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EDITORIAL

Tiago Krusse

These last few years I travelled a little and mainly in Europe. One of the things I’ve been noticing is how people are circulating, using the subway, streets, public or private spaces. The rush hours despite all the confusion seemed to me of times in which people showed to be more organized on how to get into public transportation. There is this sort of a contemporary ballet of people going up or down the stairs, getting inside or out of the subway or standing in a specific position to conquer a better place on their way back home. In the streets everything looks chaotic, crowded buses caught on traffic, cars slowly driven to the suburbs and some few people riding their bicycles with a smile while polluted air is going directly to their lungs. There is also this incredible infinite of noises going in every direction, like a warming up of symphony orchestra. During the working week it is curious how people are transporting their personal belongings. Some are truly well organized and others carry no more than a book or a mobile phone. Some dare to eat on their way to the office, swallowing rapidly a homemade sandwich and carefully having a hot drink. A few put in evidence bad breath due to stomach problems and there is always someone who wears a fresh perfume. Mind the gap… While observing children, babies are carried with a |2|

whole lot of precautions, teenagers act always as if they were in some kind of a play and almost adults are completely devoted to their electronic devices. The elders are quiet and serene, observing everyone who is nearby, checking if teenagers are behaving well, searching into grownups postures or trying to get a smile from newborns. A million things taking place at the same time. And the hands are everywhere because everything has to be so tactile, either buying a ticket or grabbing the handle during a bumpy ride. On weekends everything is quite different, the flow of people shows different aspects of monthly habits. The day and nighttime are conducted by weather conditions or by special events occurring. There this notion of a peaceful emptiness. The public gardens look as if they were some kind of an extra anthropological experiment. The atmosphere shows a completely different body language. I feel that there is a whole lack of harmony in all these little things. Sometimes it could be rather fascinating observing parts of reality. I don’t know why I give this kind of attention to these circulation facts? I feel like I’m dancing.

tiago_krusse@revistadesignmagazine.com


http://www.cosmit.it

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CONTENTS

EXPRESSIONS Opinion by Rodrigo Costa – The Painting or the Frame DESIGN Edward Barber and Jay Osgerby Peter Donders

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Alessandra Baldereschi

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Interview with François Mangeol Tulipop

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28

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Food Design – Rita Ramos and Miguel Ramos Infinity Bamboo Forest

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ARCHITECTURE A Small Chapel

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New Airport Terminal London Aquatics Centre

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BOOKS Fritz Kahn

84

Julius Shulman – Modernism Rediscovered

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http://www.deepcolour.corian.com |5|


design MAGAZINE

Editor in chief — Founder Tiago Krusse Executive Designers Joel Costa / Cátia Cunha Text Contributors Francisco Vilaça (Stockholm) Hugo Poge (Reykjavík) Nathalie Wolfs (Brussels) Rodrigo Costa (Oporto) English editing K Photo Contributors FG+SG - Fotografia de Arquitectura João Morgado - Fotografia de Arquitectura Rui Gonçalves Moreno Advertising http://revistadesignmagazine.com/publicidade/ Office DESIGN MAGAZINE Jardim dos Malmequeres, 4, 2.º Esquerdo 1675-139 Pontinha (Odivelas) - Portugal www.revistadesignmagazine.com Publishing House Elementos À Solta — Desenvolvimento de Produtos Multimedia Lda. Rua Adriano Correia Oliveira, 153, 1B 3880-316 Ovar - Portugal NIPC: 503 654 858 www.elementosasolta.pt Media founded in 2011

This issue cover is an work of the fine artist Rodrigo Costa |6|


http://www.interieur.be/awards

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ERRATA

On the January/February 2014 edition, DESIGN MAGAZINE gave a wrong information about the warehouse reformed by Bartlett & Associates. The project of the reformed warehouse was done for DraftFCB. We would like to express our sincere apologies to the Bartlett & Associates, the DraftFCB and to the readers. www.bartlettdesign.com

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http://www.and.org.pt

https://www.facebook.com/ANDesignersNews http://www.and.org.pt |9|


iF NEWS Photo: Courtesy of iF International Forum Design

The International Forum Design of Hannover, in Germany, has opened the first exhibition in the new iF design permanent exhibition in Hamburg and launched the new iF Design App. The new exhibition space in Hafencity, in Hamburg, Germany, is presenting until June 2014 the award-winning entries in the packaging, audio/video, telecommunications, computer and office/business categories of the iF product design award. The new iF Design App was launched at iF design awards ceremony night on February the 28th of 2014. The app shows a great number of animated images and videos inviting users to explore the award-winning designs. The free app features 3,300 images presenting only the 2014 iF design award winners. Easy to work with and available in two languages, German and English, the app gives concise descriptions, information on designers, clients and manufactures as well as jury statements for the gold award winners. To download the new if Design App www.ifdesign.de/media_app_en | 10 |


http://www.elementosasolta.pt

http://www.elementosasolta.pt

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OPINION

Rodrigo Costa

The Painting or the Frame?...

