Quique Dacosta’s Restaurant / gg architects


© Alfonso Calza


© Alfonso Calza


© Alfonso Calza


© Alfonso Calza

  • Architects: gg architects
  • Location: Dénia, Alicante, Spain
  • Architect In Charge: Maria Jose Mora

  • Project Architect: Quique Dacosta, Jose Ramon Tramoyeres, Javier Cortina
  • Area: 22.65 sqm
  • Project Year: 2016
  • Photographs: Alfonso Calza
  • Design Team: Adina Burlacu
  • Builder: Ultrahogar
  • Lighting: Carlos Tomás (Leds Workshop)

© Alfonso Calza

© Alfonso Calza

From the architect. The project is a collaboration between Quique Dacosta food design lab and ggarchitects.

Quique Dacosta food design lab is a Dacosta initiative to create synergies with the food industry. 


© Alfonso Calza

© Alfonso Calza

The spatial concept parts from a gastronomic concept, Dacosta’s landscapes, therefore the tectonics of the space are generated as a three-dimensional topologic cut with landscapes invading every constructive element: tables, ceilings and walls.


Plan

Plan

The strategy is to sublimate the purpose of objects, disappearing the boundaries between space, function and decoration. Additionally, as a result of the experience gained from collaborating with Porcelanosa, the home kitchen line is born. In this sense, the launch is double: Dacosta opens his creativity studio on the one hand and, secondly, releases into the market a kitchen line on the other, making possible for people to enjoy the same technology and technical solutions that Dacosta uses in his restaurant.


© Alfonso Calza

© Alfonso Calza

Three concepts have been worked on, which can be extrapolated to domestic kitchens:

  • A central table as both sculptural and decorative element, a black Krion table in this case, where the restaurant’s culinary creativity is worked on, and also used as a dining table. 

Gif 1

Gif 1
  • Technical ceiling, a ceiling with white Krion sheets generates a landscape that holds a large amount of technology for space setting, such as the extractor hood, conditioning system, lighting and sound; the goal was to provide the space maximum versatility. In order to meet both creative and functional needs, both lighting and sound are integrated in the network and are domotically controlled. The near 2000 watts (total) of LED lighting are controlled by a dual system consisting of a DMX protocol touch panel that allows the creation and storage of multiple variations in the parameters control that shape the scenes. Likewise, unified control of lighting and sound (consisting of 4 hi-fi speakers) is possible through a tablet, allowing mobility within the space without relinquishing total control over technology.

© Alfonso Calza

© Alfonso Calza
  • Cabinet doors-walls, the cabinets hold the rest of the equipment. A sliding and folding closures system has been used in this case so that, when closed, technology remains hidden and, when open, doors disappear.

© Alfonso Calza

© Alfonso Calza

Two strategies have been used in the doors-walls: the rear wall is mirrored in order to enlarge the space and the lateral walls are a topographic cross section that creates a continuous landscape with the ceiling. 

IN THE RESTAURANT

The traditional restaurant operates under a two-speed rhythm, two worlds: kitchen and lounge. This articulation may be very different, from complete separation to confinement, but there’s always a table and kitchen. Until now, perhaps, the chef’s table was the closest element to the kitchen, since eating usually took place within that space. 


© Alfonso Calza

© Alfonso Calza

A further step has been taken in the creativity studio, since we’re no longer talking about a table within the kitchen but, instead, eating in this same place. The main area where meals are cooked and research takes place is also used for eating; in this sense, the guest is able to be  with Dacosta.


© Alfonso Calza

© Alfonso Calza

The chef becomes more approachable as he maintains direct contact with diners, whom while being in the kitchen come into contact with the very act of cooking. This fact certainly breaks new ground and amplifies the dining experience. 


© Alfonso Calza

© Alfonso Calza

DOUBLE VECTOR

The creativity studio represents a new stage in the design-gastronomy relation. Thanks to Quique Dacosta food design lab, a double vector is established in which design not only affects and interacts with gastronomy, as has happened in the past, but the chef himself influences and creates through his food design lab, building a new relationship with the industry. 

