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dialogue with space


portrait in black and white ian moore

PROJEcts that change the world SEAN PEARSON

green spaces in china TURENSCAPE




To our readers from all over the world With the arrival of a new year, there’s more than one excuse to remodel, recreate or remake your life and your spaces. It’s almost imperative to follow the motto “New Year, New Life”. The international economic scenario may not look that good, growth expectations may be low, but don’t lose hope, as there’s always a way to improve. Pantone has recently launched the color of the year 2012 and guess what that is? Tangerine tango. It couldn’t be a more joyful and lively color, for communication, animation and appeal to conviviality. A color which brings hope. Attractive and with a shade of reddish orange, this color has also a glow of yellow within. According to Leatrice Eiseman, executive director of the Pantone Color Institute ®, this color is “Sophisticated but at the same time dramatic and seductive”.

It’s a color which, despite being provocative, is also comforting and warm, excellent for socializing spaces. The choice for this year couldn’t be more assertive, as it works well both for women’s, men’s and children’s clothes, as well as for the decoration of your home, cosmetics and all industrial design. And if you don’t have money to spend, recycle old pieces and transform them into new, colorful, attractive and spirited objects. Reinvent, give shape to your ideas and don’t forget that traditional and artisanal is still in fashion. An excellent year to you all, full of color, motivation and hope!

The editor

Saea Rêgo

INDOOR 05 Details with DESIGN


unique objects

alejandro céron 09

dialogue with space i29 13



outdoor 33 pROJECTS THAT CHANGE THE WORLD sean pearson




Property/Edition: Portuguese Business, Soluções Digitais, Lda. |Head Office: Ed. Saza, Esc. III, Sala 16B - 4760-089 V.N. de Famalicão, Portugal Phone: +351 252371401/ | Fax: +351 252371403 |; | Director: José Rêgo| Deputy Director and Editor: Sara Rêgo | Publisher: Portuguese Business, Soluções Digitais, Lda. | Collaborators: Jorge Duarte e Omar P. Shah| Translation: Teresa Peixoto| Cover: Nike Football Training Centre, Soweto South Africa | Sean Pearson | Photography: Julian Abrams | Production and Editorial Design: MustB - Creative Business| Advertising:| Periodicity: Bimonthly | Free Subscription | Publication registered by ERC under Nº125854 | Subscriptions: It is prohibit any kind of reproduction of texts, images, photographs or illustrations in any means and for any purpose, including commercial.







Under the table tableUnder the table is a creation by Portuguese product designer Gonรงalo Campos for Zanotta brand. Despite being a piece of 2009, this table is unique and fun, having the goal to express all of what can happen under a table. An interesting idea, captured by the young designer in an interesting and timeless way.

Coco and Coco Mini Lamps

Friends sideboard

From the Australian studio Coco Flit, created by designer Kate Stokes, comes the ceiling lamp “Coco”. In different sizes, this lamp is manufactured in Melbourne and each piece is unique and handmade. Ideal for either home or commercial spaces, the “Coco” or “Mini Coco” lamps are examples of a simple but above all elegant design, capable of making a difference in any room.

The Friends sideboard, developed by German designer Mark Bendow, is a piece composed of five parts of trapezoid form. Designed with an elegant line, this sideboard has plenty of space for various functions, from space for books, CDs, or magazines vertically, to other objects such as vases, horizontally. Friends is a modern piece which stands out as a classy detail in any home.





It’s his enthusiastic words, the passionate way in which he shuffles his art and commits himself to the art, which characterize him as an audacious mind searching for the reinvention of forms. Alejandro Cerón, though being quite young, already has his path set.