Illustration by Rodrigo Costa

... Plans could be different, but I woke up thinking of syrups, pills and injections as medicines to rescue the artistic and cultural phenomenon, recovering its prestige and depth; the aura that was built by souls who were concerned about the essence, before thinking on fame and business, because business must be understood as consequence —the antithesis of a world that has inverted the order of the priorities, and that didn’t understand, yet, to which are due, in general, the depression and the bipolar disorder. Given to the prolonged evidence, supported by the visible and close reality, I opted to write about the crisis, affective and economic — exactly in this sequence —, in the world of Art and Culture; for that I used the book of Sarah Thornton, Seven Days in the Art World, published by W.W. Norton & Company; a set of writings I regard as a summary of a journey thoughtfully prepared, in which, intelligently, Sarah exposes the supposed summits of a kind | 12 |

of intelligentsia that confuses the mountain’s foot with its highest points. Along the reading of the book, I was going to comprehend Sarah’s disillusion due to the absence of credible answers — I remember her Ségalot, for instance, who moved from cosmetics to the Art with the same ease as he put gel in the hair. At the end and as Sarah could realize, Ségalot only could be a kind of ridiculous seller of yellow pages. Along the reading of the book, I was going to comprehend Sarah’s disillusion due to the absence of credible answers. So, I commented, chapter by chapter — a sort of epistolary dialogue between me and the Authoress —, as it’s not easy to stay quiet, speechless, before so many falsettos in an universe that, contemplating the imagination, the interpretation and the transformation of the reality, doesn’t agree on subterfuges, purging them as the body purges the impurity through the furuncles. At the end, according


to the vacuity of responses to Sarah’s research, I gave to the comments I produced, the title... Seven Days in Nowhere. So, as to be comprehended my temptation and my choice, I took up Sarah’s description about a classroom of a reputed American School. After reading the description, I invite you to close your eyes and try to see yourselves inside that space — if you feel arrested by the claustrophobia, don’t be afraid, because I’m close; I’ll wake you up and I’ll rescue you from the nightmares, because I prefer pink dreams: —... The classroom, without windows, with concrete walls, inside which fluorescent tubes, long lasting, cast a gray light. The CalArts building seems to be an underground bunker created to protect, those who are there, from the silly seductions of the Southern California sun... — What a despair! I feel myself arrested and tight when talking on this; I remember the Romans and their massif architecture, its minimal openings, once the most important was to prevent access to the enemy, in spite of denying the accomplishment of the light’s fate. There is not doubts that — as with the minds — the open spaces are the reflex of the trust overlapping the risks, and that when closed, the spaces are the expression of fears and insecurities, although, when we are referring to the time of centuries, the Architecture and the peace had, both, hundreds of years for living and changing perspectives. However, if Architecture has opened itself and has torn walls, connecting the inside and outside the most possible and recognizing that modernity survives in the interaction of the open minds and open spaces... the peace, not really, because there are insoluble conflicts, predominantly in the psychological domain, despite the several points of the physical conflict. The confusion and the economic decadence in the world of Art and Culture —for restrict me to this area of the human activity — has to see with lies, with the greed that never is tired of looking for pretexts for getting projection and money; has to see with the lack of self-love from those who think of being possible finding the affective stability and realization through fame and fortune... My dear, fame and fortune are the Christmas tree’s ornaments... But it’s need the pine tree. Nobody can become an art critic if isn’t able for analysis and for self-analysis; if isn’t able to look at Life as the perfect field of all realities, themselves metaphors and allegories; if thinks of Art as another life, beyond the real-Life as etymon of all things.

Art critic, artist... without seeing the Thinking as the beginning of everything?... It’s not possible! There are only expressions and tools for translating what we have inside us; and, many times, tools are not more than stuff in jugglers’ hands, expressing thoughts which don’t exist because the gestures are the handwriting of what animates us, of what leads us to act; the gestures can be the reflex of the conviction, of the negligence, of despair and of the emptiness... Recently, a young Portuguese deputy said to be the voters who oblige the politicians to lie. I’d go far away, and I’d say that the crowds need of the lie as of the comfort. After discovering this weakness of the crowds, Politic, Art and Culture became spaces without passion neither principles. Thinking has lost to the technology, and it’s possible and easier to the people, now, to lying and lying to themselves, faster and with sophistication, obeying to the economics criteria — which has nothing to see with the Economy, as science, neither with the culture of self-love. Then, the same way that the bad politics strengthens the parallel economy, the lie of the world pushes the serious people to the soliloquy. About what one can talk in a classroom without windows, with concrete walls, inside which fluorescent tubes, long lasting, cast a gray light?... Maybe about movies without a story, though with people inside, still competing for Oscars and getting the prize of the best special effects, visual or sonorous… Actually, all criteria are subjective and have, always, something of a combination. However, as a director or producer of such movies, as awarded, I’d feel reduced myself to little less than the insignificance, because, being important the sceneries and the effects, the essence of the Theatre and of the Cinema are the actors and the stories that they tell to us. Then, if the painting — as idea and interpretation — is recognized only by the frame, it’s need asking what one must be seeking: the essence or the pretext?... There is another hypothesis, really, diverging the intelligence to the elaboration of the catalogues with models to be used by the framer... However, it’s sure we are not talking any more about Painting... I’ll be back soon to the matter.

