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The three-storey Courtyard House by HYLA Architects has, in the centre of its rectilinear space, a prominent
courtyard lined with a thick band of timber that not only emphasises its importance within the home, but
has the effect of framing an artwork a solitary frangipani tree floating above a pond of bronze mosaic. The
pond is raised to seating height, becoming part-feature, part-furniture. The courtyard rises diagonally to the
second storey such that one entire face of the house is open p38
In Formwerkz Tree House on Saraca Road, a triple-volume central atrium is introduced on the ground floor
family room, where a planter holds two towering Sterculia foetida that connects the communal spaces
through all three floors, rising up to a pitch-roof skylight on the third-storey attic p44
The 7 Degree House by wynk;collaborative, a young design consultancy set up in 2011, is conceived from
the inside out with a cavernous light well punctured through its centre. Built up from a previously two-storey
house to fit the additional number of rooms required, the introduction of the void has resulted in a light-filled
house and a more engaged way of living as well as the sense of a bigger home for the occupants p50
The Muse des Confluences, a science centre and anthropology museum located in Lyon, France, is
conceived as a public gateway that stimulates a direct, active use, not only as a place of contemplation, but
also as a meeting place in the city...The striking interface situation of the construction site at the eponymous
confluence of the Rhne and the Sane (rivers) inspired the superposition in urban space of two complexly
linked architectural units crystal and cloud p16
Heatherwick Studios intrinsic masterplan and design of Bombay Sapphires first dedicated distillery and
headquarters in Laverstoke, south of England, included building two intertwining botanical glasshouses to
house and cultivate the 10 plant species that give Bombay Sapphire gin its particularity. The glasshouse
structures spring from a gin distillation hall, recycling the spare heat from the machinery to make the perfect
growing conditions for tropical and mediterranean plants p70
iNSIDE
IS S U E 0 8 4 . 2 015
spin
08 | SAFDIE ARCHITECTS JEWEL AT CHANGI AIRPORT
10 | BUILDING ON SUSTENANCE: EXPO 2015 MILAN PREVIEW
14 | STEVEN HOLLS NEW WING FOR THE MUMBAI CITY MUSEUM
wide\angle
16 | GRID-LESS RELATIVE SPACE
Muse des Confluences in Lyon, France, by Coop Himmelb(l)au
24 | AN ECO-FRIENDLY LIBRARY
Bibliothque du Bois in St Laurent, Montreal, Canada
habitat
30 | BOXES IN THE LANDSCAPE
Casaman in Desa ParkCity, Kuala Lumpur, by Unit One Design
38 | INSIDE OUT
Courtyard House by HYLA Architects
44 | ROLES REVERSED
Tree House on Saraca Road by Formwerkz
50 | SUBTLE SHIFTS
7 Degree House by wynk;collaborative
56 | LINEAR NOSTALGIA
Loft apartment in Joo Chiat by Studio XMSL
browse
60 | SUSTAINABLE LUXURY
The new Singapore House; Solutions for a livable future
Book by Tuttle Publishing, a review
Exclusive Distributor :
BRAVAT MARKETING PTE LTD
1 Commonwealth Lane #01-10/17 One Commonwealth Singapore 149544 T: +65 6659 1868 F: +65 6659 1968 E: gallery@bravat.biz
iNSIDE
community
64 | NAN MIGHT LIKE IT
The Arpage Antoine de Saint-Exupry home for the elderly in Villejuif, France,
by Naud & Poux
dfusion
70 | FROM PAPER MILL TO GIN DISTILLERY
The Bombay Sapphire distillery in Laverstoke, UK, by Heatherwick Studio
74 | UPBEAT TRANSPARENCY
Molteni&Cs Glass Cube showroom in the province of Monza and Brianza, Italy,
by Ron Gilad
pulse
92 | STILL REFLECTION
Reflection model of the Itsukushima Shinto Shrine by contemporary artist
Takahiro Iwasaki at the National Gallery of Victoria, Melbourne
96 | A COMMON SENTIMENT
A Thing of Beauty by Dawn Ng at Chan Hampe Galleries
100 | BLUEPRINT
Exhibition at Storefront for Art and Architecture, New York
10
Building On different cultures and languages to Italy and Milan, billed
as the top travel destination for 2015.
The site will host four thematic areas in which the
main theme of the event will be developed. They range
Sustenance
The 1.1 million sqm site will feature an exposition from the Pavilion Zero, which tells the story of man on
garden with more than 12,000 trees, water features Earth through his relationship with food, to the Future
and a long canal that surrounds the area. The self- Food District, which explains how technology will change
built pavilions of the participating countries, with large the storage, distribution, purchase and consumption
public areas dedicated to events and catering, follow the of food. There will also be a Children Park and the
criteria of energy efficiency and sustainability in their Biodiversity Park, a large garden in which a variety of
more than 130 countrieS participating in EXPO construction, and can be removed and re-used after the ecosystems are reproduced.
MILANO 2015 (MAY 1 TO OCT 31) will be presenting their expo ends. Expo Milano 2015 ushers in a new model for the
experiences and solutions in the field of nutrition, based Countries that do not build their own pavilions Universal Exhibition: it is not only a showcase of the best
on the event theme FEEDING THE PLANET, ENERGY FOR will be organised into nine clusters inside the Universal technologies for a sustainable future, but a global and
LIFE, expanded on through the architecture of spaces, Exposition, spread over a total area of 36,650m2, interactive event with thousands of cultural offerings and
exhibitions, and appointments and shows during the six- according to the food sub-themes: Bio-Mediterraneum, entertainment both inside and outside the exhibition site.
month period. Expo Milano 2015 aims to be the place Cereals and Tubers, Islands, Arid Zones, Fruits and Shows, concerts, conferences, cooking demonstrations,
for dialogue among many voices (countries, international Legumes, Spices, Coffee, Cocoa and Rice. Within each workshops and exhibitions will transform Expo Milano
organizations, civil society and businesses) on issues cluster, the story of food is told with videos, installations 2015 into a grand party full of fun! (www.expo2015.org)
of agriculture, sustainable development and the fight and photo exhibitions. There will be space for cooking
against hunger for the common good. The keywords demonstrations and tastings, as well as a large market
are innovation, energy saving, environmental protection where the visitor can discover the most unusual foods,
and natural resources. The event is expected to draw 20 as presented directly by the people who cultivate and
million visitors from all over the world, bringing together produce them.
The Italian Pavilion is a 13,000m2 urban forest by Nemesi & Partners.
Enveloped inside an intricate branch-like skin, the six-storey lattice
structure is made from 900 panels of i.active BIODYNAMIC cement that
will capture air pollutants and convert them into inert salts. While purifying
the surrounding atmosphere, the pavilion will also be generating energy
with the instalment of photovoltaic glass. This, along with an exterior play
of solid and void, will illuminate an interior open square in which will serve
as the main point of entry for visitors. From here, visitors can access four
connecting blocks that will host exhibition, auditorium, office and conference
areas. In addition to this, Nemesi will also design a series of temporary
Cardo buildings whose installations will provide for additional exhibition
space, restaurants and events. The Italian Pavilion will be one of the few
permanent structures constructed for the Expo.
Inspired by the lotus, the Vietnamese pavilion by Vo Trong Nghia features a number
of bamboo clad, umbrella-like structures supporting trees above a pool of water, in a
composition reminiscent of their Kontum Indochine Cafe. Say the architects: The Lotus
is Vietnams national flower, a symbol of purity, commitment and optimism for the future...
Growing from the muddy ponds it rises above the surface to bloom with remarkable
beauty. The flower is proof that patience can turn difficulties into advantages.
In addition to the symbolism behind the lotus, Vo Trong Nghia also uses the flower as
a metaphor for resourcefulness: Apart from its beauty, the lotus has a strong connection
with Vietnamese cuisine; none of the plant is left for waste, with all parts of the plant
considered a delicacy...As a temporary event, the architects role in designing the pavilion
is to reduce its impact.
To do so, the design uses bamboo extensively, a fast-growing and low-carbon
material. The pavilion is also designed to be disassembled so that its parts can be reused.
