space Photography by Wouter and Canon
CONTENTS 01
The Calm Waters of Photographer
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Canal House
Maria Svarbova’s “In the Swimming Pool” Series
By The Ranch Mine Studio
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Grace Farms
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Grace Farms
in New Canaan, United States
in New Canaan, United States
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Quintessa Pavilions
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Quintessa Pavilions
By Walker Warner Architects
By Walker Warner Architects
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Sunshine Canyon House
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Sunshine Canyon House
by Renée del Gaudio
by Renée del Gaudio
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Language of Flowers
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Language of Flowers
A wordless tongue, understood around the world.
A wordless tongue, understood around the world.
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The Illustrated Motions and Emotions
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The Illustrated Motions and Emotions
of Nicolò Canova’s Art
of Nicolò Canova’s Art
EDITR’s NOTE When we speak of “context” of architecture, the term usually refers to the built environment or the historical background of a building. But the climatic conditions of a building site are also contextually determined. These require specific concepts that respond to factors such as heat and cold, fluc tuations in temperature, and snow loads. Not only elaborate technical solutions are needed in this regard, but also design approaches that integrate climate considerations into the planning and construction process.
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ARTS & DES IGN
Symphony for Brass A Conductor’s Minimalist Apartment by Jean Verville Words: ERIC DAVID | Photo: ©Maxime Brouillet. | www.yatzer.com
Proclaimed as a “domestic architectural installation”, IN 1 2 3 is a series of spaces by Canadian architect Jean Verville that attempt to merge art, architecture and domesticity through the interplay of space and imagery. “Modelled on a human scale” and adhering to the principles of minimalism, each project is a reductive portrait-installation, and a collaborative endeavor that reflects the personalities of its occupants. IN 3, the third in the series, a maestro’s studio in Montréal is designed as an environment of both sophistication and abstraction.
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Similar to the other two installations—IN 1, a converted shed located in the architect’s back yard, and IN 2, a cottage designed for an eclectic couple—IN 3 was conceived as a series of spaces that flow into each other, “a succession of sculptural volumes” so to speak, where “sensory perception is asked to transgress the physical limits of space to favor the illusory abstraction of dimensional form”.
counter. Those two elements evince an understated opulence and a certain pizzazz that is harmoniously juxtaposed with the raw materiality of the gray zones. What is impressive in Verville’s minimalist aesthetic is that his design succeeds in hiding not only the unnecessary functions of a domestic environment but many of the necessary as well without making the environment sterile. On the contrary, the space possesses a subtle theatricality, spearheaded by the exuberance of the golden plating and the maximalism of the curtain-lined walls, culminating in the presence of the grand piano.
Enveloped by shades of gray, be that the exposed concrete ceilings, the timber flooring or the floorto-ceiling curtains, the interiors exhibit a monastic soberness that is pierced by a ribbon-like, brass structure, serving both partition and storage purposes, and a polished, white, L-shaped kitchen
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After the contrasting tones and darker shades of the living spaces, the bathroom is an oasis of pure, gleaming whiteness that cleanses the visual palate, perfectly rounding up an installation that was conceived as a working environment of subtraction and abstraction, conducive to the occupant’s concentration and inspiration
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ARTS & DES IGN
Casa H71 By Lucas y Hernández-Gil Architecture Studio Words: ALEXANDER MORDOUDACK | Photo: ©José Hevia. | www.yatzer.com
Who would want to live in a museum? Why would one want to live in a museum? If you find a home within art, does that automatically mean you can live comfortably there? These are the questions that Casa H71, Lucas y Hernández-Gil’s artful Madrid creation, answers. One of the most fascinating things about museums is that originally they were literally meant to be houses for the muses. Well, more like occasional piedsà-terre. They were the structures where people would invite the muses for their worship. This means that museums are meant to house inspiration, and this is by no means a meaning which is lost in present everyday reality.
were its private residence through time. It accomplishes this by restructuring the museum’s space into the different courses taking visitors through the different exhibitions, through the new spaces created by the ordering of artwork. This is why it is always a pleasure to walk around a familiar museum and to be able to escape the courses that have become habitual to one. In a sense, a museum remains a house through equally its ability to be familiar, as well as its ability to avail itself of previously established interpretations and expectations.