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Tuchfabrik / NPS Tchoban Voss


© Werner Huthmacher

© Werner Huthmacher


© Werner Huthmacher


© Werner Huthmacher


© Werner Huthmacher


© Werner Huthmacher

  • Creative Director Façade Design: Valeria Kashirina
  • Corporate Identity: Valeria Kashirina
  • Project Manager : Pavel Zemskov
  • Team: Katja Fuks, Silvia Grischkat, Lev Chestakov
  • Client: FOD Immobilien GmbH

© Werner Huthmacher

© Werner Huthmacher

From the architect. The former cloth factory “Tuchfabrik“ in Berlin appears now in a fresh, attractive look. Before entering the building, the visitor is going one step back into the history by looking at the new façade: for its design the architects used digital printed panels with patterns of yarn bundles as a reminiscence of the original building’s utilization. Tightly interwoven threads are shimmering in different colours on the grey-black background like an oversized tribute to the history of this place. The particularity of the solution lies in the application of light aluminium sandwich panels. The printing motives on each of the 440 sheets are unique – thus every panel has its own ID as well as its own allocation.    


© Greg Bannan

© Greg Bannan

Section

Section

© Greg Bannan

© Greg Bannan

Constructed in 1966 in the north of Berlin and in close proximity to Tegel airport, the unpretentious factory complex consisted once of two volumes – the office and the production parts. During the renovation process the architects connected both parts into one unit. Since the existing construction could not bear high loads, very light aluminium sandwich panels were used and installed on the punctuated façade. As a completion to the new look of the Tuchfabrik big avant-garde Rodtschenko letters are emphasizing the entry area.


© Werner Huthmacher

© Werner Huthmacher

Today a mix of creative offices, trades, business and commercial spaces is hosted in the former Tuchfabrik. 


© Werner Huthmacher

© Werner Huthmacher

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URCHIN Impossible Circus / CODA


© Joe Wilensky

© Joe Wilensky


© John Lai


Courtesy of CODA


© John Lai


© John Lai

  • Architects: CODA
  • Location: Ithaca, NY, USA, United States
  • Architect In Charge: CODA
  • Area: 1260.0 ft2
  • Project Year: 2016
  • Photographs: Joe Wilensky, John Lai, Courtesy of CODA
  • Collaborators: Caroline O’Donnell / Chris Morse / John Lai / Juan Carlos Artologaza, with thanks to Basak Akman / Zahid Alibhai / Kun Bi / Emma Boudreau / Isabel Branas / Mwanzaa Brown / Sarah Bujnowski / Kun Chen / Stephen Clond / Jacob Cohen / George DiStefano / Gary Esposito / Aurelie Frolet / Ramses Gonzalez / Yue (Lancer) Gu / Jose Ibarra / Ellie Krause / Mark Leskovec / Mark Yu-Chen Lien / Lauren Lochry / Lingzhe Lu / Xiaoxue (Iris) Ma / Alexandre Mecattaf/ Jamie Mitchell / Brad Nathanson / Sophie Nichols / Travis Nissen / Ye Chen (Daniel) Park / Leroy Patterson / Max Piersol / Zelmira Rizo-Patron / Alireza Shojakhani / Alex Terry / Haoran (Henry) Wang / Derek Yi / Linjun Yu / Maggie Zou
  • Special Thanks To: Martin Fields Miller / Cornell Architecture Department / Cornell College of Architecture, Art, and Planning / The Home Depot.

© John Lai

© John Lai

From the architect. Built from 500 borrowed plastic chairs, Urchin aims to question the role of the everyday object: from the typical use that ‘affords’ sitting to an aggregation that becomes skin-like: the object’s features are no longer understood in terms of their use (legs, arms, seat) but in terms of their form (spikes, curves, voids) as, due to their rotation away from the ground, they lose their relationship with the human body.

Dipping down in response to the statue of AD White, the pavilion allows the seated figure of one of Cornell University’s founders to enter into the (impossible) circus.


© John Lai

© John Lai

No chairs were harmed in the production of Urchin, and they will be returned to circulation afterwards. Urchin plays with the question of usefulness and uselessness by the manipulation of the simple chair, and consequently our perception of the chair and the connection between our bodies, the chair’s components and their orientations. The question of use as a primary perceptual phenomenon is a product of James J. Gibson’s Theory of Affordances in his Ecological Approach to Visual Perception. The project aims to provoke the questioning of usefulness and perception from the scale of the individual chair unit to the scale of the pavilion.


Model

Model

From the scale of the city to the detail, CODA designs unique, site-responsive, and sustainable solutions that balance function and desire. ​ Our award-winning work is known for its use of an innovative material palette, as well as for our commitment to a dynamic interaction between the architecture and its inhabitants over time.​


© John Lai

© John Lai

Since 2008, CODA has designed clever solutions for a range of programs, from art installations to houses, from religious and public buildings to housing, and from furniture to entire city design. Despite this range, all of the projects have a specific approach in common: a serious investigation of the programmatic needs of the user at the same time as an expanded analysis of what the site has to offer, including materials, energy, artisanal techniques, etc. This approach leads to solutions that are at once novel and sustainable. Our designs are often not one thing, but exist in different states in response to different seasons or programs.


