and mechanical means of filtration to produce clean water, converting a highly polluted river into a usable amenity for residents and visitors. This new amenity takes the form of a series of lakes, wetlands and waterways which lend form to the new districts in the master plan.

Very cognizant of the changing light conditions throughout the day, Studio SHIFT's design takes advantage of the natural elements by not enclosing all of the spaces and alternating heights of the interiors.  The “skin” thereby brings and reflects light into the spaces.  It seems to echo the shimmer of the river as well as a be a graphical representation of rain in sunshine.

Congratulations! And I for one look forward to seeing it in real life.

Have an infinitely modern day!

 

WISA Wooden Design Hotel by Pieta-Linda Auttila, Helsinki, Finland

The WISA Wooden Design hotel is an architectural gem of wood situated in the maritime heart of Helsinki. The work was designed by interior architect Pieta-Linda Auttila. She hopes to spark interest in wood and highlight its role in building and design. The purpose of the intensive design session was to inspire competitors to boldly look for experimental shapes. The objective of the competition was to produce an iconic creation that expresses strong vision and the flight of a free spirit. This sculptural landmark would be Helsinki’s equivalent of the Little Mermaid – a sight that attracts architects, designers and the general public alike. Only Finnish wood in its various forms could be used in the competition proposal.

Nearly 100 designers entered the WISA Wooden Design Workshop competition. A total of 75 entries were submitted. The jury, composed of professionals of architecture, wood construction and design, considered the competition very successful. Eight entries were selected for the short list. The jury was unanimous in choosing interior architect Ms Pieta-Linda Auttila’s entry as the winner of the competition. The jury also presented two second prizes and three honourable mentions.

The WISA Wooden Design Hotel is an outstanding example of wood’s versatility. Here, wood works both as a load-bearing structure and décor in walls, ceilings and floors. The first thing that catches the eye is the atrium courtyard in the centre. The long curved pine boards half-covering the patio form a trellis that titillates the imagination. The trellis protects against the wind and filters the long rays of the Nordic sun into the courtyard. The charming interplay of light and shade can be observed throughout the day, as the bright morning light gradually turns into the red glow of the Northern midnight sun.

The striking wood architecture makes its way to the living quarters. The pine floor is complemented by the light ethereal beauty of Nordic birch. The walls and the ceiling are panelled with beautiful and durable birch plywood. Light comes in at both ends of the living quarters through floor-to-ceiling windows that brighten the interior. From the bedroom you can admire the morning sun and the sea, while the view from the lounging area opens onto the city and the evening sun.

This is how architect Pieta-Linda Auttila describes her idea: “In the beginning was the roaring sea. Powerful waves lifted from the depths a wooden block, already darkened by sea water, and threw it against a rock. The force of the blow broke the wood in the middle.” The curved part, slashed into strips in the middle, forms a trellis and shelters the atrium of the hotel. As for the unbroken ends, they are the living quarters. The dark exterior and light interior of the WISA Wooden Design Hotel likewise represent a broken block of wood. When the dark surface of the block is broken, the original lightness of the wood comes to light.

The WISA Wooden Design Hotel is a temporary building that will remain in place in Valkosaari until the end of September 2009. The building can provide overnight accommodation for a few people, but it is not designed for general hotel use.