Though their distinguishing character as houses is slightly better concealed, it is still evident in their unique ability to reorder space and flow according to an exhibition’s requirements. Each exhibition inhabits a museum as if it
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In Madrid’s Barrio de las Letras, in about 200 square meters of space originally designed in the 1950s by Spanish architect Luis Gutiérrez Soto, the architecture firm Lucas y Hernández-Gil managed to reverse engineer this feeling into a luxury abode designed much like a museum. The four bedroom apartment between the neighbourhood whose name translates as the neighbourhood of letters and the Prado complex is visually striking, thanks in part to the initial visual stimulus of the
exposed concrete structure, a nod to the building’s fame as one of Madrid’s first residential buildings to feature it. The concrete also goes to highlight the sense of a space layered in colours and objects. One’s gaze bounces from the warm tones of the oak flooring, to the bright white walls that let the artwork dominate, and to the colour bursting throughout the apartment from the designer furniture, without overshadowing their understated functionality.
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The concrete also goes to highlight the sense of a space layered in colours and objects. One’s gaze bounces from the warm tones of the oak flooring, to the bright white walls that let the artwork
dominate, and to the colour bursting throughout the apartment from the designer furniture, without overshadowing their understated functionality.
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In Madrid’s Barrio de las Letras, in about 200 square meters of space originally designed in the 1950s by Spanish architect Luis Gutiérrez Soto, the architecture firm Lucas y Hernández-Gil managed to reverse engineer this feeling into a luxury abode designed much like a museum. The four bedroom apartment between the neighbourhood whose name translates as the neighbourhood of letters and the Prado complex is visually striking, thanks in part to the initial visual stimulus of the
exposed concrete structure, a nod to the building’s fame as one of Madrid’s first residential buildings to feature it. The concrete also goes to highlight the sense of a space layered in colours and objects. One’s gaze bounces from the warm tones of the oak flooring, to the bright white walls that let the artwork dominate, and to the colour bursting throughout the apartment from the designer furniture, without overshadowing their understated functionality.
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Interior e
House JRv2 By studio de.materia Words: Alyn Griffiths | Photography: © Tom Kurek Source: blog.gessato.com, www.dezeen.com
Rising from a sloping plot of land at the edge of a natural reserve in Poznań, Poland, House JRv2 by studio de.materia makes the most of its surroundings. The dwelling takes inspiration from the angle of the terrain for its distinctive layout. At the top, the wooden garage faces the entrance at the east and features a concrete floor. A roof covered in grass and local vegetation blends the structure into the landscape. The western side of the house contains the living spaces, partly immersed in the land and divided into two separate volumes arranged in a T-shape. The living room, dining room and kitchen boast glazed walls that face the nearby park and the patio which also features a retaining wall for the slope. In the other section, there’s a guest room as well as a master bedroom and bathroom. The décor creates a play between cool concrete and marble on one side and warm oak on the other. Natural light enhances the airy look and feel of the rooms, while minimalist furniture and creative lighting designs – appearing sparingly throughout the house – give the interior a refined accent. Source: blog.gessato.com
Studio De Materia submerges private rooms of House JRv2 into sloping terrain
A timber-clad garage rests on top of partly submerged living spaces at this house in Poznań, Poland, which opens up towards the landscape on its lower level.
At the bottom of the stairs is the wing containing the living, dining and kitchen spaces, which are open-plan and look out onto the surrounding parkland through full-height windows.
House JRv2 is situated on the edge of the Żurawiniec parkland to the north of the city, on a site that slopes gradually down towards a boggy area.
“The functional layout of the home was dictated by the sun, views and neighbourhood,” said Wysocki, who positioned a small patio next to the lounge to catch the morning sun.
Local architect Adam Wysocki’s Studio De Materia designed the property in two distinct parts that relate to the typography of the land.
The concrete wall lining the rear of the patio also acts as a retaining wall set into the terrain. A window at the rear of the lounge looks onto a reflecting pool with a plant emerging from its centre.