He was born in 1985 at Murcia, Spain, and since then he hasn’t stopped dreaming. He graduated in product design, at his homeland, and later took a post-graduation at Milan and, according to Alejandro himself, the idea of communicating something without using words, without having the need to speak or being interrupted is something that fascinates him. More even, the will to question the established, to be controversial and to make people think and react, made him embrace creativity as the essence of life. He claims to be an enthusiast for fields such as sociology and psychology and evokes artists such as Juan Muñoz, Daniel Canogar and Bill Viola, as sources for his inspiration. The experiences he had the opportunity to have, both in Milan as well as afterwards in Paris where he participated in a workshop with Richard Hutten, changed his perception of design.



Later, already in 2008, Alejandro had the opportunity to work in Holland, both with Richard Hutten, as with the Spanish designer Nacho Carbonell. After a period of progress, of continuous work and learning with these two names of design, Alejandro decided to devote himself only to his work.

Currently living in Rotterdam, where he has his own studio, the young designer has presented in several exhibitions, a bit all over the world, his most recent artistic collections: Victims and Beautiful Mess. With an innate inventive spirit and with a strong will to revolutionize the artistic and design world, Alejandro now begins his identity, revealing itself in the objects and sculptures he creates from his vision of the world, his experiences and his desire to make a difference.


DIalogue with space /i29 They could be twins, but they aren’t. They are only and solely an amazing team which inspires all that surrounds it, exhaling creativity. Everything is based on a simple concept, almost abstract, of forms created from a melodic aesthetic, functional and ecological sense.



Jaspar Jansen and Jeroen Dellensen are the creative minds behind the Ditch studio i29 interior architects. A perfect duo, who despite not being a pair of twins might well be so, since their creatives complete each other in a unique and successful way. Versatile and essentially dedicated to interior design, studio i29 aims to develop intelligent projects, with strong images and focusing specially on details.

Project: Office 04 Client: Tribal DDB Amsterdam Design: i29 l interior architects Size: 650 m2 Concept: With Tribal DDB, the main goal was to design an environment where creative interaction is supported and to create as much workplaces as possible in a new structure with flexible desks and a large open space. All of this while maintaining a work environment that stimulates long office hours and concentrated work. As Tribal DDB is part of an international network a clear identity was required, which also fits the parent company DDB. The design had to reflect an identity that is friendly and playful but also professional and serious.


Open spaces, with clean lines and a practical approach to the concept, their designs are an example of harmony, creativity, personality and, above all, a constant dialogue between the duo and the most varied professionals and creatives. Its commitment and dedication, but above all its passionate way of creating, have earned studio i29 numerous awards, distinctions and features in specialized press and publications a bit all over the world. In 2011 they were awarded at the Great Indoors Awards (Award for Best Interiors) in section Concentrate & Collaborate, organized by FRAME magazine, for their project office 4 - Tribal DDB Amsterdam.

Project: Office 03 Client: gummo Design: i29 l interior architects Size: 450 m2 Concept: As Gummo were only going to be renting the space on the first floor of the old Parool newspaper building in Amsterdam for two years, i29 convinced Gummo to embrace the mantra of ‘reduce, reuse, recycle’ to create a stylish office space that would impact as little as possible on the environment or their wallets. i29 developed a theme that reflects Gummo’s personality and design philosophy – simple, uncomplicated, no-nonsense, yet unquestionably stylish with a twist of humour.


According to the duo, “we do not create from what exists. What we literally try to do is design the space; things that are not physically there. And we can only do this by designing physical material. It’s a different approach, but which leads us to surprising results. We try to look at the space as a musical composition. As in music, silence is essential to the music itself. The same happens with space. We work with structures and rhythms in a basic and almost abstract way.”

Project: Home 7 Client: Privado Design: i29 l interior architects Size: 150 m2 Concept: This single-family apartment for four people is situated in a stately building in southern Amsterdam, NL. The original structure, with rooms for staff, a double hall and long hallways with lots of doors has been transformed into a spacious, transparent dwelling full of light and air.



Strelein Warehouse (2010) Photography by Iain D. MacKenzie

PORTRAIT IN BLACK AND WHITE IAN MOORE, THE MAN BEHIND THE ARCHITECT He has a distinct personality, which translates into the uniqueness of his designs. More than an architect, he is a person passionate about what he does and that makes him a true artist.

