VOLUME 04 ISSUE 01 JANUARY-MARCH 2021
DESIGN CONNECT PROMOTING GOOD TASTE
A MEXICAN SURPRISE
RECREATING THE SPIRIT OF MEXICO IN SEYMOUR STREET, LONDON
ZIP, ZAP...ZOOM LES ARCHITECTES DESIGNS THE FORMULA 1 CANADIAN GRAND PRIX BUILDING IN 10 MONTHS
A SLICE OF ITALY IN TORONTO THE HIGH PARK RESIDENCE DESIGNED BY BATAY-CSORBA ARCHITECTS
A SMART USE OF SPACES NATASHA AGGARWAL DESIGNS PJCF, A SKILL DEVELOPMENT CENTRE BASED IN MUMBAI
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s the world continues to battle the pandemic, people had to alter their existing itinerary or cancel them altogether as international travelling remains curtailed. This situation has impacted culinary tourism too. Foodies however remain keen to explore newer unusual melange of culinary delights without having to cross international borders. In this abysmal situation, the magic of good food and design have come together to give gastronomes a gratifying experience.
Editor’s Note
Former Noma chef Santiago Lastra has opened the KOL restaurant in London’s picturesque Seymour Street. Apart from treating customers to Mexican delights, the interior of this restaurant recreates the spirit of United Mexican States through materiality, craft and inherent humbleness. The interiors of KOL have been designed by A-nrd studio founded by Milanese designer Alessio Nardi. For recreating the magic of Mexico in the two-storey restaurant spread across four-hundred square metres, Alessio Nardi went on a field trip throughout Mexico - from Mexico City to Oaxaca to the Yucatan - to connect with local businesses and discover the nuances of Mexican culture.
From addressing gastronomic curiosities to to helping people remain rooted in their culture, designers are playing an important role. In Toronto, Canada, the High Park residence designed by Batay-Csorba Architects pays homage both to the clients’ Italian heritage and that of the Toronto residential building fabric, while ensuring a sensitivity towards wellbeing, mobility, and convenience. 4,253.3 km away from Toronto, in California, a pathway of geometric sensory comes to life, designed using concrete, it is reminiscent of an art installation. A part of the Community Information Center of Avenues: The World School, the purpose of this design is meant to distract people from the city’s driving culture and free people’s minds from that stressful reality before entering the facility. The entire project has been designed by Efficiency Lab for Architecture. Back home, Designer Natasha Agarwal showcases an efficient balance of space planning and aesthetics in designing a skill development center based in Malad, a western suburb, of the Mumbai city. The project constraints as also its requirements mandated a multi-functional design concept which allowed a single space to be used in multiple ways whilst enhancing the overall spatial experience. Editor Vikas Bhadra vikasbhadra@designconnect.biz Designer Darshan Palav
This and more in this issue of Design Connect.
Design Connect and logo are registered trademarks; any unauthorized use of the same is prohibited. All the information contained in the ezine may not be reproduced whether in part or in whole without the written consent of the editor. Design Connect and its team members accept no liability for loss or damage which may arise out of the material published in the ezine.
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The Community Information Center: A campus development project by Avenues: The World School in San Jose, California
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Zip, Zap...Zoom: Les Architectes designs The Formula 1 Canadian Grand Prix building in 10 months
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W Hotel Osaka: Designed by Amsterdam based concrete, the interiors of the hotel reflect the diverse facets of Osaka
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A Mexican Surprise: KOL restaurant in London designed by A-nrd studio brings to life the spirit of Mexico
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A Smart Use Of Spaces: Natasha Agarwal designs PJCF, a skill development center based in Mumbai city.
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The Alpex Cultural Centre: Embracing the past and the present
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The High Park Residence: Batay-Csorba Architects invokes the client’s Italian heritage in a Toronto based residence
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The Community Information Center (CIC) designed by Efficiency Lab essentially serves as a marketing center for making presentations to parents of prospective future students ranging in age from toddlers through grade 12.
The Community Information Center (CIC) by Efficiency Lab for Architecture
Project Designed By: Efficiency Lab for Architecture Photo Courtesy : Blake Marvin and Efficiency Lab for Architecture
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The Community Information Center (CIC) by Efficiency Lab for Architecture
A Serene Gateway To A Better Life
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The Community Information Center (CIC) by Efficiency Lab for Architecture
The Community Information Center forms part of a proposed campus development project commissioned by Avenues: The World School, an organization dedicated to providing transformative, world-focused learning experiences to students around the globe.