For its visitors, the pavilion will provide shade under the bamboo structures and trees,
while the Lotus Pond that permeates the buildings floor will provide a cool microclimate
inside the pavilion. A folding screen will provide protection from the elements on cooler
days; however, on warm days the screen can be removed, and the pavilion will be cooled
by the breeze. With the pavilion, Vo Trong Nghia hopes to demonstrate the Vietnamese
love of nature which will be shared with the whole world.
The Office of Bangkok Architects (OBA) design
incorporates the Expos theme of Feeding the
Planet, Energy for Life with the agrarian and
religious qualities that define the Kingdom of
Thailand. Located centrally on the Expos main
avenue, the pavilion will be adjacent to a canal that
12 will be used as a part of the exhibition, relating back
to Bangkoks informal title as the Venice of Asia.
The pavilion emphasizes the crucial aspect that
water plays in Thai agriculture in a number of ways.
A depiction of Naga, the legendary water snake
from Thai mythology, greets visitors at the beginning
of the pavilions walkway. This walkway will take
visitors across a rice field that has been planted
in various stages of cultivation, displaying the
foundation of agriculture in Thailand. The entrance
to the pavilion itself is a large wood-frame replica
of a ngob, the traditional hat worn by farmers and
vendors in Thailand. The most prominent element
of the pavilion, the ngob becomes a symbol of the
countrys agricultural identity. The pavilion building
proper will be framed by a brick wall modelled after
the traditional walls of Thai temples. Sloped at three
different angles and clad in a reflective surface,
the wall will reflect the rice fields of the pavilion,
the visitors to the Expo, and the sky. In this way, the
wall represents the agriculture, nature, and people
of Thailand.
Rejecting the typical notion of a pavilion as an object in a plaza, the China Pavilion by Tsinghua University and York-based
Studio Link-Arc is instead conceived as a field of spaces. Designed as a cloud hovering over a field of hope, the pavilion is
experienced as a sheltered public plaza beneath a floating roof that incorporates the buildings cultural and exhibition programs.
The roofs distinctive profile creates an iconic image for the project and will foster a unique presence within the Expo grounds.
The undulating roof form, which is derived by merging the profile of a city skyline on the buildings north side with the profile of a
landscape on the southern side, expresses the idea that hope can be realized when nature and the city exist in harmony.
The Pavilions floating roof is designed as a timber structure that references the raised-beam system found in traditional
Chinese architecture, but is adapted to accommodate modern construction technology. The roof is clad in shingled panels
that reference traditional Chinese terra-cotta roof construction, but are reinterpreted as large bamboo panels that reduce
structural weight, create a shaded public space below, and further enhance the Pavilions unique silhouette. Beneath this roof,
the buildings ground plane is defined by a landscape of wheat (the field of hope) that references Chinas agrarian past and
transitions seamlessly into a multimedia installation in the centre. This installation, formed from a matrix of LED stalks that mimic
the form of the wheat, forms the centrepiece of the buildings exhibition program.
The Pavilions full exhibition and cultural offerings are experienced as a
sequence of spaces, beginning with an exterior waiting area in the landscape,
leading to a themed exhibition space with interactive installations and cultural
offerings from 40 Chinese provinces. After this, visitors are guided up a
gently sloped public stair to a panoramic viewing platform above the LED
matrix installation, after which they are guided into a multimedia space,
which will feature a short film focused on returning home for the Spring
Festival. This sequence concludes with visitors stepping outside onto a
platform above the bamboo roof that enjoys expansive
views of the Expo grounds.
For the French pavilion, Paris-based X-TU has envisioned a cohesive, sustainable market where food is not
only grown and harvested, but sold and consumed on the spot. The design scheme celebrates the countrys
rich genetic heritage and future in innovative food production with a timber fertile market that supports the
growth of the produce it sells. Inside the vaulted halls of the market, herbs, vegetable and hops take over
the wooden lattice structure. On the ground floor, visitors walk through a living exhibition of Frances food
production, before heading upstairs to a terraced restaurant that serves the pavilions fresh produce.
The Russian pavilion, designed by Moscow-based practice SPEECH, is an expansive 4,000m2 timber
structure with a pronounced roof-line that features a mirrored canopy extending 30 meters over the
pavilions main entrance. The principal challenge in the development of the design was to create a
remarkable building that resonates with contemporary architectural trends, says Sergei Tchoban,
the pavilions chief architect. Our basic starting point was to combine a simple yet memorable
architectural structure with a faade formed from sustainable, ecologically sound materials. But an
equally important task in our architectural development was to inject the essence of Russia into the
design. Russia is a country of vast expanses, of endless vistas, of huge tracts of forest. Therefore, as
we have embodied Russian-ness in our design by framing it an apparent infinite rhythm of wooden
elements, there are obvious references to the typology of Russian landscape, with its rich forest
cover and its gently sloping elevations, and to the traditions of wooden architecture of Russia, all
coming together to create a modest, yet daring architectural statement.
spin
14
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wide\angle
16
The newly completed Muse des Confluences, a science centre and anthropology museum
located in the 2nd arrondissement of Lyon, France, had finally opened in Dec 2014, after four
years of construction that costs nearly 180m. Although Coop Himmelb(l)au won the international
design competition in 2001, the building of the 22,111m2 museum began only much later in 2010.
It sits ideally on the tip of a peninsula at the confluence of the majestic Rhne and Sane rivers.
Unlike musty predecessors, the new natural history museum opens itself up psychologically
and architecturally to a broader audience, trading the traditional paradigm of the museum as a
treasure house in favour of a more extroverted institution, housed in a porous structure. As much
as it is a sculptural landmark, the scheme that Coop Himmelb(l)au proposed was also an urban
plan for the peninsula. Financed mostly by the regional government, the museum is a catalyst
for a district of new offices, housing and government buildings. (NYTimes)
18
M
use des Confluences is a no daylight, so as to achieve maximum flexibility for
public gateway to the knowledge exhibition design. It holds the knowledge of the future.
of our time. It stimulates a What is known and what is to be explored are understood
direct, active use, not only as a in the Muse des Confluences as a spatial experiment
place of contemplation, but also design to stimulate public curiosity.
as a meeting place in the city. (Coop Himmelb(l)au) The two units are connected through the espace liant
The striking interface situation of the construction site that leads in a loop, as a corridor or over bridges and
at the eponymous confluence of the Rhne and the catwalks, from the Crystal to the other end of the Cloud.
Sane inspired the superposition in urban space of two It functions as an additional means of access between
complexly linked architectural units: crystal and cloud. the exhibition spaces that are directly connected to
The Crystal, rising towards the city side, functions as one another a mellow space of hidden currents and
a transparent urban forum; it faces the city and receives countless transitions.
visitors. Its clear, readable forms stand for the world in In a continuation of the park from the southern
which we move each day. tip of the island, an expansion of the urban space is
By contrast, the Cloud structure, floating on pillars, formulated: a landscape of ramps and levels that dissolve
contains a spatial sequence of black boxes admitting the boundary between inside and outside into a dynamic
Photos by Duccio Malagamba
20
socle / PlinTh
Abords / surroundings
The elemenTs
consultants (France)
planning patriarche & co
execution tabula rasa/grgory perrin
project management chabanne & partenaires
construction survey debray ingnierie
costs mazet & associs, cuBic
structural engineering
design B+g ingenieure, Bollinger und grohmann
gmbH, Frankfurt, germany
executive coyne et Bellier, lyon, France
VS-a, lille, France
HVaC itee-Fluides
security fire consultation cabinet casso & cie
acoustics cabinet lamoureux
media cabinet labeyrie cloud: Primary sTrucTure of The cloud
lighting Hars Hollands (eindhoven, netherlands)
landscape design egiS amnagement
Photo by matthieudu06
facade sud
24
a n e c o - f r i e n d ly l i b r a r y
Story and imageS courteSy Lemay (Canada) | PhotograPhy by yien Chao
The Bibliothque du Bois in St Laurent, Montreal, Canada, aims to become a place fostering a feeling
of belonging, promoting exploration and discovery. Designed in consortium by Cardinal Hardy, Labont
Marcil and Eric Pelletier architectes, it is located between the busy Boulevard Thimens and Marcel-
Laurin Park, an area of protected woodland in the Montreal borough of Ville St-Laurent. The woodland
became an important generator in the design of the library, the idea being to create new connections and
experiences that would reinforce its value to the community, and contribute to the creation of a new and
attractive centre for cultural activities. It was a winner of the 2014 Canadian Green Building Awards for
being one of the most exemplary, sustainably designed buildings in Canada: The crafting of this project
was compelling from the site planning, through the programming, right down to the execution of the
details. The building has a variety of beautifully lit and welcoming spaces, in keeping with the new role
that libraries play as community living rooms. This is also a very high-performance building - an impressive
achievement altogether. (Jury)
T
he building connects the city with the
surrounding landscape, and serves as a
point of connection that allows users to
explore its site inside and outside, from
Boulevard Thimens as well as from the
park. Visitors discover the building when approaching
it from a variety of spaces both intimate and dramatic,
spaces that, by offering a variety of access pathways, set
the stage for the site as well as for its users.