Ian Moore was born in Warkworth, New Zealand, in 1958. Although he initially graduated in civil and structure engineering by the Auckland Technical Institute, he was later guided by his great passion, architecture, and graduated with distinction in this area in 1988. In 2000 he completed also a Masters degree in Architecture by the RMIT University in Melbourne, Australia. His vast experience and creativity have been recognized internationally through awards and mentions, and Ian had also the possibility of touching younger people for years as university professor in the most prestigious universities of Australia.



Last November he received the award for best residential project at the Inside Festival Awards 2011, in Barcelona, with the house Strelein Warehouse. Projetar Casa Magazine had a talk with this amazing architect, and had the opportunity to hear about some of his history and experience. Back to the past... His father was a builder and Ian grew up in an environment of houses made of wood, with large sliding glass doors in a 50’s and 60’s style, widely open and with a clear link between indoor and outdoor spaces. When he later moved to Australia, he felt a lot the differences: there he found a denser architecture, from the XVII and XVIII centuries, colder and darker, quite like the British style. However, despite the difficulties of the Australian system and bureaucracy, Ian is now able, with lots of work and dedication, perform a wide variety of projects. PCM - You graduated in civil engineering, but became an architect with a special preference for interiors. How did that happen? Ian Moore – – It was during my childhood. My father was a builder and at the time it took only six months to build a house and then we would move to that house. He would wait another six months to build another one and then we would move again, and so on and so on. My father designed the houses from ideas he got from other houses, but my mother was the one who designed the interiors, the furniture, who chose the materials.


01// INDOOR And as a growing child, I was always involved in that process. Later when I was sixteen and was doing technical drawing at school, my father told me that this way he wouldn’t need to hire anyone because, as I could do that work. In reality, I always wanted to be an architect, but my father didn’t want that. At that time, in the 70’s, there was very little work for architects, so my father wanted me to have something more solid. Now, looking back, I think this path was important to me, because it allowed me to enter the construction industry on the one hand and have a knowledge base on the other, and so be where I really want to be.

PCM - Architecture is seen from different perspectives by architects and engineers. In the middle of all that, what’s your perspective? Ian Moore - From my point of view, the benefit is that I don’t do the engineering part. I don’t do the calculations and that sort of things. I work with the engineering structures, because I have that knowledge, that degree of experience and usually design my structure and ask the engineer to verify it. I see things as an architect, but I have the engineering know-how that intrinsically makes me place the structure where it belongs. That’s the difference.

PCM - When we look at any of your designs we often see the aesthetic side. When you think about them, do you think first about beauty and afterwards about their use? Ian Moore – I always design my buildings from the inside out. What’s always at stake is the people who will occupy them. Usually, I see myself inside those buildings. In every building I design, I always imagine how I would like to be inside it. Some people say I’m different from my clients and I just create several houses and buildings for myself, but that’s not true. The truth is I’m a person from the perspective of what I see and what I feel, feeling whether the space is or isn’t comfortable, is or isn’t warm, whether it’s big or small. I’m just like anybody else, in that sense. But when I have a project in my hands, the last thing I think about is its image. When I start a project, I have no idea what it will look like. I start by working in 2D, as I think nothing can substitute that drawing experience, despite the 3D computer programs. The idea is to first create a space and then dress it, solve its internal side and then move to the outside. My work is essentially to find the best way for that to happen.



PCM - So, for you sustainability is important? Ian Moore – – It’s always important to me. My first significant project of architecture was a six-storey building in Port Moresby at Papua, New Guinea, in the Ecuador area, a very hot and very humid place, and the building had no air conditioning at the time, the late eighties. It had some canvases on the outside which produced shade, was turned to the landscape, but also to catch the prevailing winds coming from the sea for an increased cooling, and also had a kind of vegetable sponge in the back, which allowed some control. If a building in New Guinea doesn’t have air conditioning that means there’s no need for air conditioning. I can say anywhere that I designed that building without air conditioning and it works perfectly.