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The Community Information Center (CIC) by Efficiency Lab for Architecture
Development of the campus will convert a small existing office park into a sprawling modern campus and will include adaptive reuse of two existing buildings and an existing parking garage, as well as the construction of four new buildings.
“Education is one area where architecture can make a real difference in people’s lives and, as a firm, we are passionately committed to that concept,” explains Aybars Asci, AIA, LEED, President of Efficiency Lab. “A vast majority of our work is focused on the education sector, and more than half of our completed projects over the last three years have been adaptive reuse projects.” Design Connect|January-March 2021
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The Community Information Center (CIC) by Efficiency Lab for Architecture
Transforming mindsets The Community Information Center (CIC) is the first phase of the campus development, and the building will essentially serve as a marketing center for making presentations to parents of prospective future students ranging in age from toddlers through grade 12. To that end, Efficiency Lab converted half of the ground floor of an existing threestory commercial office building, infusing a wide-open floor plan design comprised of a reception/lounge area, an 80-person presentation room, meeting rooms, interview rooms, and staff offices.
External design elements set the mood for visitors to the new CIC, led by an innovative design approach focused on transitioning attention away from the hustle and bustle of surrounding roads and an adjacent parking lot. To achieve the desired effect, Efficiency Lab first established a new building entrance within a framework of existing redwood trees. Next, they developed transitional spaces through the positioning of a series of concrete portals along the walkway, in L-shaped formation, creating a pathway of geometric sensory that is reminiscent of an art installation.
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“California is a driving culture, and we wanted to find a way to free people’s minds from that stressful reality before entering the facility,” explains Asci. “As you move from the parking area towards the main entrance, the portals provide that transformation.” As visitors enter the building, entry into the presentation room passes through an additional threshold portal, this time in the form of a bright orange box, illuminated by cove lighting along the edge of its frame. Passing through the colorful entry portal, a clean, modern, open floor plan emerges, revealing visual continuity of spaces framed between engineered European hardwood oak floors and an acoustic ceiling that stretch across its entirety. The space artfully combines hints of industrial design and strategic uses of geometry and light, creating a stimulating ambiance that is conducive to thinking and learning.
To further contain the unique ambiance of the CIC, Efficiency Lab installed a stretched, translucent fabric scrim over an expansive window overlooking the parking lot. In addition to eliminating an external distraction, the team succeeded in creating a museum-like spatial quality, with the frameless scrim diffusing natural light while doubling as a viable projection screen for the presentation room.
A 30-foot, double-paned glass partition separates the presentation room from the lounge area, where a second fabric scrim is installed along a wall, bearing the printed mission statement of the school. The seamless glass partition ensures visual continuity of the space, while also serving as an acoustic barrier between the two zones. A corner of glass extends visual continuity to the adjacent Early Childhood Testing Room, ensuring that parents can maintain a visual connection to their children as they engage with staff and undergo testing. In the staffroom areas, existing windows were retained that offer views of, and access to, an external garden and patio. “Rather than being transient or transactional places, educational spaces tend to endure as important experiential places in our lives,” says Asci. “The greater the architecture, the greater those experiences can be.” Connect Online@ www.efficiencylab.org
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The Community Information Center (CIC) by Efficiency Lab for Architecture
Thinking inside and outside of the box
Formula 1 Canadian Grand Prix building by Les Architectes
ZIP, ZAP... ZOOM Project Designed By : Les Architectes Photo Courtesy: Steve Montpetit
Les Architectes designs the new Canadian Grand Prix building in a period of 10 months.
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Formula 1 Canadian Grand Prix building by Les Architectes
As part of a renewal agreement for the Formula 1 Canadian Grand Prix, the city of Montreal had to replace the existing temporary structures with a larger permanent building that would more adequately meet the needs of the event. The new paddock includes garages for the teams, offices for the International automobile Federation (FIA) and the promoter, a lounge area for 5,000 people and a Multimedia Center for journalists and broadcasters. All furniture and equipment are shipped from abroad and installed for the duration of the event.
To facilitate the completion of the$ 50 million project in the 10 free months between the two Grand Prix editions, the building was designed as an assembly of prefabricated parts including concrete panels, steel beams and columns, CLT wooden beams and panels, curtain walls and removable partitions. It can also be easily disassembled and recycled materials in case of Grand Prix termination.