In this project, architecture is landscape and
landscape is architecture. The architecture changes
shape, unfolds, spreads out and rises up, reducing the
boundaries between the built space and the site. There
are several means of access to the building all of which
encourage interaction and discovery. Therefore, the
library is not an architectural gesture, but rather an act of
communication and exchange.
Without being monumental, the library is integrated
into a natural and urban context; it adds richness to the
site, helps to define the space and offers a simple and
universal reading. A true reflection of the human condition,
of the fate of a changing landscape, of its architecture,
the Bibliothque du Bois created a significant identity
hub as well as a rich, dynamic and open space where
boundaries are redefined to foster discovery, learning,
and a sense of belonging for the entire community.
BiBLioThQUe dU BoiS in ST LaURenT, monTReaL, Canada
The program is arranged on two levels around a spaces are designed to engage the landscape, with the
central skylit entrance atrium, and includes book stacks, cafe serving as a gateway to the woodland beyond.
multimedia collections, computer work stations, meeting The two-storey format minimized the building
and training rooms, teen and youth areas, a cafe, an footprint and provided the opportunity for the planting
exhibition gallery and archival storage. Nestled against of 105 trees and 5,000 shrubs, as well as the creation
the trees and accessed via a sloping walkway that of detention ponds for stormwater management. The
traverses the park from Boulevard Thimens. buildings green roof slows the runoff of rainwater which
The 5,000m2 building is linear in plan, a glass prism is directed to storage tanks before being returned to the
enveloped in a wooden hull that undulates gently in landscape under gravity.
both plan and section. Slatted wood surfaces also define The building is characterized by abundant daylight
the interior spaces, rising and falling in harmony with admitted to 75% of the floor area by way of the central
the changes in scale from grand to intimate. The public skylight and large areas of high-performance glazed
SITE PLAn
curtain wall. Operable windows are provided for natural
ventilation. Transparent partitions and open-plan areas
mean that 90% of the occupied floor area has views
to the exterior. Daylight and occupancy sensors further
reduce lighting loads.
Energy for heating and cooling the building is
supplied through a combination of an onsite geothermal
system and through the purchase of green power
certificates for electricity supplied from offsite renewable
sources. This two-year commitment helps to encourage
growth in the renewable energy sector. The hot air that
accumulates in the skylight is recovered and returned to
the ventilation system.
Strategies contributing positively to indoor
environmental quality and the health of building
occupants include the use of certified wood and low-
emitting materials such as adhesives, sealants, paints
and coatings, carpet, composite wood and laminates.
Carbon dioxide monitors are also installed. Reclaimed
28
ELEVATIonS
ELEVATIonS
and regional materials percentages were 22.5% and
30% respectively both qualifying for a LEED
Innovation credit.
The design team took a long-term view, specifying
durable materials with minimum maintenance
requirements. In addition, consideration was given to
ways in which the building would be able to accommodate
future growth in the community. Some back-of-house
spaces, for example, are designed to be converted to
public use if required, and some spaces, such as the
teen area, are delineated by mobile shelving that can be
reconfigured easily for specific events or activities.
By setting ambitious goals, particularly in regard to
energy use, from the outset, this project has served as
a professional development tool for all members of the
design team. By combining high-performance standards,
design quality and responsiveness to community needs,
it has also proven inspirational to other municipalities
embarking on similar public projects.
habitat
30
SiTe PLan
T
he terraces are arranged as angled rows
the landscape
houses gently conform to the terrain
of the plateau by gently shifting between 150-300mm
drops, minimizing excavation of the rocky site.
by Kenneth Cheong | PhotograPhy by Albert lim An incision is boldly cut into the grain of the
irregular patterns of the rows of terraces in the master
The undulating box forms of Casaman peek above a
plan to insert a linear open public space aligned towards
fringe of foliage from a hillock, one of the highest points
the Kuala Lumpur city skyline.
in Desa ParkCity, Kuala Lumpur, a planned residential
The linear park begins at the entry point to the
master plan conceived as a collection of residential
development at the guardhouse, terminating at a
enclaves within a garden township. Designed by
cantilevering infinity pool on the western boundary of the
Unit One Design Sdn Bhd, Casaman attempts to
site. An open lawn and clubhouse is inserted into the cut
accommodate 108 units of three-storey terrace houses
as ancillary common facilities.
and 39 units of two-storey terrace houses into an
A hovering concrete roof, lightly touching the
irregular wing-shaped 8.5 hectare site.
guardhouse cubicle signals the main entry into Casaman.
The clubhouse housing facilities such as function rooms,
a gym are sheathed in a rubble stone wall under the
shelter of the concrete roof.
32
CASAmAn, DeSA PArKCitY, KUAlA lUmPUr
Cast in concrete with the soffit of the angled of the ancillary facilities complex with robust texture and
to terminate in a fine line, the weight of the sliver of off-form concrete roof contrasts with the pristine white
concrete contrasts with the structural acrobatics in terrace houses.
dramatic tension. A cantilevering infinity pool framed The ancillary facilities complex is reminiscent of the
in an armature of gunmetal composite-metal cladding long, low, sweeping lines of Wrights Taliesin West with
terminates this linear incision, and takes advantage of the extensive use of rubble stone on the faade and floor
the site potential as a vantage point to view the Kuala replicating the honey hued light of the Arizona sun.
Lumpur city skyline as an intense focal point at the end And just like Taliesin West, the ground-hugging
of the linear public space. ancillary facilities complex dissolves into the landscape
of the linear public space.
dissolving into the landscape The landscaping of Casaman equally replicate this
Initially, the robust clubhouse appears incongruent to idea of contrasts between the natural and man-made.
the pure forms of the terrace houses. The earth tones Where the context is lush secondary forests, the internal
34
LOngiTUDinaL SeCTiOn
inside out
38
L
ocated along a row of semi-detached houses
in the West of Singapore, the Courtyard House
stands as an anomaly against its more decorated
neighbours. Its faade is a straight-laced, blank
white wall with only a sliver of openings on the
side giving clue to the occupants happenings within.
Designed by HYLA Architects, the Courtyard House
contains three stories with an attic above and a semi-sunken
basement containing the car park and storage spaces. The
basement, though below the road is not completely sunken,
thus rendering the first storey as a raised level high above
the entrance. One can either choose to enter the house via an
internal staircase through the car park or an open-air staircase.
Upon entering the living room on the first storey, it is
apparent why HYLA Architects founder and the houses
architect Han Loke Kwang has christened this project the
Courtyard House. In the middle of the rectilinear space, he has
carved out a prominent courtyard. Lining it with a thick band
of timber not only emphasises its importance within the home,
but has the effect of framing an artwork, which in this case is a
solitary frangipani tree floating above a pond of bronze mosaic
a poetic mise-en-scene of nature.
s i d e e L e vAT i o n
f r o n T e L e vAT i o n r e A r e L e vAT i o n s e C T i o n A C r o s s s TA i r C A s e
40
1sT sToreY
bAsemenT
2nd sToreY
44
roles reversed
by ElainE lEE | Images courtesy FormwErkz | PhotograPhy by JErEmy San and albErt lim
completion 2013
site area 766.20m2
GFa 568.40m2
architect Formwerkz architects
design team alan tay, Foo yue yee
C&S engineer Portwood & associates
main contractor emma contracts Pte Ltd
landscape Kosin contractor
FiRSt StoRey
Second StoRey
Attic
RooF
48
W
ynk;collaborative is a young
design consultancy set up
in 2011 by three friends, Si
Jian Xin, Dennis Huang and
Hon Kit Leong, who met while
studying at the National University of Singapores School
of Architecture. Their portfolio comprises residential and
commercial projects that reflect the trios interest in
experimenting with textures, colours, and forms.