A garage featuring a timber frame and larch cladding was placed at the highest point to prevent a sharp drop down from the driveway.
A large south-facing terrace occupies the outdoor space between the living area and master suite. A sliding door connects the lounge with this decked podium raised above the garden.
The wooden volume features predominantly closed facades and is the only thing visible from the upper portion of the site. Concrete walls set into the slope support the garage and contain the main residential areas. These are arranged in a T-shaped plan, creating two perpendicular wings.
A perpendicular wing accommodates the master bedroom suite at the end that faces the park. This room adjoins an ensuite bathroom and walk-in closet, with a further bathroom slotted in behind the kitchen.
A slatted door integrated into the front facade of the timber box opens directly onto a concrete staircase that descends towards the living spaces.
At the opposite end of the house is a utility space and a guest bedroom, which are submerged into the escarpment. A window in the guest room punctures the concrete wall to provide a view out to the north.
An opening directly opposite the entrance frames a view of the trees beyond, with the planted roof of the residential block providing a connection between the building and its natural surroundings.
Architects: Location: Lead Architect Area Project Year Photographs Manufacturers
: : : : : : :
Source: www.dezeen.com
Studio de.materia Poznań, Poland Adam Wysocki 430.0 m2 2017 Tom Kurek TERMO DEK, KERLITE, WEEEZE
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From the architect. The plot lies on the edge of the reserve Ĺťurawiniec, and It is surrounded by a dense park in the south and the west.
closed from the entrance (east) and open to the surrounding greenery from the west. The functional layout of the home was dictated by the sun, views and neighborhoods.
On the frontier boundary of the plot runs a slope of less than one story. Such terrain has determined the entire assumption of the project.
The layout of the house resembles the letter T. In one wing there is a living room with a dining area and a kitchen open to the surrounding park. The second wing is perpendicular. Partially slammed into the escarpment. There is a technical room and a small guest room.
To avoid a steep descent into the garage, it was placed on the roof of the residential part. The living area was immersed in the descending terrain. This makes the house
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The remainder of this wing contains the wardrobe, the bathroom and the bedroom, which goes out the green side. Such arrangement allowed for obtaining a terrace space that was separated from the neighbor from the north.
part is made of concrete. Concrete walls are made like sandwich - concrete, insulation, concrete. The roof is covered with extensive vegetation of herbs and stonecrops. Facades complement larch wood. Oak lining was used in the interiors.
In order to catch the rising sun in the living room, we designed a small patio that overlooks the living room window. The patio wall is at the same time a retaining wall for the slope
The house is equipped with mechanical ventilation with heat recovery, efficient floor heating submerged in the accumulation concrete floor slab.
While the garage is made entirely of wood (construction and cladding), the bottom
Source: www.archdaily.com
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Interiore
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Home Tour George Suyama Words: MacKenzie Lewis Kassab | Photography: Charlie Schuck | Styling: Natasha Felker
As part of a new home tour series, produced in partnership with Sonos and West Elm, architect George Suyama invites us into his woodland refuge.
Beneath a gray November sky, cargo ships navigate the choppy waters of the Pacific Northwest. In the distance, historic houseboats and grandiose estates illuminate Seattle’s tree-lined coast. A brief swath of green between the Fauntleroy Ferry Terminal and Brace Point marks the existence of The Junsei House.
The house evolved from Suyama’s desire to live sustainably, and by extension to design environmentally respectful projects. “Architects tend to keep adding details, little things to make a project interesting,” Suyama explains. “We tried to do the exact opposite. We tried to reduce the architectural moves to the fewest we could get away with.
Junsei translates loosely from Japanese to “purity.” The name wasn’t architect and owner George Suyama’s first choice (pronounced ‘juns-eye’, he thinks “it’s hard to say”), but it captured the essence of a structure so harmonious with nature that it dissolves into its wooded surroundings. Long and linear, the restrained form references a traditional maritime shed. Suyama resolved to minimize disruption to the region’s native cedar trees, whose roots compose an intricate web beneath the site; the elevated home tiptoes above the arboreal network on stilts.