www.rodrigo-costa.net | 13 |


EDWARD BARBER AND JAY OSGERBY

Photo: Ezio Prandini, courtesy of Knoll

During the Munich Creative Design Week, between the 22nd of February to the 2nd of March 2014, in Germany, Knoll present a new collection of lounge furniture, tables and a stool by Edward Barber and Jay Osgerby. These new products show an aesthetical sobriety based on details and proportions. The British designers presented for the lounge furniture different sized sofas plus two complementary ottomans. They expressed that “given a sofa’s scale and prominence in a room, we felt that the pieces should be formally balanced and calm, expressing their character through detail” and that they concern about designing these new elements were focused on comfort, proportion and the interesting detail of the foot. The sofas and ottomans have a range of upholstery fabrics and leathers. The production shows the work on stitched seams with the intention of reinforcing the architectural profile of the furniture and the softness given by the curvature of the cushions. They all sit on cast aluminium feet that slide clearly between its upholstered elements. The feet visual could be ordered in chrome and a range of lacquered colours to produce contrast. The armchair and sofa are also available on a compact version, featuring a lower back and a reduced seat depth. Regarding the tables and the stool, cast aluminum and wood were the chosen materials. The aluminum base supports both round tabletops while wood provides the round seat of the stool.

www.barberosgerby.com | 14 |


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PETER DONDERS Text: Nathalie Wolfs Photo: Courtesy of Peter Donders

Batoidea

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Peter Donders started his career in 1987 as a self-employed furniture maker. His work is possibly the best example of how traditional craftsmanship and computer technology can work together. After fifteen years of experience and craftsmanship as a furniture designer and maker, he started using computers in the design and manufacturing process. Today, he is not only known for his furniture collection but also for his revolutionary jewellery designs. From Europe to China over Australia to the United States, all over the globe online media confront their audiences with Peter Donders unique designs. Soon after he launched his morphsine brand, pictures of his “morphs seating line� started spreading around the web. And when images of his C-Bench and C-Stone in carbon fiber hit the web, they went viral within hours and were re-published on hundreds of blogs and sites. When Peter switched from carbon to aluminum and released his Batoidea chair, it only took weeks before his design travelled from one exhibition to the next. Shortly after that, design enthusiasts all witnessed how he managed to surprise everyone by launching his own jewellery line under his own morphsine brand name. Passionate for organic forms and with a solid base in design construction and style, Peter uses the latest computer graphic technology to bring to life his ideas in 3 dimensions. Through their clarified structure the products put in evidence the complementary of the whole working process. Without his technological skill and good eye for form, pieces like Bench & Stone would have been impossible to realize. As much as computer design may speed up some of the actual design and manufacturing, for Peter Donders creating innovative furniture still requires knowledge and creativeness based on a love for manual experience. www.morphs.be

Dode

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Parametric Lace

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Parametric Lace

Wind

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ALESSANDRA BALDERESCHI

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Alessandra Baldereschi was born in Milan, Italy, in 1975. When she was 25 she got her product design master from the Domus Academy and in the following year she was granted with a residency to study in Japan. The Japanese experience gave her the chance of developing projects for ceramic tableware for companies based at the Gifu district, at the Chubu region. In 2002 Alessandra got back to Italy and started cooperating with some Italian and European companies. The designer began to work on a wide range of products, from fashion jewelery to fashion, lighting and furniture. The three consecutive presences at the Salone Satellite, at the Salone Internazionale del Mobile in Milan, were important to show her work. Alessandra Baldereschi also invested in showing her work abroad by exhibiting in selected events like the Biennial of Saint Etienne, in France, the Seoul Design Festival, in South Korea, or at the Moss Galery in New York, in the United States of America. Some of her work got recognized for the skilled and inspired productions, she mentions at her site that the Soufflè armchair was chosen for the Milano Made in Design exhibit in Beijing and Shangai, in China, or Le Piantinne selected in 2009 to the GLASS exhibition curated by Li Edelkoort for the DesignHuis Museum in Eindhoven, the Netherlands. Nowadays Alessandra Baldereschi runs her own studio and she’s working for different companies. www.alessandrabaldereschi.com Text: Tiago Krusse Photo: Courtesy of Alessandra Baldereschi