One of the first few projects they were commissioned
to take on is the 7 Degree House, which was recently
completed. The design of the intermediate terrace
house appears simple but on closer observation, reveals
careful thought in the way it has created a new home for
the occupants.
The occupants, a couple with three daughters, had
been living in same plot for 30 years. There was the need
for more space and a consideration for the allocation of
private and common designations of space after one of
the daughters got married and decided to stay with the
parents. At the same time, they desired a home with more
52 natural illumination after experiencing a lack of sufficient actually found it also works for the social aspect that
lighting a perennial issue with the inter-terrace house benefits the family as it grows. Theres still this sense
typology in the previously two-storey house. of visual connection and you can always open a window
Rather than filling each floor plate with as many and call downstairs. He adds, this light well is essential
rooms as possible, wynk;collaborative cut a void through to give purpose to the entire house and the people who
the middle of the house from the first storey to the are living in it because it helps to bring them closer.
attic, capped by a skylight. The typical terrace house Additionally, with windows facing the air well from the
typology often translates to a long and deep plan with rooms above, the occupants are always aware of the
inward-looking spaces, enveloping itself in. Intentionally presence of other family members. Placing the dining
inverting this relationship, the 7 Degree House is room on the first storey right below the skylight also adds
conceived from the inside out with a cavernous light well to this communal vibe. While the light well is not a new
punctured through its centre, Huang emphasises. While typology, here, it is applied to good effect.
this meant the house had to go higher in order to fit in Meanwhile, the staircase runs unobtrusively down
the desired number of rooms, it also resulted in a light- the side of the house, while service spaces are tucked
filled house and, as designer Huang highlights, a more to the sides. This means that the spaces surrounding
engaged way of living for the occupants. the triple-storey void can be freed up for usable spaces,
Huang highlights: For a narrow plot the built- which, on the second and third storey, translates to semi-
up actually feels bigger than it is [with this void]. We private family areas for the different family members to
could have maximised the floor area of each level but retreat to.
the compromise would have been a claustrophobic Interestingly, Huang has defined the division of the
feel, which we didnt want. While it was an instinctive programmes to the front and back of the house with
response to puncture some light though the middle, we split-levels, accessed by several steps. Instead of four
SectIon AA
7 degree House, singaPore
site area
223m2
gFa
467m2
design firmwynk;collaborative
submission architectDDa resources architects
project team Dennis huang, Si Jianxin,
Leong hon Kit, yang Lichuan
builder builders 265 Pte Ltd
c&s engineer J S tan & associates
54
storeys (three storeys and an attic level), we essentially
have eight different mini-stories. Each storey marks a
threshold and this makes the separation of the different
spaces more apparent. Also through this staggering, as
each area of the house is subtly differentiated, they are
accorded a sense of privacy, Huang explains.
This sense of privacy is more mental than physical,
but according to the homeowner, it actually works
somewhat, allowing for the subtle effect of letting the
occupants feel they are in a different part of the home.
Yet, it also aids in connecting the family in different parts
of the house. For example, the view from the second
storey family area to the living room on the first storey
across the air well is much more generous with the front
floor plate lifted slightly higher than the back.
The palette of the house is kept simple, with white
paint for the exterior and interior walls. Rather than using
multiple finishes, Huang decided to keep the surfaces
bare and engage instead with a leitmotif of tilts to create
interest. The exterior front faade, for instance, sees a
series of gentle folds to prevent it from becoming too
www.wynkcollaborative.com
56
habitat
linear nostalgia
by ElainE lEE | PhotograPhy by Edward HEndricks
T
his compact project located along Joo Removal of the existing false ceiling reveals a high-
Chiat Road, is discreetly tucked on the volume interior space. The additional volume offers the
top floor of an old walk-up apartment. opportunity to include a loft, in order to fit more programs
Walk-ups are a typology commonly into the compact space. The uniquely long and narrow
found in the area and have recently living space is accentuated by the high ceiling, which
become a popular alternative to the distinctive Joo Chiat helps to improve air and light circulation. The length of
shophouse. Most of these apartments also retain a linear the apartment is emphasised in one bold stroke that
and narrow footprint, similar to shophouses. Hence, one split the apartment into two linear sections along its
of the most challenging conditions of the unit, is its long longitudinal side. The living quarters are kept to one
and deep layout, with windows only fronting the street, side, in a space that is visually unimpeded with a soaring
as well as towards its rear yard area. The design team double volume height. The private quarters are tucked to
recognised the shortage of natural light sources and the other side, which is even longer.
decided to turn it around by providing a sense of airiness Guests enter the apartment via a modest vestibule.
and light throughout the entire apartment. A right turn leads to the living quarters, which integrates
58
the open concept kitchen, dining and living areas. The As ventilation and light are quintessential to the
kitchen is sophisticated in design and kitted out in state- designers approach to this particular project, the living
of-the-art built-in appliances. The dining area is a glass quarter is flanked on either end with floor to ceiling
cladded table extended from the kitchen island. The openings. These windows flood the living quarters
integration is most apparent in a continuous piece of with natural light and adjustable louvers are added for
carpentry that serves a multitude of purposes and runs shading and privacy. To provide cross-ventilation to the
the full length of the space. entire living quarter, a continuous corridor is introduced.
Without physical boundaries between the programs, It stretches from the rear yard to the vestibule and
the changes in function within this piece of furniture through to the living quarter.
demarcates the shift from kitchen to dining to living The ceiling of the living quarters fronting Joo Chiat
space. Starting as an integrated and built-in fridge and Road is made as high as possible to further accentuate
freezer, the carpentry work goes on to integrate a kitchen the linearity of the entire apartment. This long narrow but
counter top, hob, hood, kitchen storage, oven as well high ceiling living space becomes a dramatic focal point
as microwave. It moves on further to include cabinets for the entire apartment.
for general storage, book shelves, TV console, TV, The private quarters are tucked neatly to one side of
entertainment related accessories and electronics. the apartment. To the left of the vestibule, the continuous
pLan
ConCept DiagraM
corridor leads to bathrooms, guestrooms, bedrooms, Playful touches of old school hand painted floor
washing area and storage areas. Clearly distributed tiles work alongside Italian made concrete tiles. A
and segmented, these areas are accessible from the similar accent can be found in the streamline and
continuous corridor. The master room is accessible clean cut modern design of the kitchen. The designers
from the dining and living area. To the left, is a sizable have cladded the island with a blue and white ceramic
walk-in wardrobe. A dog-leg flight leads to a mezzanine, reminiscent of the Peranakan tiles of yesteryear.
complete with bed and even a study. The uniquely planned apartment draws clues from
The overall aesthetic of the apartment draws its greater environment. It can be read as a microcosm
inspiration from and revolves around existing site of the Joo Chiat Street itself: a long continuous stretch
elements of interest. The designers have successfully of unique and exciting situations always with something
infused an acquired Peranakan nostalgia (familiar in the to discover as one traverses its narrow sidewalks and
Joo Chiat context) with a clean line Modern aesthetic. A alleyways. The outcome is a design that is refreshingly
modern palette of tones and colours is used throughout unique but yet not unfamiliar.
the project. The walls are chipped off to expose the
original brickwork, and whitewashed to bring out its
texture. Wood is introduced to give a warm touch to the
apartment. The furnishing are predominantly black and
neutral tones.
browse
60
SUSTAINABLE
LUXURY
by Dr Paul McGillick
Photography by Masano Kawana
2014 Tuttle Publishing
Review by Neo DisheNg | images fRom the book couRtesy TuTTle PublishiNg
S
ustainable Luxury, the seemingly self-
contradictory title provokes controversy
and debate.
