MORFAE

The architects concentrated on the idea of artic glacier, and developed a methodology to virtually design artic furniture and literally printing them out into the real. It was a virtual exercise with physical form as outcome that cuts new ground for realising and materialising a usable product from unhinged creativity.

This project counters the two-dimensional facade and level open-plan floors of the typical Tehran midrise with a building that seeks a three-dimensional approach. The facade – a wooden grid – is punctured with a variety of openings.

Zerafa Studio’s design called for the installation of a museum quality interior with careful detailing and a thoughtful material selection that would retain the character and scale of the original space.

LAN Architecture adapted and created a contemporary version of a working class terrace house typology. This was the starting point of their strategy. Their proposal aims to integrate issues concerning single family homes, cars, the definition and hierarchical tiering of public and common spaces, as well as environmental quality to produce new sustainable urban models.

In a district already occupied by high-rise buildings, there was never question of merely building ano¬ther tower, but rather of fashioning a new urban space, combining pri¬vate habitat and public circulation, verticality and horizontality.

The candleholder is a tribute to Sir Joseph Paxton, designer of the famed Crystal Palace at the Great Exhibition of 1851. The Crystal Palace launched the Industrial Revolution, and, in its own way, is the distant ancestor of Paxton.

‘We understand the skin as the ideal and primordial presentation surface for jewels. Thus the qualities of the skin are translated to the space. With a softly embracing carpet, the initial space is newly formed and becomes a sensual happening…’

Ohal Ando fascinated by the playfulness of opposites fabricates jackets that have completely different faces depending on which side it is seen.

This flower vase design is inspired from a famous painting “Ophelia: sir John Everett Millais 1826-96 and a picture which is taken for the record jacket “Undercurrent: Bill Evans & Jim Hall. The idea of Veil has the same inseparably related concept between beauty of life and meaning of death.

The program involved designing several individual buildings which would be interwoven as well as tied into the existing University of Linz campus.

The design of the Lion Gate Project creates an urban spine as main generator, an organism which will structure Dubai new and reactivate the link between Dubai historical old town and the future projects – communication between Bur Dubai to Deira, or vice versa.

The Gaudi Chair was designed using the same method as Antoni Gaudi, who made models of hanging chains, which upside-down showed him the strongest shape for his churches.

The ‘Bridge School’ bridges the two parts of the small village of Xiashi that lie on either side of a small creek running about ten metres below the village.

This two-storey timber house, built as a weekend retreat, lies in the shade of an extensive coconut grove on coastal agricultural land facing the sea, near the fishing village of Nandgaon, south of Mumbai.

By lining the walls with thousands of sheets of carbon paper, Latifa Echakhch creates an immersive dark blue environment. The title of this work, For Each Stencil a Revolution, or À chaque stencil une révolution, is a quotation from Yasser Arafat commenting on the proliferation of political demonstrations in the late 60s…

The staircase as a compressed spatial motion element of a former free field.

A bathroom where mutually alternating fragmentary mirror surfaces and lighting fixtures form a jigsaw puzzle of an image and a reflection.

The wall is designed with the intention of provoking a sense of curiosity by slowly revealing its form and complexity through physical and visual engagement with the work.

The coexistence of two interleaved forms, each with a different hardness and materiality.