” He chose steel and plywood for their modesty, the latter an unusual choice for a luxury home but arguably the most befitting; stained to match cedar bark, it’s difficult to tell where the grove ends and Junsei begins. Windowpanes reveal color gradations that allude to the building’s plywood skin, another tactic to eliminate visual noise. The only intervention is a white cube that extends to the basement and contains the kitchen, bathroom and sleeping quarters. “It’s one gesture, big and small at the same time,” he says.
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acoustics in mind, but Suyama says sound is so flawlessly balanced that it’s an architectural element. “Music sets the mood and becomes the heart of whatever I’m doing. It offers a fallback so everything’s not so empty.”
Junsei was Suyama’s third attempt at designing the perfect shelter. The first house on the land, a primary residence he shares with his wife and two cats, is a “funky,” 2,000-sqft structure called Fauntleroy. The second, a pair of cabins, Suyama describes as minimal and “very refined.” Like a proverbial Goldilocks, he deems Junsei just right: “It allowed all these things that I wasn’t able to fit into the first two houses. It might be the evolution of where we had to be.” The architect retreats to the home’s tree-shrouded living room to thumb through magazines, dissect a design idea, or get lost in a classical melody. The space wasn’t designed with
Sound system aside, the house is free from technology. The absence of a humming television or buzzing smartphone is palpable. “You don’t know exactly what it is, but you feel as if you’ve been gripped by nature,” the architect explains.
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acoustics in mind, but Suyama says sound is so flawlessly balanced that it’s an architectural element. “Music sets the mood and becomes the heart of whatever I’m doing. It offers a fallback so everything’s not so empty.”
Junsei was Suyama’s third attempt at designing the perfect shelter. The first house on the land, a primary residence he shares with his wife and two cats, is a “funky,” 2,000-sqft structure called Fauntleroy. The second, a pair of cabins, Suyama describes as minimal and “very refined.” Like a proverbial Goldilocks, he deems Junsei just right: “It allowed all these things that I wasn’t able to fit into the first two houses. It might be the evolution of where we had to be.” The architect retreats to the home’s tree-shrouded living room to thumb through magazines, dissect a design idea, or get lost in a classical melody. The space wasn’t designed with
Sound system aside, the house is free from technology. The absence of a humming television or buzzing smartphone is palpable. “You don’t know exactly what it is, but you feel as if you’ve been gripped by nature,” the architect explains.
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“Music sets the mood and becomes the heart of whatever I’m doing.”
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If Suyama seeks solitude at Junsei, he encourages an alternate experience among visitors. “The most important thing is that when they walk in they immediately feel comfortable,” says Suyama. “That really helps extend a dialogue between people.” He opens the house to friends and family for overnight stays featuring dinner and conversation. Local politicians are encouraged to host donors and constituents in the house, and to speak openly to the issues that affect them. The architect has fashioned Junsei as a cocoon: a safe environment for genuine interaction with nature, family and the community.
It’s unlikely the ships on the sound are aware of its existence. There are no wooden stairways leading from the beach, no porch overlooking the shore. “There’s a sense of calm and security that you get when you close yourself up a little. We haven’t genetically changed since walking upright, so deep down we like being protected as if we’re in a cave,” Suyama contemplates. “We’ve always had the prospect of refuge in our philosophic library.”
kinfolk.com
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West Dune House By Bourgeois / Lechasseur Words: blog.gessato.com Photo: Š Adrien Williams Located in a gorgeous area of the Magdalen Islands, the West Dune House designed by Bourgeois / Lechasseur architects takes inspiration from both nature and vernacular architecture. Oriented towards West Dune and the sea, the structure provides incredible views over the beautiful landscape. The distinctive shape takes inspiration from windswept dunes and local traditional architecture at the same time. The sharply sloping roof and straight sides create the appearance of a stone or sand monolith. Side walls extend towards a deck area to provide a protected outdoor space. Inside, the open-plan ground floor features a cathedral ceiling as well as large windows and a traditional skylight which bathe the interior with natural light. Upstairs, the cantilevered section houses the bedroom where the owners can enjoy the best views of their second home. The house boasts traditional sand-colored cedar shingles, which offer optimum protection against the damaging effects of salt air. Warm brown wooden siding complements the rest of the structure while helping to integrate the contemporary design into the landscape.