Sustainability, as interpreted by
Spanish architect Jaume Valor, refers to
an awareness of limitation limited natural resources
and limited capacity of the environment in processing
waste and pollution where actions today have profound
future implications.1
Paul McGillick, the author, recognises that
application of the word sustainable has become
increasingly elastic of late. McGillick sees this trend as
a more holistic approach towards sustainability, without
which sustainable architecture is often reduced to a
greenwashing exercise.
Dr Paul McGillick is a Sydney-based writer Award-winning photographer Masano
McGillick proposes an expanded framework of
on architecture, art and design. He is also Kawana is one of the most talked-about
sustainability that addresses not only environmental Editorial Director of Indesign Mediaand food, interior and landscape photographers
concerns but economic and social factors as well. Editor of the regional, cross-cultural in Asia today. Born in Japan and based in
architecture and design magazine, Habitus. Singapore, Kawana has travelled, lived and
Sustainable Luxury curates a selection of recent He has written a number of books on surfed throughout the region, photographing
residential architecture in Singapore that fit within this South-East Asian architecture as well as a wide variety of subjects for books and
several monographs on Australian and Asian lifestyle magazines. One of his recent works,
framework. The projects can be broadly categorised architects. His most recent bestseller was Shunju: New Japanese Cuisine has won the
into conservation houses, strata residences, and single The Sustainable Asian House published in 2004 James Beard Foundation Award for
2013 by Tuttle Publishing. Best Photography.
landed dwellings. Without going into specifics, these
THE CORAL HOUSE, Guz Architects (p86)
on sustainable luxury
The turbulent nation building era of the 60s was a time
when, according to Phillip Goad, modern architecture was
synonymous with progress and change. The subsequent
period was defined by the search of vernacular identity
and the spread of tropical regionalism.
This is perhaps a time without epoch. As Anoma
Pieris points out, the lack of an architectural
consciousness or healthy debate on public architecture
MANDAI COURTYARD HOUSE, Atelier M+A
is symptomatic of a profession where many architects
are desperate to build while clients and contractors have
scant interest in their intellectual position.4
on clients and houses increasingly imperative for architects to define and The ideas behind McGillicks Sustainable Luxury
A key narrative that runs across the selected projects is establish a clear relationship between the client and can perhaps be further developed to provide a platform
the role of the Client and the working relationship with his professional obligation to deliver an architecturally on which debate and discussion can resume on the
the Architect. responsible building. Small residential projects provide a discourse of tropical and Singapore architecture.
There are many kinds of clients and the uniqueness conducive scale and situation for architects to experiment
of each helps to shape a project. As Bedmar points out, and test ideas.
different people allow a project to unfold.3 There are This architectural experimentation evident in most
clients who would go on a seven-year long journey with of the featured projects but is particularly distinct in 1 Valor, Jaume. Graft of Hyperminimums. Arquitectura (re)
activa = (Re)active Architecture. Barcelona, Spain: Collegi
the architect to design a house that would become a projects like Zarch Collaboratives Jalan Mat Jambol DArquitectes De Catalunya, 1998. N. pag. Print.
timeless classic. There are also clients who have little House, where the architect and the client are one 2 Viray, Erwin. Romancing the Tropics, Is It? A Conversation with
Ernesto Bedmar. Bedmar & Shi: Romancing the Tropics. San
more than the need for four walls and a roof, completed and the same. The architect notes that the house is Rafael, CA: ORO Editions, 2007. 118-19. Print.
quickly, for as cheaply as possible. an exploration on tropical living and is still a work-in- 3 Ibid. 123.
4 Pieris, Anoma. The Search for Tropical Identities: A Critical
As McGillick observed, clients are seeking more progress, which is very much apparent in the design. The
History. New Directions in Tropical Asian Architecture. Ed.
participation in the design process. It is therefore blurred spatial boundaries and eclectic use of material Patrick Bingham-Hall. Singapore: Periplus, 2005. 32. Print.
community
64
Serviced Areas
SiTE PlAN
rooms Area
DETAil oF uNiTS
distributed along the main circulation areas to ensure
that the establishment runs efficiently and that the
nursing staff enjoy an effective working tool.
The living quarters are coupled two by two around
a vertical core containing a stairway and elevators, and
provide views onto the mall and inner gardens. The
project also undertook to offer a living framework that
harmonized with the scale of Villejuifs existing plot. The
volumes are intentionally simple in order to reflect those
of the surrounding suburban fabric.
A network of streets and access roads, extending
the existing network, has been implemented so as
to open up the venue. Directing residents and visitors
from outside and inside the establishment was an
important consideration for bringing the operation to a
I love it, but would my Grandma? (John McGrath,
successful completion.
Interior Architecture student at Northumbria University, UK)
70
dfusion
from paper mill
to gin distillery
Story and imageS courteSy HeatHerwick Studio | PhotograPhy by iwan Baan
T
he site in the village of Laverstoke
straddles the River Test, one of
Englands finest chalk streams.
Originally operating as a corn mill, the
land was acquired in 1718 by Henry
Portal and developed for the manufacture of paper to
produce the worlds bank notes. Over the following two
centuries it grew into a sprawling industrial complex,
including a series of Grade II listed buildings such as
the mill owners house, the workers cottages and the
main mill building. The result was an uncoordinated
accumulation of over 40 buildings which made the site
chaotic and confusing to find your way around. Equally
challenging, the River Test which runs through making it
almost impossible to perceive.
To bring clarity to the disparate site it became
obvious to the designers that it would not be enough to
simply restore the existing historic buildings. We needed
to reveal the River Test, which had been narrowed and
hidden within a steep-sided concrete channel, and use it
as a device around which to organise everything. We also
felt that the sites new master plan would only work with
the creation of a central courtyard as a gathering area
and a point of focus.
Heatherwick worked with government agencies
English Heritage and English Nature to meticulously
restore 23 of the existing historic buildings, to conserve
72 BoMBaY SaPPHire diStiLLerY, LaVerStoke, uk
the local wildlife and also to negotiate the removal of nine vapour distillation process and the sculptural forms of
of the most recent industrial structures and a poor quality the large copper gin stills, one of which is more than
bridge. The other significant move was to substantially 200 years old, we became convinced that witnessing
widen the river and reshape its banks to form sloping the authentic distillation process would be far more
planted foreshores in order to make the water visible and interesting and memorable for a visitor than any
valuable once more. Each careful decision to take away a simulated visitor experience. This production technique,
building structure in turn gave space for the surrounding that is different from those used by other gin distillers,
rich English countryside to be glimpsed again from the is still carried out in accordance with a recipe devised in
heart of the site. 1761 and involves infusing the gin with the vapours of
At the same time we became very conscious of not 10 tropical and mediterranean herbs and spices.
wanting to lose a sense of the evolution of the site. So, This led us to think about growing these botanical
wherever a modern dilapidated building leant against an herbs and spices on the site, which in turn pointed us
older historic structure, we removed the modern addition towards a rich British heritage of botanical glasshouse
but left its mark on the remaining building fabric as a structures. The Victorian curiosity and passion for the
trace of where it had been. This selective process of de- new science of horticulture had driven the creation of
cluttering the site was as necessary on the inside as on everything from the extraordinary palm house at Kew
the outside. Gardens to the craze for Wardian cases, ornate indoor
The initial master plan brief had also included the glasshouses for growing and displaying collections of
creation of a visitor centre. However, on seeing the exotic ferns and orchids. We wondered whether this
SiTE Plan
could be the worlds first botanical distillery and whether in the two structures alongside over a hundred additional
we could let visitors see the real distillation process plant and herb species that provide the accompanying
rather than having a separate visitor centre. ecosystem required to maintain them.
