A tribute to the Jewish district in Girona, Spain within the yard of the house Sambola.
Structured by vertical and horizontal association of round-shaped beach buoys, the inflatable installations seek to create fun rest areas.
The Afillia collection includes a range of lights which represent the essential synthesis, so perfect, among traditional materials and avant-garde productions, ancient craft skills and innovative technologies.
The roof is set at a sufficiently high level so that it is out of one’s line of sight from the living space, creating the illusion that one is sitting in the landscape rather than in a room looking out into a landscape.
The building blends in completely with the topography and the outside world is left behind as one moves through the landscape, down the hill and in between the walls to enter the mosque.
A fragile stretched perforated textile is pulled over the stadium skeleton and forms a unified rounded dome, giving the impression of a single enclosed object.
The design team conducted material experimentation and digital fabrication explorations to translate the concept of creating a lace scrim into built form.
For the container nendo collaborated with “Kanaami-Tsuji” famous for their wire netting technique in Kyoto.
The main idea was to transform the whole building into a convulsive mind/body organism whose slippery inner limits a motivated explorer has yet to trace and confront.
A beautiful marriage of the old and the new each keeping its identity photographed by Joao Morgado.
The space is punctuated with double height façades, in the form of six immersive ‘storyboxes’ that signpost the six communication networks.
The collection of finishing called Filigrana is a universe of tactile sensations and play of lights, a sensory-aesthetic seduction that is expressed into 3 decors.
The concept of this house is based on the clever and original use of the Corten steel lamellae.
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At ground floor all pedestrian and vehicular access is solved in a double height entrance that allows a fluid relationship with the public street.
The key concept of the project is empathy, the ability to perceive the world outside ourselves, feeling part of it.
The distinguishing feature of Gap lies in the legs, which consist of two metal “blades” that gradually open out upwards.
In-between the trunks of the beautiful Öijared forest one can sense a new figure, zigzagging between the trees and blending in with the environment from which it’s made.
The project faces the eucalyptus square, so that part of the ground floor not occupied by the building is an extension of the square itself.
The studio roof folds over at one side and hits the ground at a single point, continuing new irregular geometry to frame a double height view of the leafy garden.