The highlight of this building is the façade. The panels seem to be moving with the sun but they are caught in the act forming windows, balconies and incisions.
A galvanized steel sub-structure thought as large shelves provides support for different sized hollow ceramic pieces that form the façade.
At a first glance, the house displays a simple, legible geometric composition; a closer look reveals a concern for craftsmanship and detail.
This is a technology-intensive house, a piece of civilized life and order perched atop a rocky headland in the wilds of the Stockholm archipelago.
The anthracite concrete box, raised a meter and a half off the ground, only allows one entering: the entrance, backed also by a slight bending of the glass wall that divides the porch.
A façade of 6,000 pure-glass blocks enable the creation of an open, clearly articulated garden that admits the city scenery.
Six curved roofs at different heights allow natural light to pour down. Six is an important number for the roof design as God created Man on the sixth day.
888,246 ceramic poppies infill the Tower of London for Remembrance Day.
The designers imagined an elastic ceiling that was pulled down by the weight of various objects achieving a rippling effect.
Light coming from the east strikes the louvered boards before entering the house and reaching deep into its interior.
A pure rectangular volume is adjusted to the ground; the act of inhabiting unfolds through the volume of concrete.
Inspired by Moiré patterns and optical art the 2.8m deep wall façade consists of a three-layer multi-sized hexagon system in fiberglass, steel, aluminum and glass.
The project explores a unique housing typology which offers comfort in the familiar but hard context of Japanese cities.
Boxes lying around, either piled up or separated freely, are the basic ingredient for a space of unlimited possibilities.
Gentle bulges and dents elaborate the façade of opal beige reliefs based on Louis Vuitton’s damier.
The complex itself is constructed of four low-rise waves blending into the surrounding relatively low-rise buildings
Twelve large glass sails cover the body of the building, an assembly of white blocks referred to as the “iceberg”, giving it its volume, its lightness and its vitality.
An intriguing game of stacking planes that intertwine in the centre emphasing the white structure through its completely transparent ‘shop-front’ shell.
Designs for the Sleuk Rith Institute – a new institution and genocide memorial in the Cambodian capital Phnom Penh – have been unveiled.
Crest Installation for ME by MELIA at the V&A Museum for London Design Festival