Thus, these forms of insulation are natural, despite their increasing sophistication. Australia is increasingly using double or triple glazing of windows, and water heating through solar energy, as there’s a lot of sun and it should be used. And also because we have an excellent quality of natural light and that’s what people want, large windows to use artificial light only when it gets dark. And there we automatically save energy. But my work goes far beyond that, because I try to adapt the space with the list of materials that I have, and my houses, especially my first projects that had a very small budget, are as simple as possible. And many of the materials I use are recycled, aren’t too expensive and I don´t even resort to exotic woods, or similar things. That has always been my way of doing things. A good architect already does that for a long time now.



PCM - Your spaces are usually a version in black and white. As a person, do you define yourself as someone simple like black and white? Ian Moore – Yes, I’m a very simple person. I mean, I don’t need much. Actually, I think it takes almost a lifetime to realize what we really need. With regards to the person I am, the fact of wearing black is a natural thing for me, I’m not necessarily making a statement. For me having to choose different colors every day would be somewhat difficult. Because when I choose the colors for my projects, and I have used color extensively over the years in the numerous projects I designed, they are used in a very simple but strong way. I usually don’t mix colors, but yes, I use a color as a form of contrast with something simpler. PCM- Do you identify yourself in your Strelein Warehouse project? Is it a space where you’d like to live? Ian Moore – Yes, I’d live in that house. It’s interesting to be in a space with more black, it’s so calm. As my client says, she has such an exhausting job and hectic routine, that when she gets home all she wants is quiet and rest. It’s therefore fantastic when you wake up in this simple and calm house. Everything has a place, there’s no need to keep changing things from their place. Even the dog has his place and it’s interesting the way he occupies it. For my client it was very important for him to feel part of the house, because he is part of her life.



PCM - Finally, given your broad perspective and work in different areas from architecture to furniture design, do you consider that architecture can be a kind of art? Ian Moore – My perspective is different. Because when you’re an artist you usually don’t work for a client, so there’s greater freedom to do things exactly the way you want. When we have to deal with several customers, good or bad, that relationship changes a lot. You don’t have such freedom. But the passion we put into our work, the constant desire to do everyday more and better, are similarities with an artist, so architects and artists are connected in that. We’re never finished, we are always trying to find a way to improve the project. I know some architects who, when money runs out, stop working whether all the work is done or not. I don’t. I keep on working until things are exactly the way I want them, and in that sense I’m like an artist. I do what I do because I love what I do. And I only do it if I can give it my best. So for me, when I finish something it makes me feel very well about myself.



Nike Football Training Centre in Soweto Photography by Andrew James

Projects that change the world:

Nike Football Training Centre in Soweto by Sean Pearson He has been in the top 30 of the best designers under thirty, in 2003, and today he’s more than a young promise, he’s an architect and designer of value. Sean Pearson is the creative mind of the Ruf Project - a multidisciplinary design company based in Vancouver, Canada.



Nike Football Training Centre in Soweto Photography by Julien Abrams

After a successful journey as Nike Director of Design in Europe, Middle East and Africa, Sean Pearson has been engaged, in an exemplary and creative manner, with several different projects, the concept of which focuses mostly on the experimental aspect of the spaces rather than their shape. Projetar Casa talked to him and Andy Walker, Creative Director of Nike Global Football, about the Nike Football Training Centre in Soweto, South Africa, at the Inside Awards 2011, last November in Barcelona, where the project won the “Culture and Civic” category. Going back to the origin of his passion for architecture, Sean admitted that when he graduated he started paying more attention to magazines and was, somehow, intrigued by the speed at which those were produced, by the creativity spent in the process and how they got dispensable within only a month. The same happens with the quick development architecture. After working in the UK for Michael Hopkins, where he faced an even deeper reality of architecture, he bet his creativity on Jump Studios, which had a creative orientation which encompassed a wider multidisciplinary scope in terms of design. “I really enjoy doing design in different scales, architecture, interiors, brand work, graphic design, and from that I actually ended up working with Nike as a Design Director for a while, in Holland. I loved that, because it was really a studio, with photographers, product and industrial designers, architects and graphic designers, working together”, states Sean.