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This secondary house is located in the Magdalen Islands, facing West Dune and the sea. The clients are a retired couple that would like to spend a few months a year there.
tional architecture and by the natural shapes of wind-swept dunes. Due to its shape, the house looks as though it was sculpted out of a monolith of sand. The side walls follow the roof’s slope and extend to the edge of the deck to create an enjoyable space sheltered from the wind. The entrance is concealed in the reinforced side wall, providing protection from the weather.
The house was inspired by a formal exploration of sand models, seen at a Wallpaper Magazine exhibition in London. The volume measurement is inspired by local tradi-
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The house is covered with sand-coloured cedar shingles. This material is used on nearly all the houses on the islands due to its capacity to resist salt air. The indented parts are covered with warm brown, semitransparent wooden siding. Each window looks out onto a different type of landscape. In addition to the dune and the sea, one can see foxes running around nearby.
ceiling. There are also an office and a guest room with a bathroom on this level. A skylight adorning the facade brightens the living room. This feature is a subtle homage to local architecture. The master bedroom is located on a mezzanine. This private room protrudes cantilevered over the deck and toward the horizon. Source: www.world-architects.com
The living spaces are located on the ground floor in an open space with a cathedral
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ARTS & DES IGN
Hideaki Hamada Photography As reported last week, the highly-coveted A’ Design Award and Competition is open for submissions. But not for long. In just over two weeks — 28 February, to be precise — the doors will shut tightly closed for another year; meaning your chance to walk away with an award at the globe’s grandest design ceremony will be over till 2018.
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EVELOPED BY SANAA, AN ACCLAIMED JAPANESE ARCHITECTURAL FIRM, THE BUILDING CUTS A SINUOUS TRAIL ACROSS THE IMMACULATE GROUNDS – FRAMED BY TALL, WILD AND FLOWERS BLENDING IN EFFORTLESSLY WITH ITS SURROUNDING ENVIRONMENT.
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With so many outstanding projects being built along the water in Vietnam, only a truly extraordinary development could claim to be the best. Ocean Dunes offers a perfect living space that is in harmony with nature. Developer Green Real has envisioned a luxury resort that stands apart as one of the best in Vietnam. The mixed-used development can be found in the heart of popular resort town of Phan Thiet. Once completed, Ocean Dunes will revitalise the city’s downtown area. The project will boast 515 townhouses, 5,000 luxury condos, several villas and hotels as well as a world-class shopping centre all within a stone’s throw of the beach. Best Waterfront Development at The Dot Property Vietnam Awards 2017 goes to Ocean Dunes. This news will come as no surprise to the more than 1,200 people who have already purchased a unit at the project. With prices in the region increasing, many buyers took advantage of the affordability at Ocean Dunes to obtain a piece of a project that will become an
icon in Phan Thiet City. The beautiful city welcomed more than two million visitors in 2015 and this total could grow to more than eight million in the coming years, according to estimates from experts. It is only a two-and-a-half hour drive from Ho Chi Minh City and a new international airport will open in the region in 2018. A number of other infrastructure projects are also in the works that will make the area more. All of these people coming to Phan Thiet City will need a place to Dunes will undoubtedly be among the top of their wish list. The project will also have a number of facilities for residents to enjoy and the city centre location means getting around Phan Thiet City is easy. Once there, you may never want to leave this oceanside paradise. Green Real has managed to develop a project that inspires thanks to its prime location and stunning design. Congratulations to Ocean Dunes for winning Best Waterfront Development at thinking about purchasing a European property are left with a difficult . in attracting
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City A Rolex owned by the last emperor of Vietnam, and considered to be one of the brand’s rarest timepieces, brought in a historic USD 5 million at auction in Switzerland. It became Dai purchased the watch during peace negotiations in 1954 where he would be named as Head of State for what was then known as South
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Romance: We give flowers to the people we desire. It’s a way of saying “something has grown inside me, about you.” Flower-giving is a pan-cultural element of courtship and seduction, a metaphor that few can resist. The world’s poets, however, have long worried over the fact that these symbolic flowers have a habit of withering. Here we see love in crimson and black. The fruit-bearing Anthurium, or “tail-feather,” encloses male and female structures within each of its blooms, testifying to love without distinction of gender. It bares all—seducing with naked, blood-red biology. The Anthurium is a flower from the Americas, and is free of old-world associations. It is unfamiliar and undisguised, as new love should be.