Unlike other international Grand Prix, the lounge areas have no exterior walls and are not air-conditioned, the interior spaces are minimally finished and the building showcases responsible use of the public funds invested while equipping Montreal with equipment that reflects its identity and values for an event seen by more than 300 million people around the world. Design Connect|January-March 2021
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Concept
Formula 1 Canadian Grand Prix building by Les Architectes
The building echoes the innovative structures that marked Quebec’s imagination when the 1967 World’s Fair was held on the site of Île Notre-Dame. The Terre des Hommes logo using the Y to represent men with outstretched hands remains an indelible symbol of this summer that marked the advent of modernity here. The wooden structure proposed for the roof is based geometrically on this memory and reflects a desire to move away from the images and values usually associated with motor racing and more specifically with Formula 1.
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The advent of new owners and executives at the head of the circuit has made possible the acceptance of this proposal, which corresponds to their desire to move away from the ostentatious globalized luxury in order to highlight the cultural and geographical specificity of each stage of the circuit and adapt it to emerging values.
Formula 1 Canadian Grand Prix building by Les Architectes
Program The new paddocks will accommodate up to 13 stables, each of which will have two front access for single-seaters, drivers and technical teams, as well as a service access located at the rear of the building for equipment or for quick access to the redeveloped hospitality area.
Designed without a permanent division, the garage space is modular according to the needs of the teams at each edition of the Canadian Grand Prix : temporary partitions will be used to create the desired divisions and thus suit the technical needs of this constantly evolving sport.
The building presents a completely new configuration of the space for sports commentators and representatives of the FIA and FOWC : the distribution has been redesigned to meet the need for stakeholder interactions with the action taking place on the circuit. Unlike the old control tower which was made at height to offer good visibility on the track, the new tower is arranged horizontally on two floors right in the building, as new race control technologies now require less direct visibility. Design Connect|January-March 2021
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Formula 1 Canadian Grand Prix building by Les Architectes
A media space is integrated into the building rather than being located in a temporary marquee, in order to provide quality services to journalistic representatives, namely modular lighting, a suitable ventilation system and electrical and telecommunications connection boxes including optical fiber. This media space is also a rental space made available to Montrealers for events outside the Grand Prix period in all seasons.The building has been designed to multiply the views on the race track, but also on the entire environment of the park that surrounds it, with the development of several terraces on the 2nd and 3rd floors.
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The new building being higher presents a 360-degree panorama to the spectators. On one side, a close-up view of Jean-Doré Beach, the Casino de Montréal, former Pavilion of France during Expo 67, as well as the former Pavilion of Quebec that is adjacent to it. In the distance, the city of Montreal, Mount Royal and its cross are visible.
On the other side, you can see at first glance the Olympic pool where groups of rowing, canoeing and dragon boats train. Behind, a narrow passage of the St. Lawrence River crossed by freight boats, then the South Shore of Montreal.
Universal Accessibility Accessibility has been completely redesigned in the new building : the entire ground floor is on the same level as the ground and the floors are accessible via a panoramic glass elevator located at the east entrance. Bleachers and bathrooms are also provided to ensure universal accessibility and ease of travel.
Formula 1 Canadian Grand Prix building by Les Architectes
Sustainable Development The structure of the roof of 1425 m3 is made of wood, a durable and renewable material. Since, during its growth, wood captures CO2 from the atmosphere and sequesters it in its fiber, this volume of wood corresponds to the sequestration of more than 1,000 tons of CO2. Wood is thus considered carbonegative, which means that not only does the use of wood in construction generate low carbon emissions, but also helps to remove additional carbon dioxide from the atmosphere. The waterproofing of the roof is carried out with an elastomeric coating covered with white mineral granules in order to limit the
heat island effect and the temperature rise for the spectators. The solar photovoltaic panels on the terrace total 64 m2 and should store enough solar energy in one year to compensate for the energy expenditure required for the complete building at a Grand Prix. The installed system will provide an average of 87,600 kw/hre per year and the estimated energy consumption during the Formula 1 event is 88,940 kw/hre. Local Production
The wood used for the beams, in the form of glued and cross-laminated (CLT), as well as for the decking, in the form of cross-laminated,
comes from northern Quebec and values species and small pieces of wood to optimize the fiber of all the trees during the cutting. The precast concrete parts come from a Quebec company, as are the curtain walls and the steel structure. The division into several separate batches of the structure (concrete, steel and wood) allowed the simultaneous production in the factory of colossal quantities of material as well as their erection in a very limited period of time and despite a harsh winter. Connect Online @www.arch-fabg.com
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W Hotel Osaka designed by concrete
W Hotels offers luxury lifestyle hotels with a unique focus on design, music and fashion and is ideally marketed toward a younger age group. Project Designed By: concrete, Amsterdam Photo Courtesy: Marriott International
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W Hotel Osaka designed by concrete
W Hotel Osaka Opens Its Doors To The Public Design Connect|January-March 2021
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Situated on Midosuji Boulevard, a new 27-story landmark high-rise, designed by Nikken Sekkei and with a Tadao Ando supervised facade, is the home of Japan’s first W Hotel. Don’t be deceived by its simple black monolith design – inside hides a world of extravagance! Its interior is inspired by the many facets of the city, welcoming guests to experience Osaka, through the eyes of concrete. Based in Amsterdam concrete works with a team of 55 multi-disciplinary creatives as architects, interior designers and visual marketeers to help businesses and institutions.