Asked about in which way his work in different areas of design influenced his perspective on architecture, Sean says “I am just integrating almost a graphic language into the building.� It was something that I always loved. You look at the old cathedrals in Europe and you see all the communications through the frescos and stained glass, and they really were telling stories and I think that it is something that was lost in modern architecture. Even if you look at some of the older buildings that were painted with colours, there is a lot of life and character and I think that can be sometimes nostalgic comparing to this kind of pure and white architecture. And I think that maybe it is an opportunity to play with different materials and colours in very clean and interesting buildings, giving them the ability to communicate�.

Nike Football Training Centre in Soweto Photography by Wieland Gleich



Nike Football Training Centre in Soweto Photography by Julien Abrams



One of those buildings, which clearly communicates with every detail, from the materials to the colours chosen, where we may see more than a story to tell, but instead a story told every day, is the Nike Football Training Centre, at the heart of Soweto, South Africa. This training centre, which has already become a landmark in the quiet life of the local population, expects to receive about 1,200 teams and 20,000 players per year. The first of its kind in Africa, this centre has a building area of 1,300m2, with two artificial turf fields, two junior grass fields, a club and a lounge for players, a school for the Grass Roots Soccer Skillz & Life program, a gym, space for physical therapy and first aid, an area for product sampling and testing, administrative offices, locker rooms and catering.

Nike Football Training Centre in Soweto Photography by Julien Abrams

Nike Football Training Centre in Soweto Photography by Julien Abrams

The whole structure was designed thinking about the player and every aspect and field of his training. The concept adopted established a clear relationship between the spaces, demonstrating their functions, so that they would connect in a clear manner. The idea was to keep the concept of open facilities, but still creating a safe space to play football According to Andy Walker, Creative Director of Nike Global Football, “the goal was to set out and to really create a hub for the community, and to inspire and aspire their knowledge of the footballers that where from Soweto. And really give them the tools so that they can grow and live and become the sort of players we think they should be�.



Nike Football Training Centre in Soweto Photography by Julien Abrams

The creation of this centre has provided countless opportunities to the community, as Andy states. “Football is everything to the community. It is what they do all the time, it is their passion. So, I think the building is the centre of the community. They called it the Nike stadium. It has more to do with helping the footballers grow. Part of it is to help them realize their potential, you know, as a community, as players, giving them the confidence, giving them the fact that the world acknowledges who they are and where they come from it is something which they haven’t”. Despite its success and importance, this was a quite different project in the daily life of Sean Pearson, a Canadian in South Africa.


Nike Football Training Centre in Soweto Photography by Julien Abrams

When questioned about the difficulties faced during the project, Sean mentions “The light in Africa it felt more directing, more powerful, everything was sharpener, it felt from me then, coming from the north in Canada with a much lower light and much obscured light, so that was a quite big difference to realize that. Actually it had a big influence on thinking about how the project was developed in terms of the layers, thicknesses of the walls and the way the windows were placed, it was a very subtle way of dealing with that and making that light into something that we can really celebrate. Some of the architecture that I saw in South Africa was amazing in terms of how they did it, but some of the newer buildings it seemed that they were copying a European style, and sometimes not embracing some of the beauty they have there in terms of the way that the sun works, the climate, and sometimes they have a tendency to use machines to mediate the temperature instead of thinking on that as an opportunity�.