Ceremony: Ceremonies, whether somber or wild, divine or secular, seek to temporarily elevate human action to a higher realm. In ancient Greece, the laurel wreath gave fleeting divinity to triumphant poets and athletes, and the thyrsus, a plant-spear topped with a pinecone, was hoisted amid the ecstatic revels of the Dionysian cult. A crown of flowers was given to high-born women during medieval festivals, raising them to a prethe the millions to welcome the returning dead. Cherry blossoms draw Japanese to the Hanami, image of a single cherry blossom adorned the arspeaks of a quieter, more peaceful ceremony. heliconia gives a glimpse of another world. The upright blooms of the quince show the promise of early spring and its sweet ceremony of renewal.
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Veterans of Portland’s third wave scene, Ian Irving and Zach Harrison, work alongside seasoned baristas dedicated to the heritage and passion of serving coffee of the very highest quality. Focussed on pushing flavours and concepts, signature drinks are thoughtfully-crafted and throughly-tested before reaching the baying public. Working exclusively with Roseline Coffee Roasters, with who they share a passion for the best coffee served through the tension between art and science, NEVER’s serious approach to high-end caffeine is juxtaposed by Juliet Zulu’s playful aesthetic. Together, this den for Portland’s coffee aficionados is a thing of real beauty.
NEVER COFFEE Portland, serves up some of the city’s finest third wave coffee in a small but perfectly-executed space on Belmont Street. A neighbourhood joint where bumping elbows and standing to enjoy a quick espresso is actively encouraged, founder Zak Davis and his partners enlisted the creative vision of local agency Juliet Zulu to design the bold look, feel and overall branding for the project. Priding themselves on standing far apart from the masses, Juliet Zulu looked to emphasise this and sprightly motifs. simple yet neon sign and takeaway cups — to the abstract tropicalism of the mural that art director Sarah Simmons scrawled across the back wall, and on to a contrasting classic marble bar, green tiles and wood accents, no detail has been left unturned.
@neverlab
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IG : promote.diyninnn
A Rolex owned by the last emperor of Vietnam, and considered to be one of the brand’s rarest timepieces, brought in a historic USD 5 million at auction in Switzerland. be named as Head of State for what was then known as South
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2017
T h e p r o c e s s a n d b e n e f i t s o f b u y i n g It a l i a n r e a l e s t a t e Those thinking about purchasing a European property are left with a difficult question: where to buy? Obviously countries with golden visa schemes such as Greece and Cyprus are popular. The UK presents a safe market even in the face of Brexit while Germany is drawing more interest. However, with a friendly foreign taxation policy, robust tourism and political stability, Italy appeals to the head and heart. “Due to the global geopolitical situation, Italy has become a safe harbour. With the terrorist attacks in other European countries, investors have shifted their interest to Italy, which remains at the top of the list in terms of quality of living, art and culture, fashion, beautiful scenery and delicious food and wine,” Carolyn Delli Santi, a bilingual real estate broker at Rome-based Nexu Real Estate, explains. Investors or holiday home seekers worried about the market aren’t as easily wooed by Italy’s emotional pull. Looking at the facts and figures, the Italian economy is fully out of its recession and has posted modest GDP gains in 2015 and 2016. This upward trend is predicted to continue until the end of the decade. On the real estate front, property prices have declined considerably since reaching their peak in 2007 but there are signs the market may have bottomed out.