Model

Model

 CODA has in-house expertise in both urban design, master planning, building design, and product design. CODA also collaborates with a variety of artists, fabricators, landscape designers, and engineers.


Courtesy of CODA

Courtesy of CODA

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Soro Village Pub / Raya Shankhwalker Architects


© Harshan Thomson Photography

© Harshan Thomson Photography


© Harshan Thomson Photography


© Harshan Thomson Photography


© Harshan Thomson Photography


© Harshan Thomson Photography


© Harshan Thomson Photography

© Harshan Thomson Photography

Plan

Plan

“Soro”, meaning alcoholic beverage in Konkani is a tavern conceptualised within the ruins of an old corner store.  The corner store itself became the protagonist in the story of the bar; the design is centred around the concept of a 1940’s warehouse owned by a local dealer who traded in different merchandise. Thus retaining as much of the original structure as possible became pivotal. 


© Harshan Thomson Photography

© Harshan Thomson Photography

© Harshan Thomson Photography

© Harshan Thomson Photography

The three walls that stand at the junction of the roads abutting the site have been left largely untouched. Their dilapidated charm became the perfect opportunity to create an understated entrance into the young, hip, industrial chic bar that unfolds within. The interior walls have been brought to life with vintage graffiti by Patanga Arts, a Mumbai based set design company. Bold elements of graphic design were introduced into the flooring by using an eclectic array of cement tiles in a customised pattern. All the ducting and electrical piping was left exposed carrying forward the theme of the industrial warehouse.  


© Harshan Thomson Photography

© Harshan Thomson Photography

© Harshan Thomson Photography

© Harshan Thomson Photography

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Visual Arts Building at the University of Iowa / Steven Holl Architects


© Iwan Baan

© Iwan Baan
  • Architects: Steven Holl Architects
  • Location: Visual Arts Building, Iowa City, IA 52246, United States
  • Design Team: Steven Holl, Chris McVoy (design architects) Rychiee Espinosa (project architect) Garrick Ambrose, Bell Ying Yi Cai, Christiane Deptolla, JongSeo Lee, Johanna Muszbek, Garrett Ricciardi, Filipe Taboada, Jeanne Wellinger, Human Tieliu Wu, Christina Yessios (project team)
  • Area: 126000.0 ft2
  • Project Year: 2016
  • Photographs: Iwan Baan, Eric Dean, Chris McVoy


© Iwan Baan


© Iwan Baan


© Iwan Baan


© Iwan Baan

  • Associate Architects: BNIM Architects
  • Structural Engineer: Buro Happold
  • Lighting Consultant: L’Observatoire International
  • Sustainability Engineer: Transsolar
  • Mechanical Engineer: Design Engineers
  • Curtain Wall Consultant: WJ Higgins & Co.
  • Civil Engineer: Shive-Hattery
  • Audio/Visual Consultant: The Sextant Group Inc.

© Iwan Baan

© Iwan Baan

From the architect. The new Visual Arts facility for the University of Iowa’s School of Art and Art History provides 126,000 sf of loft- like space for all visual arts media, from ancient metalsmithing techniques to the most advanced virtual reality technologies, including Ceramics, 3D Design, Metal Arts & Jewelry, Sculpture, Printmaking, Painting & Drawing, Graphic Design, Intermedia, Video Art, and Photography. Also housed are galleries, faculty offices, an outdoor rooftop studio, and teaching spaces for Art History.


Site Plan

Site Plan

The Visual Arts Building replaces an original arts building from 1936, which was heavily damaged during a flood of the University of Iowa campus in June 2008. The new building forms an Arts Quad with Art Building West, which was designed by Steven Holl Architects and has drawn students from all over campus to its social spaces and library since opening in 2006. Together they form a visual arts campus for theorizing, teaching and making art.


© Iwan Baan

© Iwan Baan

While the 2006 Arts Building West is horizontally porous and of planar composition, the new building is vertically porous and volumetrically composed. The aim of maximum interaction between all departments of the school takes shape in social circulation spaces.