The Nike Football Training Centre in Soweto was designed with a special focus on sustainability, by reducing energy consumption and choosing local materials, including also the local culture, internally playing with colours, conveying great importance to the beauty of the south african sun. The main aspect was to create a separate space from the further sports facilities, conveying it with its own identity, integrated in a community, a place capable of responding to the physical and mental requirements of a football player. This way, and stressing ideas such as community, education, desire, health, hope, pride, excellence through design, this centre has became more than a milestone, but rather the first step towards achieving a better world.

Nike Football Training Centre in Soweto Photography by Julien Abrams


Nike Football Training Centre in Soweto Photography by Julien Abrams

In just a few words, Sean described to us that “the best part for me was watching people playing football there. That was quite exciting, people using it. Because then you realize that it was not done because it was a building, it was done to do something. This was a special project, and I think that the fact that is so well-used and successful in terms of what it was designed for it is extremely satisfying”. According to Andy Walker, “It was a really special project, it was the first one of this kind for Nike. So, it has definitely ignited the thinking to do more of this kind of work around the world. There is a definite movement in Nike to become more sustainable, a lot of more ecofriendly actions, a lot of people backing to the communities. So this was the first thing of its kind, than I think it holds a special place for Nike and for the people that were there”.





In a constantly changing world, where ecology is the theme on the table, it is important to think about the sustainability of urban growth and the need for creation of green spaces. Despite being the largest emerging economy, China is a country that has been worrying about this issue. Kongjian Yu is an example of working towards a greener country.



More than just a company in the sector, Turenscape is a multidisciplinary company with several services such as architecture, landscape architecture, planning and urban design and environment design. With a team constituted by more than 600 professionals from various areas and having already received numerous international awards, this company is the dream of Kongjian Yu, its mentor and founder, and the largest private company of the sector in China. With a Doctorate degree in Design by the Harvard University in 1995, where he still is Visiting Professor, Kongjian Yu teaches at Beijing University since 1997, and was a founder of the school of landscape architecture at Beijing University and of the recent college of architecture and landscape architecture of the Beijing University. Recently Projetar Casa had the opportunity and privilege to speak with him.

Project: Qinhuangdao Red Ribbon¬ Park; The Minimum Intervention Location: Qinhuangdao City, Hebei Province, China Type of project: park Size: 20 hectares Concept: Num cenário de terreno e vegetação naturais, esta é uma espécie de “fita vermelha” que mede quinhentos metros, e integra funções como iluminação, assentos, interpretação ambiental, e orientação. Embora preservando o máximo possível de corredor natural do rio durante o processo de urbanização, este projeto demonstra como uma solução de design minimalista pode conseguir uma melhoria dramática na paisagem....


Project: The Transformed Stormwater Park: Qunli National Urban Wetland Location: Qunli New District, Haerbin City, Heilongjiang Province, China Type of project: parque Size: 30 hectares Concept: This is a park with about 30 Hetares, a former wetland but been surrounded at four side by roads and dense development. Water sources for this former wetland has been cut, and the wetland is under the threat of disappear. Turenscape’s strategy is to transform the dying wetland into an urban stormwater park, which will provide multiple ecosystems services for the new community. The result is a great success.

Asked about the possibility of a greener way for the booming Chinese cities, Kongjian Yu replied that “a greener path is something relative. One can not be fully green. But at least in recent years, the Chinese government is seeking for a greener approach, betting on green technology. The Chinese government has proposed a civilizational ecologic code, but it’s in the political agenda. While we can see several green cities being built, and it may even seem like a kind of commercial advertising, the truth is that at least it is becoming part of people’s everyday life. People are now beginning to think about what to do to reduce car use, about how they can return to basics, and this is a process that is happening now in China. And we’re building several ecological cities for the government and proposing a greener approach.”