Soufflè

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Poppins collection In the Poppins collection the upholstery is used to create a visual impression: the illusion of many pillows laying on a bench. The inspiration comes from the Optical Art’s method which, through the use of color and geometric shapes, creates , starting from a plane a three-dimensional optical illusions. Padding protrudes from the surface of wood, is took down and positioned only where is necessary. Through its three-dimensionality and a slight deformation of shapes, you get a dynamic effect, a vibration enhanced by color. The cushions become a part of the structure, increasing the comfort of the seat and representing the aesthetic value of the project. This value comes from ancient times, when the cushions were made with precious materials as a symbol of royalty. Technical data The upholstery of the bench has been obtained thanks to the technology of Thermoforming thick (normally used for lingerie and sports) a two-way stretch synthetic fabric for the soft part and a pair of double curvature shelves and wood for the structure. Each bench includes five different cushions, color and shape.

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Tapisserie collection for Ethimo The inspiration comes from the precious striped fabrics, used in the 70’s and 80’s, to cover armchairs, chairs and sofas. In Tapisserie collection, the visual effect of fabric is reproduced using curved metal rod, bent on purpose to create the illusion of padding; the three-dimensional impact is also amplified by the use of color. Thanks to ingenious construction details, each element of the series is in two colors: a feature that makes the collection unique. “Every curve, every round, contribute to a cozy feeling, a perception of comfort.” Materials: painted aluminum, painted iron rod. Cushions: cushions with removable covers in acrylic water-repellent and UV-resistant color Grey Nature. Colors: The collection is proposed in the color combination: warmgrey / blue plumbago | 23 |


Ramages for Ethimo A flower-pot to create your own Secret Garden, as in the story of Frances Burnett: a tiny garden hidden among twigs and vegetation climbing. The structure of the vase is made of “branches� in painted metal rod, that creates a support for climbing plants and at the same time become a lovely outdoor dividers, to separate or create flowerbeds vertical. Materials: painted metal rod, plastic rectangular flower-pot.

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Rock-Me for Seletti Rocking chair made of wood and three-dimensional fabric. Rock-Me is the reinterpretation of the classic rocking chair in Vienna. The typical curves that make up the rocking chair have remained unchanged to make it recognizable. Just some parts of the structure have been lightened and replaced the straw with technical fabric. The color and details make this product contemporary and vintage in the same time.

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MANUEL BAÑÓ AND DAVID GALVAÑ

Manuel Bañó and David Galvañ are two designers graduated in Industrial Design and Technical Engineering by the Cardenal Herrera University in Valencia, Spain. They got their master specialization on furniture and lighting at the Superior School of Technical Teaching at the same university. Now they run by the name of LaSelva, a design studio operating from Spain and Mexico. Before opening their design studio Manuel and David achieved a quite considerable amount of professional experience working for brands and educational institutions. Seeing themselves as a team, supporting each other on how to develop new ideas and concepts, their work covers a wide range of products. They say their products “are based on new needs and user profiles, with a great focus on detail and research of new materials”. We like the way Manuel Bañó and David Galvañ present these LaSelva products, on how they show their skills by assembling innovation and technology in a very clean statement. The products also reveal new possibilities of performance as well as some cultural aspects. Beside the purpose of keeping it simple there is also a reflection of innovative solutions with a guarantee of durability. www.laselvastudio.es

Atlas The ceramic module Atlas provides a frame with six positions creating a pattern similar to a maze. The different paths of the module continue to adjacent modules communicating with each other. Some of them are finite paths and others continue their way indefinitely. Thanks to its easy production process it can be produced in a variety of materials and finishes such as concrete and ceramic in matt, gloss or embossed. The product can be used both as wall and floor tile for indoor and outdoor, as decoration or even sidewalks.

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Flamingo Flamingo breaks the classic table lamps stereotype offering a cleaner versi贸n without losing functionality. The classic external spring structure is replaced by curved metal tubes and rotary axes which allows it to reach the same positions as a conventional table lamp while removing material and unnecessary parts. Available in various colors and finishes.

Loop Loop appears as the minimum expression, a wall hook consisting of a thin sheet of metal, a wooden body and two screws. His plane exploded view makes shipping an easy task, because when exploded is not larger than 12mm thick. This enables users to purchase it in addition to offering a playful way of assembly and installation which we consider an add value. Available in several colors and materials.