The studio developed the idea of building two The resulting complex geometries of the new
intertwining botanical glasshouses as a highlight asymmetrical glasshouses took many months to
of the central courtyard, one tropical and the other calculate, engineer and refine. The finished built
mediterranean, to house and cultivate the ten plant structures are made from 893 individually shaped, two-
species that give Bombay Sapphire gin its particularity. dimensionally curved glass pieces held within more than
Excitingly, as the industrial vapour distillation process one and a quarter kilometres of bronze-finished stainless
produces excess heat that otherwise has to be taken steel frames. In their entirety, the glasshouses are made
away, and as the creation of tropical and mediterranean from more than 10,000 bespoke components.
climatic environments in the British context require On arrival, visitors walk to the newly opened-up
additional heat, there was a potential virtuous circle if river, before crossing a bridge and making their way
we could tie these two things together. along the waterside to the main production facility located
The resulting glasshouse structures spring from in the centre of the site facing the courtyard and new
one of the historic mill buildings, now re-appropriated as glasshouses. Through careful restoration of the historical
a gin distillation hall, recycling the spare heat from the buildings, widening and revealing the River Test and
machinery to make the perfect growing conditions for the construction of a new gin factory system including
tropical and mediterranean plants. The two glasshouses new glasshouses, this project juxtaposes Laverstokes
then embed themselves into the flowing waters of the historical past with an interesting new future.
newly-widened riverbed. Working with a team from
the Royal Botanic Gardens at Kew as horticultural
collaborators, the ten exotic botanical plant types grow
dfusion
74
upbeat transparency
Story and imageS courteSy Molteni&C/MaCsk
The Glass Cube, a pavilion-like showroom for Molteni&C designed by Ron Gilad,
who was specially commissioned to convey the distinctive Molteni identity, is
located on the grounds of the 81-year-old companys headquarters in Giussano,
an area 25km north of Milan in the province of Monza and Brianza, Italy.
Transformed from a previously existing space built in 2013 known as the Glass
House, the all-new Glass Cube is a 400m2 exhibition space made up of voids,
glass, and surprise installations full of humour and creative wit!
T
he Glass Cube, a pavilion-like showroom
for Molteni&C designed by Ron Gilad, who
was specially commissioned to convey the
distinctive Molteni identity, is located on
the grounds of the 81-year-old companys
headquarters in Giussano, an area 25km north of Milan in
the province of Monza and Brianza, Italy. Transformed from
a previously existing space built in 2013 known as the Glass
House, the all-new Glass Cube is a 400m2 exhibition space
made up of voids, glass, and surprise installations full of
humour and creative wit!
In the white, minimal space of the Glass Cube, the
huge doors and infinite teak walls are monumental, allowing
visitors to admire the veins of the living material. It is a white
box devoid of partitions, allowing the objects contained
within to create the space, influencing its nature and quality.
Here, Gilad reinterprets the distinguishing themes of
Moltenis corporate identity, in terms of materials, quality,
experience, technology, industry and craftsmanship, as
embodied in their products and collections. He experiments
with new possibilities, observing like an entomologist at
his microscope and deconstructing both timeless classics
and contemporary objects into fragments, to expose their
details and inner layers, with his signature ironic and
provocative vision.
Wunderkammer
78
many fragments
in a formula
by TLH | Images courtesy MoLTeni&C/MaCsk and FLos/Moooi/spaCe FurniTure
RON GILAD has emerged as arguably the next best-known designer that
hails from Tel Aviv, Israel, and makes it into the glitzy stratosphere of big-
name contemporary Italian furnishings in Milan after the illustrious Ron
Arad (born 1951, Tel Aviv) who made the huge international leap some
two decades earlier. Like Arad, Gilad (born 1972) was similarly schooled
at the Bezalel Academy of Arts and Design in his early years, with equal
ambition and yearning to do design. As his education developed, the
younger talent, unlike his older compatriot (who is currently based in UK),
was less inclined to architecture, and even less to the machinery of an
industry-driven career, preferring instead for a measured pace exploring the
sophisticated possibilities of industrial design in academia, as well as at his
own test lab for ideas, Designfenzider, which he co-founded in New York
RON GILAD: ...I want to be very careful not
to be overwhelmed [by success], not to be
in 2001. After several years in New York, he now lives and works in Tel Aviv
pushed by the fame...this is not what is driving and Milan. His philosophical ruminations on the conceptual, abstract and
me, or my work. I am not industry, I dont want functional had resulted in some fine, witty conundrums in 3D actualized
to be industry, I am the artist that cater to the
industry on certain levels. If people will ask, forms that caught the eyes of producers such as Molteni&C and Flos,
so what are you doing this year?, I say, this clinched awards, and placed in permanent collections at the Metropolitan
year I am doing nothing!
Museum in New York and the Tel-Aviv Museum of Modern Art. Ron Gilad
was in Singapore for the official opening of Macsk on Jan 29, where several
of his pieces for Molteni&C, such as the enigmatic Grado collection, the
Segreto shelf/writing desk and Sweetdreams bed, are presented, along
with collections by other well-starred names. We catch a lively chat with the
outwardly easy-mannered designer, who speaks of his passion with insightful
moments of candour and seriousness.
Are most of your creations, or collections,
for Molteni&C?
As in one house?
4 5
80
Do you have a favourite material that you people in the company. Sitting in front of Carlo Molteni, its very important for me to stay as focused as I can, and
prefer to work with (glass, wood, etc)? we respect each other, but I also know that we need to to do as little as possible, actually.
The brain! This is the most important material. Its how pay 800 salaries every month. Not that I am taking it
this one is working, then finding the right physical material under full consideration when I am drawing a line, no, And not to overthink about things...
that will answer a certain function, a certain structure... but somewhere in the back of my mind, I know that it is Overthink, yes, for sure! The question is, the amount of
a business. questions that you are able to contain and to process at
Have you designed anything in your career the same time. Im trying to limit it to the minimum, so that
that is a fail? Your design studio is based in Tel Aviv? Im able to focus on each one and give the best answer.
Again, [to define fail, as one would, the term success], In my head! I travel quite a lot, my physical desk is in Tel
I think many of them are stronger conceptual statement Aviv currently, but I live between Tel Aviv and Italy. Its a Youre also an artist, obviously. As a designer,
than successful product. When you are working with the little room in a little house with one assistant, with two youve created quite a lot of conceptual work
industry it can be harder to take risks and I am the lap tops, thats it. Nothing fancy. I want to keep it this too. Do you consciously think of function when
biggest risk taker! there are rules and restrictions. You way, I want to maintain control, not to grow to the extent you design for your clients?
know, when you are talking about Molteni, there are 800 that I lose full control of what Im creating, basically, so No, a lot of my functional pieces actually come from
10
11
84
T
he 800m2 space is arranged over two
floors, showcasing complete interior
settings from kitchens to dining rooms,
living rooms to bedrooms, and even the
home office. The numerous ideas include
the latest Molteni&C recent collections, such as Ron Gilads
Segreto writing desk and Grado collection. Dining and
occasional tables, bookcases and glass cabinets, all of
which feature innovative designs that combine technology
and materials to offer a broad and highly appealing choice
to the design-conscious homeowner.
In the selectively choreographed ensembles are also
remakes from a classic Gio Ponti living room collection.
Dada, the kitchen division of Molteni&C, presents the Vela
kitchen, a timeless classic updated by Dante Bonucelli.
Doors are a mere 13mm thick, slim to the point of
imperceptibility. Technology is cutting edge and layers
different materials, balancing the tensions and designing
new proportions and distinctive technical details, such as
the new opening mechanism, which allows doors to swing.
Covering materials include Eucalyptus, skilfully crafted with
a horizontal vein, and a new selection of tough and tactile
nanotechnology laminates.
a montage of
high-style living
Story and imageS courteSy Macsk
Macsk, Singapores all-new luxury furnishings store, has opened its showroom
on Jan 29, prominently fronting Mohamed Sultan Road within the upmarket
Robertson Quay neighbourhood of trendy cafes and restaurants, shops, hotels and
condominiums. The contemporary lifestyle destination offers A Life of Distinction
in an enticing range of exquisite home solutions by its flagship brands Molteni&C
and Dada, along with a host of other top international names such as Kettal,
Louis Poulsen and Alessi.
Also making its debut in Southeast Asia at Macsk is
the Slide kitchen, designed by Giorgio Armani for Dada.
The kitchen features an island with a thick marble counter
top that glides open to reveal beneath, a stainless steel
worktop. Complementing it is the Checkers kitchen system
of fine natural woods, exclusive lacquers and textured back-
painted, micro-striped glass, and a natural stone top.