W Hotel Osaka designed by concrete
The True Spirit Of Osaka Every W Hotel is designed for its specific location - with foreign designers invited to offer the fresh perspectives of an outsider. For W’s first hotel in Japan, concrete absorbed the sites, sounds, flavors and thrills of Osaka. From the simple beauty of the cherry blossoms and gingko trees lining the Midosuji Boulevard to the vibrant neon and busy streetscape of Osaka’s nightlife district Dotonburi. Concrete found inspiration in both the simple and traditional, as well as the modern, obsessive and extravagant and created a design concept of extravagant simplicity celebrating the true spirit of the city.
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The Arrival The “wow” experience begins as you enter the long arrival tunnel from the main Midōsuji Boulevard entrance. Inspired by delicate blossoms and the fine art of origami, more than 3000 circles were laser cut into sturdy metal and folded randomly.
The Social Heart - Living Room & Bar In a standard hotel, the first thing guests see is the check-in counter. Instead, when exiting the lift, W Osaka guests immediately see the bar, the social heart of the hotel. To connect and separate the spaces that serve the W Osaka guests on this floor - like an endless shoji screen - a continuous white, sheer curtain with sharp origami-style pleats flows from here to there and around again. Guests are welcome to relax (and peoplewatch) in the hotel’s Living Room - half indoors, and half outdoors. Above the indoors lounge floats a wild cloud of rectangular lamps, hanging vertically and horizontally, at various heights. White zigzag “neon” lights shine through the translucent acrylic forms, in a desaturated homage to Osaka’s electric nightlife scenery. It’s like the colors of the neon have dripped on top of the furniture, and are arranged from purple to pink to orange to yellow to blue to green. Restaurant Oh.Lala… The interior design for this French themed bistro-diner draws its inspiration from traditional copper pots and pans, as well as the typical Breton blue and white striped shirt. Along the wall stainless steel shelves are styled with unique porcelain objects decorated in blue dots – combining traditional French shapes & colors with the circle obsession of W Osaka. Adding sparkle from above, are clouds of small ball pendant lights, suspended at different heights within the waves of the curtain.
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W Hotel Osaka designed by concrete
The lights behind the abstract blossom change colors with the 4 seasons and shift in intensity from daytime to night – creating an otherworldly portal into the world of W Osaka. The Osaka experience proceeds in the arrival lobby. Here, the asanoha pattern was the inspiration behind the ceiling, flooring and staircase. A simple yet bold ceiling uses a scaled-up, 3D version of this traditional geometric pattern – which is reflected in the pattern on the granite flooring, in 6 dark grey shades.
W Hotel Osaka designed by concrete
The WET Deck, Bar & Courtyard Inspired by the Japanese love for nature, the WET area is characterised by smooth walls and round corners. The endless line of the horizon is the simplest abstraction of nature. This line becomes a playful element connecting all the spaces on this floor, as a chrome horizon flows along the walls. Each area has its own character - color-coded in shades of green, grey, blue or pink tiling defining the space’s function.
Open to the elements, with views of sky, W Osaka’s WET courtyard is an oasis, with live planting trailing down the walls of the atrium. From its elevated position on the horizon line, the pool forms a blue backdrop to this area. Directly adjacent to the courtyard, guests can grab a cocktail at the WET bar.
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The Guest Rooms The color theme of the guest rooms alternates per floor, between sakura pink and blue allowing guests to choose the color they prefer. The rooms consist of an open plan, with the living room, sleeping zone and bathroom separated by a contemporary glass shoji screen. Floor-to-ceiling windows bring in natural light and amazing views of the city. A wall made of grey tinted two-way mirrors conceals an ‘escape’ lighting feature. When turned on, it transforms the room with dramatic pink or blue diagonal stripes, inspired by Osaka’s neon. Another surprise is locked away behind the walnut doors of the closets. Famous for their gamer’s pixel art, eBoy graphic designers created a “pixorama” of Osaka, filled to the brim with the city’s famous landmarks in full pixilated colour.