Photo: Courtesy of LaSelva

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INTERVIEW

François Mangeol

We’ve met François Mangeol last year at the Biennale Internationale Design Saint-Etienne in France. We were caught by the work and products by this French designer for the Edition Sous Etiquette. We were also impressed by exhibition held at the fantastic atmosphere of the Mine Museum in which he was one of the scenographers chosen for the Les Editeurs Stephanois curated by the Cite du Design. Working from its own studio we’ve tried to get an impression about his approach to work and also about how design is perceived in his own country. Text: Tiago Krusse Photo: Courtesy of François Mangeol

Why did you choose to be a designer? As a child, I always wanted to build the world around me, specific objects part of it. When I realized that this could actually be a full-time job you can imagine my happiness.

learning things at the same time they are making new projects. As a designer I dare to say that we are such an expert to associate in a new way the processes and the materials.

What were your expectations when you started working as a professional? To be open-minded and show respect, commitment and curiosity! I still keep these perspectives.

What are the key backgrounds for becoming a good designer? I think it’s curiosity, open-minded, respect, commitment, perseverance and most important is working hard!

Did you studied and planned to work with specific orientation or did you let your mind open to embrace new challenges? My creativity is supported by everything that attracts my attention: poetry, mathematics, history, television, information, materials, etc. We have to be openminded and each new challenge is like a gift. More, each specific project is born out of a mix of ambition and disappointment. Once I have established a direction with clients throughout discussions, we start developping ideas and growing them to a final shape. The only specific orientation if I must absolutely name it is this way of thinking. What is your perspective about the main differences between a craftsman and a designer? As a craftsman a designer is someone who gives value to materials by transforming them. Crafstmen are expert in specific processes and materials. Designers will never be like an expert they will keep

How is it to be a designer in France? Like everywhere I guess, it’s difficult but awesome. It is really a great job. We meet a whole lot of awesome and interesting people like craftmen, indutrials, journalists, designers, clients … How do you approach and deal with the indifference most people still have with the work of designers? French people are not indifferent to our work, they just do not know or understand it! Most of them still think we are sort of an “artist” drawing a chair like a sunset. But I really don’t care because I do not work to become a tv star recognized by everyone. My mission is to work for them, to give them emotions, solutions or just a smile. That’s it. I do prefere to have respect from my clients, having journalists interest or some designers friends congratulating about one of my projects. | 29 |


Cumulus

What sort of specific elements you seek in design? Life is inspiration. Creation is always very important to me but my motto should be a crossover between materials abilities, symbols, geometry and poetry. I’m especially curious about everything and not exclusive with subjects. All these new problems are a constant renewed source of inspiration to my practice as a designer. Today one of mine greatests pleasures is to be able to think about drawing a chair, a clock or a car as an apartment. Which guidelines you follow when you take part of a new project? To be observant and open-minded. | 30 |

In what kind of projects are you involved in 2014? A few exhibitions, new furnitures, rugs and objects edition, a ready-to-wear collection with Each x Other, a new collection for Domeau & Pérès and some others things… What are the challenges that lay ahead for designers in the years to come? The challenges will be to find a way to work on all aspects of our world and to find innovative solutions for most everyone of us.

www.francoismangeol.com


Hercules

Vernaculaire

PI Collection

DS table

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TULIPOP By: Hugo Poge Photo: Courtesy of Tulipop

Signy Kolbeinsdóttir

Created in 2010 by celebrated Icelandic illustrator Signy Kolbeinsdóttir — and bought to market with her best friend, Helga Arnadottir — Tulipop is aimed at 4-8 year olds, but is set to be equally as popular with adults who have an eye for distinctive design and quality. Together, Signy and Helga have created an enchanting world, which challenges the idea that certain colors, designs and symbols are gender-specific. The carefully considered and beautiful range features intriguing characters such as Bubble, a shy and dreamy mushroom boy, Gloomy, an adventurous mushroom girl and the intimidating-looking but kind Mr. Tree – challenging stereotypes. The business partners, both working mothers, launched Tulipop as they wanted a beautiful kid’s range they would want to buy their own children. Today the range boasts several awards and has grown to | 32 |

include tableware, homeware, accessories and stationery. In its home market of Iceland it is recognized and loved for being a cool kids range that offers something a bit different from the norm. It also has a discerning following amongst artists, musicians and trendsetters. Tulipop’s creator, Signy Kolbeinsdóttir comments: “We are excited to launch Tulipop in the UK. The children’s gift market here is one of the most vibrant and diverse, and UK consumers have a huge appreciation of design and quality. By choosing to exhibit in the UK for the first time at Top Drawer we hope to introduce Tulipop to buyers who are looking for unique products which appeal to style conscious gift buyers.” www.tulipop.com