A visually spectacular star feature in the showroom
is the kinetic light sculpture Alice by Petra Krausova for
Lasvit, the Czech design and manufacturing firm of bespoke
lighting sculptures and art installations made from hand-
blown glass. Alice behaves as a kinetic bloom, a dance
of reflecting and refracting luminescence reminiscent of
flowers, equally fragile, original and unique.
a cage for
86
belongings
O
Story and imageS courteSy imm cologne/neri & Hu
The 2015 installation of Das Haus at IMM Cologne (interior ur goal is to challenge convention on
design show, Jan 18 to 24), designed by Neri & Hu, invited several levels, explained Rossana
visitors to explore the rituals of living and to invent them Hu. For a start: does a living room
anew. Das Haus is an annual commission that allows a always have to look the same: a
designer to imagine what their ideal future home would be like. sofa, two comfortable upholstered
The first three editions were interpretations by designers from armchairs and a coffee table in the middle? Or can one
London, Italy and Scandinavia. For the fourth edition in 2015, comprehend it in an entirely different way? How do we get
imm cologne had sought a view from outside Europe. Last to something unique, something that challenges us, and
year, Louise Campbells picture-perfect Haus was more of an is different from what weve grown used to over the last
idea of a house than a real one; there were no staircases and 10 years?
also missing were basic functions...where one genuinely feels Our Haus is intended to unsettle people, said Lyndon
at home, where restlessness disappears and comfort takes its Neri, because we wanted to challenge them so that when
place. This year, Neri & Hus installation affects the beholder they leave Das Haus, not only will they visit a fair with the
more like a challenge to be overcome. most beautiful furniture and the best materials, they will
also really start to ask themselves where we stand today
especially in China. Do we use furniture in the right way?
How much furniture do we need? And what does the term
the home actually mean?
From the outside, the dark grey painted walls did not
look very inviting. Only the irregular window openings in the
Cages for Living containers for the objects we use for
living communicated the idea even from the outside that
this structure contained more than just cool aesthetics. Here
is a unique, sensual synthesis of the arts of architecture,
design, interior design, art and philosophy.
The architectural composition of Das Haus 2015 is
compact and urbane: five tall rooms, closed on all sides,
creates an exciting ensemble around a large interior
courtyard, conceived as a semi-public living space. Winding
through this compressed architecture is a bridge, its path
zig-zagging through and over Das Haus, intersecting the
rooms at different points, breaking through walls, swerving
over dining tables, and granting the visitor precisely
calculated insights into the installations of living space.
The inside of the house revealed itself to be far
more homely than the outside. Neri & Hu had specified a
colour palette of muted shades inspired by the traditional
Shanghai lanes (nongtangs), by houses overgrown with ivy,
red painted doors and crumbling plaster walls.
88
Each of the five rooms represented not just a statement
about the history of our living culture but also a suggestion for
other potential uses. Reminiscent of the traditional bedroom
was the Room for Sleeping, painted blue and containing not
much more than the simple bed. The pattern of dedications,
colour schemes and quotations were repeated in the other
four rooms: in the green Room for Eating, devoted to the
skilled kitchen chef; in the glowing dark red Room for
Bathing, dedicated to lovers; in the exhilarating yellow study
designed for the poet, entitled Room for Reading and in
the light grey Room for Living, in which Walter Benjamins
thesis on the possible disengagement of art from ritual due
to the formers reproducibility is quoted.
The structure of the closed-in rooms presented our
traditional concept of living as cage-like enclosures, the
result of which is that our homes are not only represented
as a place of refuge, but also as a cage for our belongings
and our rituals of living...
dfusion
90
Featured at the recent imm cologne 2015 (Jan 19 to 25) were Interior
Innovation Awards that honoured 15 products as Best of Best. In the
Pure Talents Contest, The Cooking Table (a prototype still in development)
by Moritz Putzier, an independent product designer based in Bremen,
Germany, took the first prize of 3,000. He had created the product as his
graduation project in 2014 to much fanfare in design hype.
C
an it get any more basic than this?
The Cooking Table can be a great
alternative to the open kitchen in a small,
young household, for some fun-filled
interactivity in a distilled setting without
fancy tools and equipment.
The table brings the kitchen the place where we
meet in our daily life to rest, to communicate, to work or to
play back into the heart of the home, and forms the social
centre of a household. Specifically as a table for cooking in,
it parts at the centre to provide two flexible surfaces for food
preparation, cooking and to dine at.
The top is made of solid oak, while the white trestle
legs are powder-coated metal. It comes with a stool-bench,
a combination of a slightly elevated stool and a slim-shaped
bench. Its unusual geometry allows you to either sit or safely
lean on it.
Designed with the table is a matching ensemble
of three different sized ceramic containers, to hold food
prepared for cooking, to store cooked food, or be used
as servers for eating. The lid of each bowl is also a
cutting board.
The fire, from movable gas burners made of turned
brass, complete the product family of the Cooking Table. By
pulling the table top apart, the gas burners can be clicked
inside little modules with canisters attached underneath
that slide in a hidden track along the centre. These modules
can be moved easily by hand from one side of the table
to the other, resulting in an adaptable stove for individual
use in terms of cooking position and you can have more
than more one integrated hobs A circular ceramic bowl
surrounding the gas burner while cooking serves as pad
and heat isolation.
www.moritzputzier.com
pulse
92
still reflection
by Yvonne Xu | Images courtesy national GallerY of victoria in Melbourne, australia.
I
n his Reflection Model series, Takahiro Iwasaki
creates models of sacred Japanese buildings
and the reflections they cast in the water
surrounding them, combining building and its
reflected image into one form. In his third and
latest of the series, he takes the UNESCO world heritage
site, the sixth-century Itsukushima Shinto Shrine, as his
reference and subject.
At eight metres wide, the model is Iwasakis largest
yet. Suspended from stainless steel wires in the NGV
gallery, the wooden structure does not look like it is hung
as much as it is floating, in spite of the size and weight.
There is something about the model that inspires
a reverent quiet in the room. The whole structure is
made mainly of traditional cypress and in 14 parts
13 that slot into each other in the main shrine
Photography by Brooke Holm
complex, and a separate entrance gate that is what does a model of a building teach us?
positioned 4600mm in front of it. Without any bolt or To begin understanding the work, it may be useful
fastening clip, the thirteen parts of the main structure to listen to Wayne Crothers, NGV Asian Art Curator, who
nestle into each other; at places roofs slot several shares the cultural and historical significance of the
centimetres into adjoining sections, and at others, reference building: During the Japanese middle ages the
small wooden parts interlock. It is an age-old idea: that religions of Shinto and Buddhism offered the promise of a
which flexes does not break this is the very principle world existing in a dimension beyond normal experience.
that has long guided Japan in creating its earthquake- This idealistic realm is known in the Buddhist faith as
resistant buildings. Nirvana, or paradise. Those entering this world would
Iwasakis model has a stillness about it, not quite be released from desire, delusion, torment and all ties
that of a lifeless statue it is perhaps more like a to the present. People interpreted Nirvana as a floating
pond surface: at rest now, but could easily be broken world released from the confines of gravity. With this
at the slightest disturbance. Visitors who come to see idea in mind, architects worked on an ingenious concept
it approach with care. They first assess the model at whereby actual buildings and their reflected image fused
a distance, then examine its intricacies at close range, together to create a huge three-dimensional object. Like
going around it; and as Iwasaki has religiously detailed a spaceship, the temple or shrine appeared to be from
the model throughout, even on the upside-down roof, another world; an object that defied gravity and floated
some people sit down on the floor to admire the underside in silence under the blue sky or in the darkness of night,
too. In the calm of the gallery, the viewers sometimes softly illuminated by the moon. Iwasakis Reflection
look as if they are patiently waiting for a kind of sign. Model series uses this principle both to pay homage
The structure may be quiet but it is certainly to these historical architectural masterpieces and to
not silent. What does it tell? What are the signs? The create a new three-dimensional dreamlike experience of
craftsmanship and the engineering are impressive, but weightlessness and paradise.