Bathroom: Having a semi-open bathroom offers guests the level of privacy they prefer - with the option of closing off the bathroom from the sleeping area – using the contemporary shoji screen. The entire bathroom is clad in grey marble. Guests can either enjoy a good hot soak in the white, freestanding tub - or use the separate shower, located behind grey tinted glass doors.
Living Room: The 3rd area, the living room, is defined by soft carpet in a gradient pattern running from pink (or blue) to grey. Each room has a sofa, 2 bar stool and a walnut cocktail bar, which can also serve as a desk. The main purpose of the bar is enjoying cocktails of course! The bar extends into a niche lined with reflective, rainbow colored dichroic film, with a mirror backsplash.
EWOW Suite High above Osaka, on the 27th floor, the Extreme Wow suite looks out over – and beyond - the skyline of the city. Inspired by traditional Japanese homes, the suite was designed in a sequence of 5 rooms divided by deep, oak portals with sliding shoji screens that can be used to close off or open up the different rooms. The overall design is based on the duality of simplicity and extravagance, allowing guests to change the atmosphere of the suite. Whether they desire an intimate and personal ambiance, or want to create a more extraverted setting for entertaining. So open up the secret karaoke booth, roll out the dj station, pick up that mic and let’s party!
Connect Online@ www.concreteamsterdam.nl
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W Hotel Osaka designed by concrete
Sleeping Zone: In the center of the room, walnut flooring demarcates the sleeping zone. A walnut ledge runs across wall, extending into the living room. This holds the king bed, bedside tables and black cone lamps – as well as the living room sofa. Behind the ledge, soft uplighting illuminates a white plaster wall. A round, rice paper lamp, inspired by Japanese fans, subtly glows on the wall. At the foot of the bed is a large tatami pouf.
KOL restaurant by A-nrd studio
A Mexican Surprise 24 Design Connect|January-March 2021
KOL restaurant by A-nrd studio
Former Noma chef Santiago Lastra’ debut restaurant KOL, designed by A-nrd studio, brings to life the spirit of Mexico through its materiality, craft and inherent humbleness. Project Designed By: A-nrd studio Photo Courtesy: Charlie Mckay
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KOL restaurant by A-nrd studio
Spanning over two-storeys and four-hundred square metres in London’s picturesque Seymour Street, KOL’s main dining room is situated past the reception on the ground floor while the chef’s table experience and the Mezcaleria bar can be found downstairs.
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KOL restaurant by A-nrd studio
KOL interior design focuses on bringing to life the spirit of Mexico through materiality, craft and inherent humbleness. To consolidate the look of KOL, A-nrd studio founder Alessio Nardi went on a field trip throughout Mexico - from Mexico City to Oaxaca to the Yucatan - to connect with local businesses and discover the nuances of Mexican culture.
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KOL restaurant by A-nrd studio
Upon entering KOL, customers are greeted by a large-scale corn husk marquetry artwork by Fernando Laposse which frames a bespoke hand-chiselled oak reception desk. The interior architecture of KOL is deeply inspired by the work of Luis Barragán where stucco walls on different hues characterise the space. The colour palette is an ode to the streets of Mexico, alternating between various shades of yellow, pink and burnt orange. These contrast the floor made of concrete slabs framed by a double run of oak planks - an interpretation of the flooring outside Mexico City’s library. Three kitchen islands positioned in the centre of the restaurant create a theatrical yet homey focal point in KOL’s dining room. Each oak wood unit is crafted with hand-chiselled counters that extend to the ceiling through reclaimed elmwood canopies.
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Next to kitchen islands, the stucco wall splits in height to reveal the heroes of KOL kitchen - the fire pit and the comal oven. Handmade British clay tiles clad the whole area, evoking the traditional Mexican Tezontle volcanic rock tiles in the true spirit of KOL: Mexican soul and British ingredients.
A burnt orange stucco wall with an extensive installation of Mexican artefacts sourced during the field trip and dating back to the mid-1900s creates an earthy backdrop for the kitchen theatre. KOL’s range of furniture has all been created bespoke by A-nrd studio in collaboration with artisans in Italy and the UK - tear sheets in the attachment. The whole furniture collection focuses on subtle detailing and natural materials, a nod to the modernist aesthetic found throughout Mexico.