Twenty years from now, the scenario will certainly be different. Many changes will occur. But will a country like China be a green country in the future? According to Kongjian Yu, “that’ll be difficult, because it’s a very big country. We are still in the development process. We are still looking for a western lifestyle. Being totally green will be difficult. Driving a car remains a dream for many people. Half of the population is still living below standard conditions and dreaming of a life of luxury. But it will all come back. Like a cycle, twenty or thirty years from now people will believe that a greener life is a better life. I think it’s a very difficult task, but we are promoting it”. Despite being a lengthy process and with a lot of work ahead, Kongjian Yu and his team are developing an excellent job with regards to creating more sustainable spaces, promoting a healthier urban and social life, focusing especially on green design.

Project: Shenyang Architectural University Campus: Go Productive Location: Shenyang City, Liaoning Province, China Type of project: park, comercial campus, memorial Size: 3 hectares Concept: This project demonstrates how agricultural landscape can become part of the urbanized environment and how cultural identity can be created through an ordinary productive landscape. The overwhelming urbanization of China is encroaching upon much arable land. With a population of 1.3 billion people and limited tillable land, food production and sustainable land use is a survival issue that landscape architects must address.



Asked about his example, he replies “I think I play a very positive role. I believe I may play a very important role as educator, as many Mayors listen to my lectures. At least 200 Mayors each year. Thus, convincing the Mayors to follow this green path of urban planning is very important, as they are the decision-makers. Second, because I write books. The first book I wrote was about the strategic urban planning and how to build a green city, ecological and with social equality. I sent about 7,000 copies to Mayors and more than 10,000 books were sold in stores, which means that each Mayor has a copy. We can see that book as an influence on urban landscape architecture. We work on city planning and currently have 200 cities as clients. China has about 660 cities and 200 of those are clients of ours. We are, therefore, playing a very important role. And with that, we are also receiving many rewards, design awards, which is important for our customers, because they feel honoured, rewarded, and politicians are promoted, and it becomes a synonym of pride.”

Project: Houtan Park Location: Shanghai, 2010 Shanghai Expo Park, China Type of project: park Size: 14 hectares Concept: Built on a brownfield of a former industrial site, Houtan Park is a regenerative living landscape on Shanghai’s Huangpu riverfront. The park’s constructed wetland, ecological flood control, reclaimed industrial structures and materials, and urban agriculture are integral components of an overall restorative design strategy to treat polluted river water and recover the degraded waterfront in an aesthetically pleasing way.






Caterpillar by Ana Mestre It has become a preferred raw material used in a variety of designer creations, from fashion to interiors. Cork is today known for its insulating qualities, but above all because it comes from a tree, the oak, which has an enormous capacity for regeneration, thus becoming a one hundred percent natural, recyclable and biodegradable source.

Caterpillar is a modular system of cork seats, created by Portuguese designer Ana Mestre. Part of the collection of the Corque and Design brand currently under exhibition at MoMA in New York, Caterpillar is a fun and interactive system that provides a sensory experience in living space. Made from expanded cork agglomerate, one of the most sustainable cork variations, and finishing in water-based varnish, this is a simple solution of how to use this material in an interesting and functional manner.

Materia by Corticeira Amorim and Experimenta Design

Float by Benjamin Hubert

As result of a partnership between Corticeira Amorim and Experimenta Design, A total of 12 projects and 22 different objects, with creations by Portuguese and foreign designers, whose main objective was the development of objects which would integrate in a fluid and functional manner the environments and experiences of everyday life, according to a source.

By London designer Benjamin Hubert, this cork lamp, designed for the Unique Copenhagen Danish brand, is produced from Portuguese cork agglomerate blocks, made from waste of the bottle-cork industry. With a simple but elegant design, these lamps are above all ecological and sustainable, given that besides the raw material they use, their production remainings are again used for the creation of new lamps.




From the creativity to the glances, from the techniques to the best projects in the whole world, all of it is here. From the professionals to the interested and curious ones, experts or amateurs, everyone reads each page like a 360º journey around the planet. If there is some place we haven’t been to, we are certainly almost there…

Projetar Casa Magazine_10th Edition  

Projetar Casa Magazine is an e-magazine dedicated to architecture and design.