Fred tableware

Mr. Tree lamp

Tulipop bowls

Miss Mady tableware

Tulipop stationary

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FOOD DESIGN

Rita Ramos and Miguel Ramos

Photo: Courtesy of Stufa

They are brothers Rita and Miguel Ramos, she is a master in environmental sciences from the Evora University and he is a graduate graphic designer from the Caldas da Rainha Superior School of Arts and Design. Rita is a project manager and a sustainable consultant with 10 year of experience and Miguel is an art director and a graphic designer for 6 years. They both found Stufa in March of 2011, a company with a clear mission to provide “the cooking experience with health and sustainability by designing a microgreens chef’s gardener learning kit”. They create a well conceived method that allows people to feel the experience of growing and using kitchen herbs at home. A self-explanatory product that gives anyone the possibility of harvesting vegetables just before meals get served and by that conserving all flavor and the vitamins in these ingredients. The product puts in evidence that it requires little space and those microgreens show how they quickly | 34 |

grow with no special requirement for direct sunlight. Other similar products promoting this idea of cultivating vegetables at home, at a outdoor environment, showed that most of the times plants would not also grew yellowish and wilted as it demand a lot of time from its users. The Stufa kit was design to indoor allowing less experienced people to obtain good results with less commitment. As to children they point out that is an ideal experience not only by persuading them to eat vegetables but also giving an educational perspective of this natural process. Rita Ramos wrote that the Stufa project “aspires to contribute towards a sustainable development by promoting a decorative and yet useful product - a kitchen herb garden DIY box.”

www.stufaconcept.com


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INFINITY BAMBOO FOREST Design: Prism Design Text: Tiago Krusse Photo: Studio W – Wataru Ishida

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Tomohiro Katsuki, Masanori Kobayashi and Reiji Kobayashi of the Prism Design studio have created this Infinity Bamboo Forest on Moonlit Garden, at the Jiangsu province, in China. The specific area was a connection between public space and the main buildings. The client wanted something visually balanced, able to produce a comforting and natural atmosphere within such a small space. They used LED technology to design a dramatic illumination atmosphere and bamboo to define a typical Japanese passage complementary to the Japanese influence of the main buildings. The design illumination and the use of acrylics were crucial to the purpose of creating the reflecting mirror games and to produce the appearance of infinite depth. The alignment and the reflections of the illuminated white bamboos create a dynamic phantom forest and a classic contrast with the surrounding darkness. The visual impact could be striking and elegantly mysterious at the same time. The space area has a total of 210 square meters, 37 used for storage and 35 for toilet, a 20 meters of main corridor with 1.8 meters width and 3 meters height. Prism Design studio worked on a very limited space as well as limited budget and few time. Clear design thinking and well defined strategies lead to right conclusions and a fascinating work. www.prism_design.prosite.com | 38 |


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A SMALL CHAPEL Architecture: Bruno Dias Arquitectos Text: Tiago Krusse Photo: Hugo Santos Silva

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The village Sarzedela is near the town of Ansiao at the Leiria region in the center of Portugal. The architect Bruno Dias remembers perfectly from his childhood to see people gathering around the chapel, a small temple built at the beginning of the XVII century. Some years of negligence and disinterest from the people were contributing to the loss of the body and soul of this small and simple St. John’s Baptist chapel. As local habitant the architect Bruno Dias expresses that “after a thorough analysis of the history of the chapel, history records and experiences of the former inhabitants, the project started in 2010 for the first time in its history, affected the entire building.” The purpose of the architect was to restore the grace of the structure because not only it was neglected as it was also damaged by a few interventions which harmed the building as a whole. The architect underlines that it was a complex process in which he had to congregate a number of interdisciplinary procedures combining skills of restoration, rehabilitation and reform. The work was seeking for the lost soul of the structure and the historical research produced led the team to the primal atmosphere of the space both from the outside as well as in the interior of the chapel. The describing text of this work provided by the architect says that the “project was based on the revitalization of the chapel interior space, creating a harmonious space, a particularly sensitive program, developing a language we always based on respect for the existing heritage and its architectural character”.

The project was focused on this urge to regain harmony and balance inside the chapel. The architect held in mind the heritage and the patrimonial value of a building needing to recover its asymmetric arrangement, optimize its space functionality and bringing back the original dimensions. The working process has pay attention to any chance of recovering original structures or replacing old wooden beams. We dare to say that a reform also took place because it is expressed by the architect that “the new spatial configuration would change the relationship between the void and the built environment” aiming to more comfort within the whole clarified structure. The architect Bruno Dias in his conclusions about the work developed says that building regains its “great spatial richness clarified by changing its scale with the program, in which the lights, transparencies and broad prospects assumed a leading role in defining the new spaces, taking as its premise the existing avowedly abstract and scenographic white walls, conveying calm and lightness to the space, staging religious spatiality, ensuring a current intervention, respecting the existing heritage and its architectural character, giving it a scenographic spatiality reusing existing objects , thus creating identity upon its history values”. The chapel reveals again its original features and the Sarzedela population can claim that the body and soul of the building was brought back.