Sketch

Sketch

1. Interconnection: Horizontal Programs, Vertical Porosity
In a school of the arts today, interconnection and crossover, made increasingly possible through digital techniques, are of fundamental importance. Interdisciplinary collaboration between the School’s various art departments is facilitated in the vertical carving out of large open floor plates. Students can see activities ongoing across these openings and be encouraged to interact and meet. Further interconnection is facilitated by glass partitions along the studio walls adjacent to internal circulation.


© Eric Dean

© Eric Dean

2. Multiple Centers of Light
Natural light and ventilation reach into the core of the building via “centers of light.” The seven vertical cutouts are characterized by a language of shifted layers, where one floor plate slides past another. This geometry creates multiple balconies, providing outdoor meeting spaces and informal exterior working space, further encouraging interaction between the building’s four levels.


Sketch

Sketch

3. Stairs as Vertical Social Condensers: Corridors as Horizontal Meeting Spaces
Stairs are shaped to enable informal meeting, interaction and discussion. Some stairs stop at generous landings with tables and chairs, others open onto lounge spaces with sofas, for informal collaborative work.


© Iwan Baan

© Iwan Baan

4. Campus Space Definition/Porosity
The original grid of the campus breaks up at the Iowa River, becoming organic as it hits the limestone bluff. The Arts West building reflects this irregular geometry in fuzzy edges. The new building picks up the campus grid again in its simple plan, defining the new campus space of the “arts meadow.”


Sketch

Sketch

5. Material Resonance, Ecological Innovation
Natural ventilation is achieved via operable windows and skylights. A punched concrete frame structure provides thermal mass at the exterior while “bubble” slabs provide radiant cooling and heating. A Rheinzink skin in weathering


© Iwan Baan

© Iwan Baan

© Iwan Baan

© Iwan Baan

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Kendrick Place / Holst Architecture + DiMella Shaffer


© Christian Phillips Photography

© Christian Phillips Photography


© Christian Phillips Photography


© Christian Phillips Photography


© Christian Phillips Photography


© Christian Phillips Photography

  • Investors : Archipelago Investments LLC
  • General Contractor : Cutler Associates Inc.

© Christian Phillips Photography

© Christian Phillips Photography

From the architect. Constructed on a triangular parcel of land in Downtown Amherst, Kendrick Place is the latest infill mixed use project from Archipelago Investments. Designed by Holst Architecture from Portland, Oregon, and constructed by Cutler Associates Inc., the project includes 36 modern apartments with ground floor tech space, and ZipCar car share. LEED Gold certified with highest efficiency HVAC, lighting, and appliances. Bright, modern interiors with exposure on all sides. A modern New England classic.


© Christian Phillips Photography

© Christian Phillips Photography

Site Plan

Site Plan

© Christian Phillips Photography

© Christian Phillips Photography

2nd Level Grid

2nd Level Grid

© Christian Phillips Photography

© Christian Phillips Photography

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FXFOWLE Breaks Ground on New Statue of Liberty Museum


Courtesy of FXFOWLE

Courtesy of FXFOWLE

FXFOWLE has unveiled their design for a new Statue of Liberty Museum on Liberty Island in the New York Harbor. Set into a new landscape and lighting plan, the 26,000 square foot (2,415 square meter) museum will feature an exhibition experience by ESI Design, giving the island’s 4.3 million yearly visitors an opportunity “to learn about and honor the Statue’s history, influence, and legacy in the world.”


Courtesy of FXFOWLE


Courtesy of FXFOWLE


Courtesy of FXFOWLE


Courtesy of FXFOWLE


Courtesy of FXFOWLE

Courtesy of FXFOWLE

The new museum will be completely integrated into its surroundings, featuring a green roofscape and bird-safe glass exteriors. Both interior and exterior surfaces will be built using materials either native to Liberty Island or used in the construction of the statue, including granite, bronze, plaster and native vegetation. In accordance with the new FEMA Executive Order on floodplain management and resiliency, the museum will sit above 500‐year flood levels and will be capable of withstanding hurricane force winds.

“From the start, the design of the Statue of Liberty Museum was conceived as an extension of the park,” said Nicholas Garrison, Partner and Project Designer, FXFOWLE. “The goal was to engage with the park’s formal, axial plan and respond to its spectacular setting. The island’s landscape is lifted and merged with the architecture to create space for the Museum in a new geology. The building’s angular forms and spaces are shaped by its views and the irregularity of the water’s edge, celebrating liberty.”