94
Reflection Model (Itsukushima) 201314, installation view at Aomori Contemporary Art Centre (ACAC), National Gallery
of Victoria, Melbourne; Felton Bequest, 2014. Takahiro Iwasaki, courtesy of the artist and ARATANIURANO
Itsukushima Shrines structures in particular are Iwasaki is recognized as one of Japans new
built on the tidal flats of Japans Inland Sea. The complex generation of emerging young artists, and is known
has presents its perfect form when water reaches just particularly for his intricate models that reinterpret
below the complexs pier platforms, during the high tide contemporary cityscapes and iconic historic buildings.
of the autumn full moon. In his earlier Out of Disorder series, he reproduced
To achieve the sense of weightlessness, Iwasaki architectural structures in unusual materials such as
suspends the model so that the perfect water level hair, towels, and toothbrushes, including a rendition of
aligns with the eye level of a person of average height. Hong Kongs Victoria Peak carved on a roll of duct tape.
The work, which was first constructed in Aomori In Reflection Model (Itsukushima), the work is just as
Contemporary Art Centre and flown to Melbourne, delicate, but much, much bigger.
was installed with tools such as laser levellers and That the model has a fragility about it is interesting
turnbuckles to ensure precise alignment. too. As Crothers also points out, Iwasaki displays great
attention to the detail and craftsmanship for which
Itsukushima is renowned. He shares, Due to the shrines
unprotected location and vulnerability to severe weather
conditions, it is regularly battered by typhoons and has
been destroyed on many occasions. After each such
occasion local fishermen collect the pieces that have
drifted away and carpenters that specialise in shrine
construction restore its many components back into
their original form. This process of destruction and
reconstruction has been a regular occurrence throughout
Itsukushimas long history and has resulted in highly
developed skills of shrine construction being handed
down from generation to generation. Iwasaki can be
seen as a present-day practitioner and custodian of
these ancient skills, as well as an artist that takes us on
a journey beyond our everyday experiences.
Takahiro Iwasakis studio showing the making of the working model for
Reflection model (Itsukushima) Takahiro Iwasaki The exhibition ends 6 April 2015
pulse
96
a common
sentiment
by Luo Jingmei | Images courtesy Chan hampe gaLLeries
A
white canvas shoe, a transparent
kopitiam glass mug half-filled with
milk, a ball of cream-coloured raffia,
a slim box of white tic-tac candy, a
white shuttlecock these are objects
associated more with the ubiquity of everyday life in
the Singapore heartlands, emblems of rituals that most
Singaporeans at different stages of their lives would
encounter, rather than the polished confines of an art
gallery. And yet, there they were, on the walls of Chan
Hampe Galleries from Jan 16 to 25 before travelling to
the Art Paris Art Fair in March, put together in a two-
dimensional mise-en-scene as part of local artist Dawn
Ngs latest art collection.
Titled A Thing of Beauty, the collection features
11 colour-themed photographed installations of
paraphernalia, with the trappings of symbolism and
surrealism, arranged in a considered manner on stone
surfaces. These objects were collected by Ng from 138
mom-and-pop shops throughout Singapores residential
heartlands, including bakeries and convenience stores,
to render each piece of artwork an anthropological
documentary of things we collectively own in this day
and age, the artist explains. A Thing of Beauty at Chan Hampe Galleries, Raffles Hotel Arcade
The familiar, the everyday, and the nondescript
these are perennial themes that pop up in Ngs artwork.
It alludes to her obsessions with time, memory and
space, as mentioned in another interview, brewed from
having spent ten years abroad and then coming back
to Singapore to find much of the familiar displaced.
However alongside that, she also discovered a newfound
appreciation for the uniqueness of Singapores local
landscape and its icons.
Its not an uncommon preoccupation by artists born
in the 80s yearning to find their roots and the meaning
of home in a globalised era, particularly those who like in YELLOW (2015) photographed installation, matt archival digital inkjet print.
Ngs situation had spent time abroad. I think its a human Framed, 116 x 153 cm edition of 3, 1 AP. Framed, 96 x 126 cm edition of 3, 1 AP.
PINK (2015) photographed installation, enhanced matt archival digital inkjet print.
116 x 116 cm edition of 3, 1 AP. 96 X 96 cm edition of 3, 1 AP.
Ng explains the choice of colour themes as wanting
each photograph to be an image that kept unfurling
in colour, the same way the objects would also keep
revealing themselves to the viewer. I think there are
worlds beyond worlds within any given hue. Apparently
human beings can see up to 2.8 million shades even if
we dont have the vocabulary to describe each of them.
In the making of the art, she confronted the everyday
in what can be proposed as cathartic. It was eventful,
akin to puppet theatres, which came with its frustrations
and challenges. I enjoy the sourcing process of spending
days on end in this citys heartlands wandering through
local nooks and crannies. You meet all sorts of characters.
I think the store owners were the ones who found me
peculiar, getting excited and obsessed over the most
mundane objects like a door stopper or nail clipper, and
buying hoards of things in specific colours, she muses.
This childlike reaction is not at odds with the
artwork. Wonder, surprise, amusement, humour these
make Dawns exploration of nostalgia and tribute to the
past accessible and poignant in a way that is optimistic
and poetic.
BEIGE (2015) photographed installation, matt archival digital inkjet print. Framed,
158 x 116 cm edition of 3, 1 AP. Framed, 136 X 100 cm edition of 3, 1 AP.
100
BLUEPRINT
Storefront for Art and Architecture
97 Kenmare Street, New York
Jan 24 to Mar 21
Curated by Sebastiaan Bremer, and
Florian Idenburg and Jing Liu of SOIL
www.storefrontnews.org
T
he origin, the place of departure, is As a curatorial metonym, the medium in BLUEPRINT
a place only identifiable in a journey works as frame, format and content. The 50 pieces,
of return. As a fiction or a fact, the dating from 1961 to 2013, are presented as traces
beginning of things, the source, willing to bring clarity to a work, a practice and a context.
that place of origination, has been a Far from literal readings, there is a flickering nature to the
recurring concept in the development and construction of works constantly drawing vectors outside of the gallery
cultures throughout time. BLUEPRINT is an exhibition that walls. Each blueprint is charged and punctuated with a
asks individuals from the world of art and architecture to double or triple temporality. Not complete in themselves,
embark on a trip of self-reflection to identify a place of each of the pieces is relative to the point in time that the
origination for their work in the literal and metaphorical work was created, in relation to the trajectory of each one
form of a blueprint. of the artists, and to the point in time the artist selected
Presented as an attempt to understand a series of it as a blueprint of their past or contemporary work. The sustainable thought in Jaime Lerners Maring stadium
artistic practices from the subjective to the collective, exhibition is filled with contradictions and paradoxes. to the cloud-cotton-rower of Vik Muniz to the Bikini
the exhibition can not only be seen as a collection of The works are at once self-referential and Brawl by Dana Hoey exploring the concept of female
blueprints but also as a collection of anecdotes. representational, present and past. From early traces of to the angelical MOS diagram (presented at Storefront
previously two years ago), all works participate in
a diachronic fashion in the construction of multiple
narratives, rarely overlapping in content or scope.
While usually it is the role of the critic to identify
the relevance of a work of art in relation to a trajectory
or a historical moment, in this exhibition the curators,
Sebastiaan Bremer, Florian Idenburg and Jing Liu as
provocateurs or journalists, have asked the artists and
architects to create a space of intimacy, to identify and
create a space of legibility to let the viewer see behind
the mind of the artists from where to start reading an
entire body of work. Similarly to a televised intimate
interview series, the exhibition is simultaneously serious
and frivolous.
With an installation by SO-IL, BLUEPRINT leaves
the gallery totally open, yet perpetually closed and
fixed. Wrapped in time and in space, the Acconci-Holl
faade opens its doors permanently to the works that,
while present in the show by reference, are outside the
gallery walls. The space looses its literal operational
transparency to become a white, translucent icon of its
curatorial aspirations. Rendering everything on either side
as a world of shadows, the installation denies the spatial
properties and the implications of the processional exit of
the platonic cave towards a world of truth.
In BLUEPRINT, the quest for truth takes you into two
(photos by Iwan Baan) equally shadowed sides.
SO-IL exhibition design
by Florian Idenburg and
Max Hart Nibbrig text by Eva Franch i Gilabert
catalogue
catalogue
102
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