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NEW AIRPORT TERMINAL Architecture: Studio Fuksas Text: Tiago Krusse Photo: Leonardo Finotti

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When we think of the changing of the Chinese’s zodiac year and set our imagination to wonder about all those people coming home from all over the world to celebrate the event and to see their families it is not that hard for us to produce a general perception of the scale of these seasonable migrations. The Shenzhen Bao’an International Airport is China’s fourth largest following Beijing, Shanghai and Guangzhou. The new airport terminal is a project won by the Studio Fuksas and the completed three years construction was an answer to Shenzhen’s fast growing, dealing not only to the fact of being one of China’s most developed cities but also as a nonstop increasing tourist destination. The new terminal is fully operational since November the 28th of 2013. The city of Shenzhen is located at the Guangdong province, south of the country, just a little up north of Hong Kong. This new infrastructure plays an important role to economic development of the region and gives a contribution for a sustainable answer regarding the quick growth of population and its needs for communicating both internally and abroad. The terminal 3 is compost by 63 contact gates and a further 15 remote gates plus a significant space designed for retail. The scale of the new terminal increased the airport capacity by 58% providing the space to handle up to 45 million passengers per year. The 500,000 square meters of terminal 3 looks like a manta ray. From the inside to the outside the walls and roof show these two double skin with a motif reminding us of a honeycomb which wraps the | 58 |

whole structure. Roof spans up to 80 meters and honeycomb shaped metal and glass panels are set along the façade giving way to natural light to filter through. The space program shows three levels, departures, arrivals and services which are connected. They use its verticality to create full height voids and by that natural light could enter comfortably from the highest to the lowest level. The architects worked the interior and exterior with the same intention of producing aesthetic qualities, seeking that important side of fascination that comes from inspirational creativeness. Regarding people’s circulation through the space they’ve worked on two ideas: one of movement and other of pause. A lot of considerations were taken like processing times, walking distances, orientations, crowding and amenities. To serve Man properly terminal 3 had to be comfortable and to provide a relaxing experience for its thousands of daily users. The Studio Fuksas are engaged on two further phases of the airport extension, scheduled to be completed in 2025 and 2035.

www.fuksas.it


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Project: Shenzhen Bao’an International Airport, Airport Expansion Terminal 3 Location: Bao’an District, Shenzhen, Guangdong, China Size: 500,000 sq.m. / 5,381,955 sq.ft (approximately) Architects: Massimiliano and Doriana Fuksas Interior design: Fuksas Design - internet-point, check-in ‘island’, security-check, gates, checking areas, shop box, baggage-claim ‘islands’, info-point, ventilation trees, signage, commercial desk and washrooms Client: Shenzhen Airport (Group) Co., Ltd. Developer: Shenzhen Planning Bureau; Shenzhen Airport (Group) Co., Ltd. Contractor: China State Construction Engineering Corporation, Beijing Structures, façade and parametric design: Knippers Helbig Engineering, Stuttgart, NY Architect of record: BIAD (Beijing Institute of Architectural Design), Beijing Lighting consulting: Speirs & Major Associates, Edinburgh, London Materials: Steel with a concrete substructure. 52,000 tonnes of steel was used, with an additional 260,000 tonnes of reinforcement. It has won the ‘Steel Gold Award (National Quality Engineering)’. Sustainability: The design has been optimized to make best use of natural ventilation and light. Photovoltaics will meet the electricity demand of T3, making about 950 million electricity units each year. Future photovoltaic generation is expected to reach a capacity of 10MW that will be used to support the electronic devices of the entire airport. Cost: 734,000,000 Euros Orientation: The main building includes two-storey underground and four layers above the ground (partial five storeys). The fourth floor is the departure hall. The third floor is connected with the domestic departing passengers channel and the center of it is the international joint inspection zone, luggage collection/checkpoint and the office area located on both sides. The domestic passage channel, luggage claim hall and part of the office area are on the second floor. At the north east part of the first floor is the international departure hall. Its center is used for the international joint inspection zone and also the luggage claim hall. In front of the first floor stand the CIP lounges. Between it and the main building stands the outdoor courtyard. | 64 |


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LONDON AQUATICS CENTRE Architecture: Zaha Hadid Architects Photo: Hufton + Crow