Courtesy of FXFOWLE

Courtesy of FXFOWLE

“Rising upwards, and in a nod to the island’s classical master plan, monumental steps are arranged to engage and activate this formal, circular flag plaza,” said Garrison at the unveiling and groundbreaking ceremony. “They will provide sitting, climbing and viewing spaces towards the Statue and activities in the plaza. Visitors can meet here to rest or eat, and we imagine Park Rangers using the steps for educational talks. They will also work as a stage, where performers can be seen by spectators assembled in the plaza below.”

“At the top, a large observation terrace was created to echo the Promenade experience atop Fort Wood. From there one will enjoy sweeping views of the island, the harbor, the city, and of course, of Lady Liberty herself.”


Courtesy of FXFOWLE

Courtesy of FXFOWLE

The current museum, located inside the Statue of Liberty, underwent massive safety upgrades following the events of September 11, 2001 which significantly reduced the museum’s occupancy and programming. Inside the new structure, FXFOWLE and ESI’s design will allow for an expanded display of artifacts and exhibits on the history of Liberty, her original concept, design, construction, and her 1986 centennial restoration while exploring the philosophical concept of liberty. Highlights of the exhibition experience will include a virtual flythrough of the monument and immersive storytelling from the statue’s history.

“Our goal is for visitors to take away a richer picture of what the Statue of Liberty has meant to people throughout her history – not only in this nation but around the world – and to see themselves as part of the amazing story of liberty’s future,” said Edwin Schlossberg, President and Principal Designer of ESI Design.


Courtesy of FXFOWLE

Courtesy of FXFOWLE

At the museum entrance, a mural envisioned by fashion designer and museum fundraising chair Diane von Furstenberg will be constructed from Gustave Eiffel’s original hand‐forged iron bars, which supported the Statue of Liberty for 100 years and were removed and preserved during her 1986 centennial restoration.

Access to the museum will be included in the purchase of a ferry ticket to visit Liberty Island and Ellis Island. Liberty Island will continue to be open to visitors throughout construction of the new museum. The museum is expected to open to the public in 2019.

For more information on the Statue of Liberty Museum, visit the foundation website, here.

News via FXFOWLE.

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Samsung Galaxy Studio at Olympic Park / UNStudio


© Joana França

© Joana França


© Joana França


© Joana França


© Joana França


© Joana França

  • Architects: UNStudio
  • Location: Rio de Janeiro, State of Rio de Janeiro, Brazil
  • Architect In Charge: Ben van Berkel, Wouter de Jonge, Imola Bérczi and Aurélie Hsiao, Olga Kovrikova, Wing Tang Man
  • Overall Project Advisor: Cheil Worldwide
  • Client: Samsung Electronics, IT & Mobile Division (Seoul, Korea)
  • Area: 1200.0 sqm
  • Project Year: 2016
  • Photographs: Joana França

© Joana França

© Joana França

Following an international competition to design the main Samsung showcase at the Olympic Park Pavilion, UNStudio was engaged to develop a design that builds on the brand’s history with the Olympic Games. 

Samsung Electronics has been a Worldwide Olympic Sponsor in the Wireless Communications Equipment category since the Nagano 1988 Olympics. The design goal for the Samsumg Galaxy Studio was to develop an immersive visitor experience that incorporates pivotal design elements from the Samsung Galaxy brand philosophy.


Courtesy of UNStudio

Courtesy of UNStudio

The Galaxy Studio was specifically designed to help visitors embrace the excitement of the Rio 2016 Olympic Games and celebrate the Olympic spirit, enabling them to create, capture and share their own experiences.

“The showcase exemplifies the theatre of multi-sensorial experiences that become possible when culture meets commerce. Providing an immersive retail experience that shifts from transaction to entertainment, the Samsung studio invites the visitor to experience the brand through storytelling and the simulation of real-world experiences. At once a theatre and a gallery, the pavilion demonstrates what we can look forward to in the future of retail.”    


© Joana França

© Joana França

The creative guidelines from Samsung Electronics called for a design that is clean and that uses simple lines, taking visual cues from the contemporary product lineup. As a result UNStudio developed a series of interpretative designs that aligned with the brand’s vision in 2016. 

“The aspiration for the architecture was to facilitate a canvas for imbedded technology, interaction and memorable sensorial experiences for the visitors.” – Ben van Berkel


© Joana França

© Joana França

Unpacking Samsung
‘Unpacking Samsung’ was the thematic idea that influenced the simple articulation of the façade, with a subtle tilt in the framing of the entrance as a start to the visitor experience.