“There are a variety of benefits of purchasing a home in Italy. Whether you are seeking a vacation home, retirement home or an investment property, there hasn’t been a better time in recent years to buy. Prices have decreased 39.7 percent since the peak in 2007 and in some areas are still in decline,” Delli Santi states. “The forecast for the second half of 2017 is only a slight decrease in prices, until 2018 when they will stabilize. In some areas like Milan there has actually been an increase in prices and the market is really picking up.” Nexu Real Estate represents properties throughout Italy including big cities such as Rome and Milan as well as the always popular region of Tuscany. And while there is nothing wrong with these well-known locations, those willing to expand their search off the beaten track may be rewarded with an even more spectacular find. “There are so many beautiful and unexplored areas in Italy, off the tourist track, with gorgeous homes at reasonable prices. For example the Tuscia region is one of Italy’s bThe countryside is full of hidden castles, papal palaces,as, gardensancient Etruscan ruins. There are also beautiful lakes, thermal baths and charming medieval villages to explore,” Delli Santi says.
Volunteer. Sometimes the jobs on one wants big. it is that darkness comes into our diligently.
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Interiore
UA House By Architect Andreas Gruber Words: muuuz - magazine | Photography: Š gustav willeit . + divisare Source: www.archidesignclub.com, blog.gessato.com
Inspired by the relief of the Eisack valley in South Tyrol (Italy), the architect Andreas Gruber conceived the “UA House, A monolithic house, all dressed in concrete, offering an unobstructed view of the summit of Plose and the valley of Val Gardena.
ing the material with raw concrete painted white, the architect has fun creating textures in monochrome living spaces. Each room is bathed in light thanks to the numerous openings designed by Andreas Gruber. The three bedrooms, the bathroom, the living room, the dining room and the kitchen are connected by a minimalist immaculate staircase, the steps of which seem to float along the wall.
The atypical residence, realized on a sloping ground, is conceived from porous concrete having a high thermal efficiency, essential in this alpine environment. This three-storey building, which is totally recyclable, is decorated with windows with light wood frames, bringing a touch of light to the anthracite envelope.
This lasting achievement proves that bringing Tyrol together with contemporary construction is not impossible, as its integration into the green landscape is a success. Source: www.archidesignclub.com
Inside, the presence of wood intensifies. By combin-
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UA House By Architect Andreas Gruber for Canal House in Phoenix Inspired by the natural and cultural landscape of the Eisack Valley, South Tyrol, the UA House blends into its surroundings and looks at home, despite its strikingly contemporary design. The house sits on a sloping plot of land, overlooking the spectacular landscape that includes the Plose summit and the Val Gardena valley. Designed by architect Andreas Gruber as a monolithic structure, the house features dark gray concrete walls that complement the distant mountain peaks, connecting the dwelling to nature. Throughout the interior, various design decisions reinforce the dialogue between outside and inside as well as the relationship between organic and man-made. Openings frame the mountains as if they are paintings. A reading space by a long window features a wooden surface that contrasts the textured concrete walls. Suspended stairs lead to the upper level and to the more private living spaces. Smooth materials and rough insulating concrete as well as solid wood create a play on textures and tones. Built with minimal waste as a 100% recyclable building, the house becomes a symbol of the ideal human dwelling that seamlessly integrates into nature. Photography by Gustav Willeit. Source: blog.gessato.com
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Interiore
Endless Brass Grids Illuminate the New Sulwhasoo Flagship Store in Seoul Words: YATZER, Alyn Griffiths | Photography: Pedro Pegenaute | Source: www.yatzer.com, www.dezeen.com
Shanghai-based design studio Neri&Hu Design and Research Office has developed and implemented this stunning concept for the new flagship store for Asian skincare brand Sulwhasoo in Seoul, Korea. The five-storey store, which is housed in a 2003 building, was completely renovated and decorated according to Sulwhasoo’s identity and ethos whilst also being based on the three principles of identity, journey and memory. With the wish to also incorporate Asian culture and traditions in their design and the spatial experience they developed for the store, Neri&Hu ended up with a very characteristic Asian symbol, namely the lantern which for them lights your way in the dark, but also signals the beginning and the end of a journey. Inspired by this lantern symbolism, the designers created a spectacular brass grid that flows throughout the store, from the spa area in the basement all the way up to the rooftop terrace. Representing the light that guides visitors around the store, the lantern grid which helps them find the way also acts as an integrated, sculptural lighting installation. Referncing perhaps Sou Foujimoto’s ethereal 2013 Serpentine Pavilion or the visual illusion of Ai Weiwei’s “Forever Bicycles” installation, this “lantern grid” is visually captivating, adds texture and volume at places without being solid and heavy while also functioning as a shelving system at points, framing the Sulwhasoo beauty products as if they were precious objects. The rest of the interior was finished with warm materials like wood and Kvadrat fabrics, while the use of grey stone tiles for the stairs and interior walls creates an interesting play between solid and void, heavy and light.