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The London Aquatics Centre, in the United Kingdom, is a work by Zaha Hadid Architects and it was reopened to the public on March the 1st after replacing all the temporary stands used during the 2012 Olympic and Paralympic Games. Now the centre provides the public with swimming and diving lessons to all ages and abilities, as well as a variety of fitness and family sessions, water polo, synchronised swimming, diving, triathlon, sub aqua, gym and dry diving facilities. Featuring 2,500 seats for spectators the infrastructure will also continue with its purpose of hosting national and international competitions scheduled for the upcoming years. Located at the south eastern edge of Queen Elizabeth Olympic Park on the New Stratfford City Bridge, in east London, the Aquatic Centre reveals a design concept inspired by the fluid geometry of water in motion. New spaces and surrounding environment were created in order to establish a complementary harmony with the river landscape. The expressive roof emerges like a big wave and giving to the whole monumental steel structure a sense of lightness. The roof has “about 3,200 tonnes of structural steel, of which 2,000 tonnes are fabricated plate girders with the structural connections totalling around 600 tonnes”. The building is planned on an orthogonal axis perpendicular to the Stratford City Bridge. There are three pools: the training one is located under the bridge whilst the competition and diving are both within a large volumetric pool hall. The purpose was to frame the base of the pool hall as a podium by surrounding it and connecting it into the bridge. The describing text of the project says that “this podium element allows for the containment of a variety of differentiated and cellular programmatic elements into a single architectural volume which is seen to be completely assimilated with the bridge and the landscape”. We see the podium emerging from the bridge and then cascading around the pool hall to the lower level of the canal. “The pool hall is expressed above the podium level by a large roof which arches along the same axis as the pools. Its form is generated by the sightlines for the spectators during the Olympic mode. Double-curvature geometry has been used to create a structure of parabolic arches that define its form.

The roof undulates to differentiate the volumes of the competition and diving pools, and extends beyond the pool hall envelope to cover the external areas of the podium and entrance on the bridge. The roof structure is grounded at three points of the centre (two points at the northwest end on the bridge; and one single point to the south east end). This structural arrangement ensured 7,500 temporary spectator seats could be installed along either side of the pools in Olympic mode (total 15,000 temporary seats) with no structural obstructions. After the 2012 Olympic and Paralympic Games, this temporary seating has been removed and replaced with glazing panels, leaving a capacity of 2,500 seats for community use and future national/international events, with a significantly reduced pool hall volume”. www.zaha-hadid.com

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BOOK RECOMMENDATIONS

Fritz Kahn (1888-1968) became notorious for his extensive work of images and illustrations in which he tried to explain complex scientific ideas. Going through more than 350 illustrations we understand why he’s called the information graphics pioneer. Beyond amazing illustrations the book features also three original texts by Fritz Kahn, a foreword by Steven Heller titled The Factories of the Human Body and an essay about his life and work. This monograph was published in 2013 on the 125th anniversary of Kahn’s birth. The German doctor, educator and popular science writer was chased out of Germany by the Nazis that banned and burned his books. Expelled from Germany in 1933 Kahn emigrates to Palestine, than to Paris, France, where is was interned in 1940 under the suspicion of espionage. His second wife Erna Schnabel succeeds in having him release and they flee to Spain and Portugal. In 1941 with Albert Einstein’s intercession and the Varian Fry’s Emergency Rescue Committee the couple reaches the United States where in New York he continues his work. The translation of Kahn’s Man in Structure and Function to American allows him to break through the market. Uta and Thilo von Debschitz are bothers, she started as an architect and now works as a freelance author and he studied communication design and he’s the founding director of the Q agency. It was by chance that the brothers became Kahn’s life and work experts. Kahn’s illustrations on books were the starting point to get enthusiastic about his work and to develop most effusive research. Their goal with this monograph is to turn visible and accessible all these visual expressions of ideas to a wider public.

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Title: Fritz Kahn Authors: Uta von Debschitz, Thilo von Debschitz Release date: 2013 Finish: hardcover Number of pages: 394 ISBN: 978-3-8365-4840-3 Language: English, German and French Publisher: Taschen


Julius Shulman (1910-2009) said in 1936 to Richard Neutra the he was no photographer. Only in 1950 Shulman will set his studio and began a whole series of photographic sessions capturing the works of reputed architects. About the photographer Taschen says that “his images of Pierre Koenig’s Case Study House No. 22 (1960) in Los Angeles and Richard J. Neutra’s Kaufmann House (1947) in Palm Springs are among the most recognizable and iconic architectural photographs of the 20th century”. Shulman became one of the best architectural photographers not only for the fact that he documented a vast variety of buildings less known of the modern architectural movement but mainly for his sensibility to capture the spirit of the architects in every detail of their works. This book reveals the spirit of the ’50 and ’60 through almost 300 projects and “paying homage to California Modernist in all its forms”. Julius Shulman’s work became easily recognized due to his good eye behind the camera and the intelligence of his sensible impression. He was award several times including the Architectural Photography Medal from the American Institute of Architects, 1969, and a life achievement award from the International Center of Photography in New York, in 1998. The author of this book is Pierluigi Serraino an architect living in the San Francisco Bay Area in the United States. He has written several books on architecture and its articles and projects were diffused worldwide in specialized media.

Title: Julius Shulman Modernis Rediscovered Authors: Pierluigi Serraino Release date: 2013 Finish: hardcover Number of pages: 596 ISBN: 978-3-8365-4924-0 Language: Spanish, Italian and Portuguese Publisher: Taschen

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VISIT OUR WEBSITE www.revistadesignmagazine.com

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DESIGN MAGAZINE 16 (MARCH/APRIL 2014)