The descent to the Chef’s table and Mezcaleria bar is characterised by a raw steel and oak spiral staircase, enveloped by a faceted glazed screen with hand-blown glass in clear and amber tones. Hanging clay lamps and planters by Mexican artisans accentuate the height adding tonal depth to the drum. The chef ’s table dining room is inspired by modernist Mexican mansions with raw textural materials and a Wabi aesthetic. The floor to ceiling concrete finish is interrupted only by a reclaimed parquet floor runner and the oak glazed frames which look into the private kitchen and a patio with an installation of lush greenery.
The bespoke tables by A-nrd studio continue the language of the interior architecture. Two hand-planed oak planks are merged by a central concrete runner to create a sectional sharing table for up to 22 guests. Four long hexagonal pendant lights with corn husk marquetry shells hang above the central seating area to light up the dining room - a collaboration between Fernando Laposse and A-nrd studio.
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KOL restaurant by A-nrd studio
The tables are a mix of honed silver travertine stone and oak wood which has been hand-planed to add tactility. The stone tabletops seem to be floating, with accentuated interlocking leg details. The oak wood chairs also present the same hand-planed finish and sleek leather upholstery while the window benches are more of a sculptural piece with travertine block bases and a suspended leather backing.
Next to the chef’s table, the lively Mezcaleria bar brings a Mexican coastal vibe to London. The extensive use of natural materials reclaimed wood flooring, bespoke caned booth seating, seagrass lights - add warmth to space and contrast the monolithic concrete bar with reclaimed oak beam inserts. Both the Mezcaleria and the Chef’s table are punctuated by selected artworks - alternating Mexican folk art and contemporary British crafted objects in true KOL ethos.
KOL restaurant by A-nrd studio
Connect Online@ www.a-nrd.com
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KOL restaurant by A-nrd studio
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PJCF Skill Development Center by NACL
A Smart Use Of Spaces
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Natasha Agarwal showcases an efficient balance of space planning and aesthetics in designing PJCF, a skill development center based in Malad, a western suburb, of the Mumbai city. Project Designed By: NACL [Natasha Aggarwal Creative Living] Photo Courtesy: Studio Kunal Bhatia
NACL recently designed the PJCF [Prakash Jayantilal Chauhan Foundation] Skill Development Center based in Malad, a western suburb, of the Mumbai city. The PCJF Skill Development Center in Mumbai is a CSR project built by the client to create an inspiring and encouraging learning environment. The design brief, therefore, expected the designer to create efficient spaces that maximise the use of spaces while also reflecting the brand identity and ethos.
“While designing the institute my primary focus,” says Natasha, “was the maximum utilization of the available real estate. Since the space available was limited and the functions to be accommodated were a lot we tried to create flexible solutions. Therefore, the design approach, both functionally and aesthetically, aims to capitalise on every element, object and material that is integrated within the space by using it in more than one way and ultimately transforming the room with minimal alterations, thereby ensuring versatility within the space.
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PJCF Skill Development Center by NACL
“Good design is a balance of efficient space planning and aesthetics. Space planning is extremely important. Therefore, if the layout planning is not right things will start falling apart very soon and the second most imp aspect the functionality of the layout and the design,” says Natasha Aggarwal, Founder of NACL [Natasha Aggarwal Creative Living].
PJCF Skill Development Center by NACL
Clean, stark lines in the form of partition designs, lighting design and the graphics created through the furniture elements, all aid in creating an understated pattern, allowing bold forms such as the logo design to get highlighted. Modern, yet minimal patterns and grids are followed throughout the space, in order to augment functionality as well as adding versatility to the space. The result is an effortlessly practical design solution that keeps the user engaged and intrigued, whilst motivating them to learn, network and train in an environment that is soothing to the senses and efficient for learning.” The project had a number of requirements like classrooms and practical rooms with provision for ample storage which turned out to be the biggest challenge. This essentially led to the inception of the design concept which is truly multifunctional. As per the development control guidelines, the space required for each classroom was insufficient on-site.
To overcome this constraint, a single space has been used in multiple ways to provide maximum usage and enhance the spatial experience. For instance, both the salons combine into one room by merely opening a mirror sliding folding partition and by rearranging the furniture in the retail class. Since both the salon spaces are identical, the merging of the two is seamless.
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Storage units have been distributed around columns and on walls, to create intriguing wall designs and functional storage space. For instance, the electronic lab requires a large number of tools that are stored on the wall, thereby creating interesting wall decor. Passages are lined with storage units that give a library-like feel, and niches have been designed to craft out seating that looks like it has been carved out of storage walls. Another challenge was the bulky columns that blocked a lot of space so they were boxed to create storage solutions.