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A lattice of brass rods creates seethrough surfaces that extend throughout the interior of this shop in Seoul, which was designed by Neri&Hu for Asian skincare brand Sulwhasoo (+ movie). The Sulwhasoo Flagship Store is situated in the South Korean capital’s Gangnam district and occupies a five-storey building that was renovated to provide the brand’s first dedicated retail space. The building’s renovation was overseen by Chinese studio Neri&Hu, whose recent projects include the largest ever retail department at London store Selfridges, and a flagship store for fashion brand Comme Moi featuring custom-made display rails and cage-like cabinets. The design is influenced by the symbolic significance of lanterns in Asian culture, as tools for illuminating people’s travels and marking the beginning and end of a journey. The facades incorporate large openings that allow the warm tones of the interior to glow through. The spaces are arranged to create an evolving experience across the various floors, starting on the ground floor, where a seasonal product display is located close to the street-facing windows. This level also accommodates an area dedicated to the brand’s heritage and philosophy. Slender brass rods join together to form geometric volumes, enclosing an outdoor terrace visible from the street. This element reappears inside the building and provides a sculptural
detail that continues through a series of voids and openings that define the store’s interior. “Neri&Hu aspired to create a space that appeals to all the senses, that captures the customer immediately as they approach the building, creates an experience that continues to unfold during the journey through the store, and leaves a strong impression with visitors long after they have left,” said the architects. “This is what led to the lantern concept, where a continuous brass structure is the element that ties the whole store together, guiding customers while they explore the full extent of the space.” The sense of endlessness achieved by the dense lattice is accentuated by round mirrors integrated into gaps between the rods. Light fixtures are also suspended from the structure, helping to illuminate the merchandise displayed. Each of the shop’s floors has a specific function, with the main boutique and gift-wrapping service joined by a reception area and multifunctional auditorium on the first floor, and lounges including a VIP room on the level above. One of the store’s two spa areas is located on the third floor. It includes a series of treatment rooms, two foot spas, a powder room, a courtyard and a staff room. A more luxurious spa offering treatments based on Korean medicinal herbs is situated in the basement. Wide timber floor boards give the interior a warm, natural feel. These extend across the sides of plinths featuring solid stone tops, on which
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the company’s products are displayed. Across the various storeys, different moods are achieved by altering the materials used. In the basement spa, dark brick walls, wooden flooring and grey stone flooring in the treatment rooms lends these areas a relaxed and intimate atmosphere. The palette becomes gradually lighter as visitors ascend through the building, until they reach a roof terrace where the lattice structure creates an airy separation between lounges with different views of the city. “The journey is a constant contradiction between two counterparts: enclosed to open, dark to light, delicate to massive,” the architects added. “The holistic approach to the lantern concept – from space-making, to lighting, to display, to signage – gives visitors a sense of endless intrigue and urges them to explore the spaces and products with passion and delight.” Project credits: Design Team: Lyndon Neri and Rossana Hu (principals in charge), Anne-Charlotte Wiklander (associate in charge), Sela Lim (designer), Yinan Li (designer), Kailun Sun (designer), Brian Lo (senior associate in charge of product design), Nicolas Fardet (associate in charge of product design), Christine Neri (senior associate in charge of graphic designer), Haiou Xin (graphic designer), Litien Poeng (graphic designer) Source: www.dezeen.com
2017
see you again
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