© Joana França

© Joana França

The shape of the exterior took this cue of ‘unpacking’ as a singular gesture that could allow for both a digital display which exemplified the digital environment within, in tandem with the composition of a reflective surface (through the use of obsidian glass) to mirror the famous colours of the Rio context.  


Courtesy of UNStudio

Courtesy of UNStudio

The façade duality is a play of two realities in tandem, as well as one of inversion from day and night: the reflective surfaces from the day become transparent in the evening, allowing for clear visibility of the activities within.

With attendance at the Olympic Park anticipated to be near 70,000 during peak hours, the Samsung Galaxy Studio at Olympic Park was designed to facilitate 1000 visitors an hour during the height of the games.


© Joana França

© Joana França

Visitors to the showcase are concentrated through a more intimate entryway that opens up to a set of distinctly immersive experiences, organised around a prominent Gear VR 4D Experience that enables attendees to be absorbed into the distinctive virtual content created for this milestone event.  


© Joana França

© Joana França

Six individual areas are devoted to various elements designed to deliver fun, unique and premium experiences, including a music zone, wearables zone, and a photography installation, amongst others. 


© Joana França

© Joana França

The showcase is designed for the Olympic and Paralympic Games, as well as intended to have a purpose after the games, with considerations for both reusability and repurposing of building elements. To this end, the main shell of the building was designed to be disassembled for repurposing or recycling.

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Sea Ranch Lakes Residence / Silberstein Architecture


© Robin Hill

© Robin Hill


© Robin Hill


© Robin Hill


© Robin Hill


© Robin Hill

  • Architects: Silberstein Architecture
  • Location: Sea Ranch Lakes, FL, United States
  • Architect In Charge: Jeffrey Silberstein
  • Project Manager: Andrew Younger
  • Area: 5500.0 ft2
  • Project Year: 2015
  • Photographs: Robin Hill

© Robin Hill

© Robin Hill

The plan for this 5,500 square foot private residence located along the Intracoastal Waterway is influenced from by the views, the irregular pie-shaped lot, the requirement that garages cannot face the street and the need to locate a septic field on the property. 


© Robin Hill

© Robin Hill

All of these criteria influenced the plan and geometry of the home, and one of the most prominent features is the cantilevered second floor at the front façade.


Plan

Plan

On the site, there is a very clear distinction between public and private spaces.  From the street the front entry is concealed behind a wood fence which provides privacy from the street.  


© Robin Hill

© Robin Hill

There is an intimate fire pit area tucked off of the entryway.  Once inside the house, all of the common areas all have a view of the pool, which has a continuous negative edge around the entire perimeter and the Intracoastal Waterway beyond.  The master bedroom on the second floor has a large private balcony facing the water.  The guest bedrooms on the second level are separated by the main staircase which is enclosed by a skylight and horizontal louvers above.  All of the guest bedrooms face north and open onto a shared balcony.   


© Robin Hill

© Robin Hill

The entire building is clad with a white limestone, which the same material is used throughout for the interior and exterior flooring.  

All of the louvers and trellises are in response to the home’s orientation, to provide shade to the large glass openings.


© Robin Hill

© Robin Hill

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These Mesmerizing GIFs Illustrate the Art of Traditional Japanese Wood Joinery

For centuries before the invention of screws and fasteners, Japanese craftsmen used complex, interlocking joints to connect pieces of wood for structures and beams, helping to create a uniquely Japanese wood aesthetic that can still be seen in the works of modern masters like Shigeru Ban.

Up until recent times, however, these techniques were often the carefully guarded secrets of family carpentry guilds and unavailable for public knowledge. Even as the joints began to be documented in books and magazines, their 2-dimensional depictions remained difficult to visualize and not found in any one comprehensive source.

That is, until a few years ago, when a young Japanese man working in automobile marketing began compiling all the wood joinery books he could get his hands on and using them to creating his own 3-dimensional, animated illustrations of their contents.

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Using the mechanical design software Fusion360 and employing self-taught woodworking skills, he began creating animations of the joinery and posting them to a twitter account.

The account now features 80 posts of various joinery techniques, some self-locking, some best used for turning-corners, some for creating beams. The complex cuts in the wood maximize the amount of surface area shared by the connecting wood elements, helping to create a snug fit held together by friction.

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In modern times, the complex cuts necessary to create these joints have simply become too expensive to warrant to their use in standard architecture. But with the rise of CNC milling and 3D-printing fabrication techniques, it is not difficult to imagine a future where these techniques are not only affordable, but also the most reliable.

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See the full list of animated joinery techniques at @TheJoinery_jp.

News via Spoon & Tamago.

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