With the constant movement of students, staff, and the use of tools and machinery while training, the institute had to be acoustically treated. Prefabricated wall panels with acoustical properties are used as an effective and economical substitute to Siporex walls to ensure minimal disturbance within classrooms. There is extensive use of materials requiring fewer treatments and low maintenance, like birch ply on walls and furniture, concrete tiles on the floor, lime plastered walls, fluted glass, M.S. furniture and metal mesh panels. A muted grey palette in different materials and textures that are low on maintenance is used to create a subtle backdrop. The vibrant brand colours endow identity stand out as a highlighting feature across the space. The lighting scheme follows and reflects the linearity seen within the design scheme. Therefore, we have used linear lights in all of the spaces. The linear lights along spaces like the pathways and corridors also add a layer of way finding through their linearity. Additionally, the salon spaces also flaunt linear lights.
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PJCF Skill Development Center by NACL
Movable furniture was critical to the design; it has been customised to be stowed away when not in use and moved around as per requirement. Every corner, furniture piece and blank space has a utilitarian value, thereby resulting in an open layout with clutter-free spaces. By assigning multiple roles to every object and element the design minimizes material requirement and consumption. Since spaces are multifunctional as well, the energy utilization is efficient avoiding any energy wastage occurring due to unoccupied spaces.
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PJCF Skill Development Center by NACL
PJCF Skill Development Center by NACL
“We as designers bring certain skill sets to the table and give our best to create what the client aspires or dreams of. Striking the right balance between our creative judgement and the client’s aspirations is always the key to success. The design of this project is reflective of the colour scheme, graphical language and ethos of the brand and while doing so offers maximum efficiency within the limited space,” says Natasha, “Just like the client desired, our design concept addressed the need for crafting multi-functional spaces for the institution, leading to effective use of space combined with acoustics to control elevated sound levels. The sheer flexibility, versatility the space offers without compromising on aesthetics is what sets the project apart.” Connect Online@ www.studionacl.in
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The Alpex Cultural Centre designed by Atelier Archiplein embraces the historic past of the building with modifications to remain functional in the current timeline.
The Alpex Cultural Centre designed by Atelier Archiplein
Project Designed By: Atelier Archiplein Photo Courtesy : Aurélien Poulat
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The Alpex Cultural Centre designed by Atelier Archiplein
The Alpex Cultural Centre: Embracing The Past And The Present
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The Alpex Cultural Centre designed by Atelier Archiplein
The Alpex Cultural Centre designed by Atelier Archiplein
Atelier Archiplein, a firm renowned for its commitment to sustainable development from both an environmental and cultural perspective designed the Alpex Cultural Centre in Scionzier, a town in the RhôneAlpes region of south-eastern France. The project involved the transformation of a former machining factory, with the firm commissioned to extend and convert the building into a new cultural centre, forming part of a broader master plan to renovate and revitalize the heart of Scionzier.
In association with (MAW) scenographer, Atelier Archiplein was commissioned to undertake all aspects of the project, which involved the resolution of sensitive issues inherent in the major transformation of a building designated as a local heritage site.
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The Alpex Cultural Centre designed by Atelier Archiplein
Colourful past In the initial stages of the project, a detailed heritage diagnosis was conducted and revealed an original colour palette associated with the historic past of the building. The original structure included shades of green, red, and yellow, all of which the firm embraced in restoring the existing façades of the building. The riverside façade was the only original facade visible to the surrounding community at that time, and the emergence of the retro colour palette was embraced by local inhabitants during the refurbishment. A Colonnade of Stone
A large, open space between the new cultural centre and the Scionzier Town Hall building presented an opportunity to convert the structure’s existing gable façade into a main façade that closes off a newly constructed town square. Using locally-sourced Hauteville stone, Atelier Archiplein designed an expansive colonnade entry porch that reshaped the façade into a stunning new entranceway, signalling the importance and prestige of the building’s new public function.
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Extracted from a site located less than 100 km from Scionzier, the use of Hauteville stone reflects Atelier Archiplein’s commitment to using natural, locallyprocured materials whenever possible. Completion of the Alpex Cultural Centre marks the latest contribution to a series of solid-stone projects in the region which Atelier Archiplein have been involved in over the past several years. The completed Alpex Cultural Centre offers great flexibility, with radiant, eye-catching beauty defining the service areas of its two main exhibition rooms. Low-arched bays infuse the space with natural light, providing greater flexibility in terms of its potential uses. Sliding along the full length of the structure, the building’s new extension houses a temporary exhibition room. The extension’s saw-tooth roof delivers a further abundance of natural light and is the only element of the design that is visibly exposed to the town square. Connect Online@ www.archiplein.net
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The Alpex Cultural Centre designed by Atelier Archiplein
A Ray of Light
The High Park Residence by Batay Csorba Architects
Reinventing the Italian legacy in Toronto’s framework 44 Design Connect|January-March 2021
The High Park Residence by Batay Csorba Architects
The High Park Residence based in Toronto, Canada built for an Italian couple, pays homage to the clients’ Italian heritage and to Toronto’s residential building fabric, whilst ensuring a sensitivity towards wellbeing, mobility and convenience. Project Designed By: Batay-Csorba Architects Photo Courtesy: Doublespace Photography
Design Connect|January-March 2021
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The High Park Residence by Batay Csorba Architects
The design of the pacific project is born from the homeowners’ values and traditions where the comforts of their past are now viscerally felt within their present-day lives. The vault, in its many permutations, is one of the most common archetypes of ancient Roman architecture, characterized by its powerful modulation of light and its sense of lightness. In adopting this typology into a domestic space, the architects evolved the vault from its primary form, puncturing, cutting and peeling it into new geometries that among other things help in distributing air light and air into key locations.
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The brickwork that covers the façade and wraps the ceiling and walls of the carport plays into Toronto’s history of masonry detailing. The tradition of brick in Toronto’s residential fabric dates back to the 19th century when Toronto’s stock of Victorian houses was built. In these houses, ornamental detail presents itself in single isolated moments of brick coursing located above apertures, along with corners, and at cornices.
The architects took this singular moment of ornamentation and blew it up. The front of the home is reduced to a monolithic façade – where single repetitive material ornamentation, an adaptation of the Flemish-bond, becomes an even but textured brickfield placing emphasis on the vaulted profile. This field of patterning emphasizes a play of light and shadow and picks up on seasonal changes. In the summer, the protrusions texture the façade with stark shadows, and in the winter the texture transforms through bricks creating shelves for the snow to fall on.
As a retired couple intending to age in place, it was essential that they had access to parking on site. Wanting to refrain from the suburban folly of a garage-fronted street, the decision to create a carport shaped the formal organization of the entire project. The integrated carport carves the front façade, creating a processional entryway reminiscent of the portico; an architectural feature found in roman architecture which covers and extends from the entrance often as a vault or colonnade.
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The High Park Residence by Batay Csorba Architects
The vault geometry extends the length of the lot, in forming a relationship between the façade and the interior. From the exterior, the brick vault is a subtraction from the otherwise monolithic brick frontage. This monolithic façade is created through a focus on the rich materiality of the brick coursing, and the isolated dormer which mirrors the proportions of the neighbouring house.
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The High Park Residence by Batay Csorba Architects
To emphasize the project’s geometric simplicity, all circulation, services, and entry conditions are tucked into a linear bar that runs adjacent to the vault. Upon entering the house, visitors begin in a compressed service ‘bar’, which then opens into the ground floor’s expansive and airy living spaces. Throughout the length of the ground floor, the barrel vault’s persistent geometry connects these living spaces, accentuating the client’s desire for connectivity in food preparation, eating, and socializing. While the barrel vault brings these spaces together, moments of articulation and relief are found through tangential peels and cuts in the vaulted ceiling. The vault remains intact in the dining room, is cut at the length of the kitchen, becomes intact again in the living room, and then unfolds and peels into the backyard. This spatially delineates connected spaces, while also providing natural light to flood into the deep and narrow lot. Situated in the middle of a long floorplan, the kitchen opens and is flooded with natural light from a skylight above.
While the ground floor remains unimpeded and connected, the second floor is sliced into rooms connected by bridges. This allows for rooms to be stacked in a narrow lot with natural daylight reaching each room and the ground floor below. On this floor, the services of the laundry room, bathroom, and stairs are also tucked into the ‘bar’, while the bedroom, study, and master suite are stacked from the front to the back of the house. The slice between the bedroom and study allows both rooms to share natural daylight brought in from the lightwell and the façade’s dormer window. The master suite is lit from both the house’s back façade and the skylight above the kitchen. Connect Online@ www.batay-csorba.com
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The High Park Residence by Batay Csorba Architects
Vaulted porches are also a prevalent form in Toronto’s Victorian housing stock. Toronto’s residential streets are often punctuated by front porches (rather than garages) to create a transitional space between the street and the home. In the case of Pacific Residence, the carved carport creates an inverted porch, which creates an introverted presence on the street. A lightwell that cuts through the height of the building is placed at the depth of the carport, washing the deep space with light, pulling visitors towards the entry. This armored space is turned inward and perceived as private, creating an intimate entry procession.
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