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Coop Himmelb(l)au Designs Anti-Surveillance Coat

00:00 - 6 July, 2014
Coop Himmelb(l)au Designs Anti-Surveillance Coat, © Markus Pillhofer
© Markus Pillhofer

The Austrian firm Coop Himmelb(l)au has designed a wacky quilted coat that blocks electronic surveillance. With pockets to protect your collection of phones and tablets, the Jammer Coat was commissioned for the Workwear exhibition at the Triennale in Milan. 

From Facades to Floor Plates & Form: The Evolution of Herzog & de Meuron

01:00 - 6 July, 2014
From Facades to Floor Plates & Form: The Evolution of Herzog & de Meuron, Herzog & de Meuron’s 1111 Lincoln Road, Miami Beach, Florida, USA (2005-2008, realisation 2008-2010). Image Courtesy of Xavier de Jauréguiberry
Herzog & de Meuron’s 1111 Lincoln Road, Miami Beach, Florida, USA (2005-2008, realisation 2008-2010). Image Courtesy of Xavier de Jauréguiberry

The following is an essay that originally appeared in Australian Design Review as "Beyond the Wall, the Floor." In it, Michael Holt and Marissa Looby describe the evolution of Herzog and de Meuron's work. Using numerous examples of recent projects (such as VitraHaus and 56 Leonard Street), they point out that Herzog and de Meuron have, increasingly, relied on the floor slabs of their buildings to suggest the building’s shape. By removing the façade’s prominence in favor of a more suggestive way of creating mass, they have turned their original design signature on its head. 

Simple adjustments, slight alterations, subtle illusions. These are not tagline descriptions of the 1111 Lincoln Road, Miami Beach project, or a synopsis for a body of work. Instead they operate as retroactively projecting the course of professional development in the works of Swiss architects Herzog & de Meuron. The practice is known, from its earliest built projects, as a firm who produced artistically driven facade treatments where the vertical plane — the ‘nominal façade’ — would define form through the visually stimulating surface or skin. As the practice has evolved, it is argued here, they have crafted a new strategy: the horizontal plane as vertical facade generator.

In its progression the practice has deviated from facade ornamentation and fabrication towards the removal of the facade altogether; allowing for the floor plate — as a visual element — to operate as inadvertent facade and thus doubling its structural and visual importance. The placing of floor plates becomes the force creating the form – the ‘inverted structural skin’The stripped back architectural form does not remove the facade, but removes the idea of a facade, paradoxically creating a building mass almost by default.

Escola Secundária Garcia da Orta / Bak Gordon Arquitectos

01:00 - 6 July, 2014
Escola Secundária Garcia da Orta / Bak Gordon Arquitectos, © Fernando Guerra – FG+SG
© Fernando Guerra – FG+SG

© Fernando Guerra – FG+SG © Fernando Guerra – FG+SG © Fernando Guerra – FG+SG © Fernando Guerra – FG+SG +25

Video: The Spatial Diagramming of Spike Jonze's "Her"

00:00 - 6 July, 2014

Every month, INTERIORS Journal analyzes and diagrams the spaces in various films, producing detailed plans for our viewing pleasure. But have you ever wondered just how they do it? If you have, check out their short video on making the plan from Spike Jonze's feature film Her above.

Regional Cultural Centre / MacGabhann Architects

01:00 - 6 July, 2014
Regional Cultural Centre / MacGabhann Architects, © Dennis Gilbert
© Dennis Gilbert

© Dennis Gilbert © Dennis Gilbert © Dennis Gilbert © Dennis Gilbert +38

  • Architects

  • Location

    Letterkenny, Co. Donegal, Ireland
  • Design Team

    Antoin MacGabhann, Tarla MacGabhann, Nanni Grau, Niels Merschbrock
  • Area

    1700.0 sqm
  • Project Year

    2008
  • Photographs

Sekiz Artı Wins Competition to Redesign Gallipoli National Park

00:00 - 6 July, 2014
Sekiz Artı Wins Competition to Redesign Gallipoli National Park, Courtesy of Sekiz Artı
Courtesy of Sekiz Artı

The Gallipoli Peninsula, at the Western end of Turkey, holds a particular significance for the country as the site of a major World War One battle in which the declining Ottoman Empire repelled an attempted invasion by British forces. Today, it is seen as one of the defining moments that contributed to the formation of modern day , and the site of the battle is commemorated by a national park which includes a series of monuments and memorials at the southern tip of the peninsula.

City square Mortsel / ABSCIS Architecten

01:00 - 6 July, 2014
City square Mortsel / ABSCIS Architecten, © Thomas De Bruyne
© Thomas De Bruyne

© Thomas De Bruyne © Thomas De Bruyne © Thomas De Bruyne © Thomas De Bruyne +10

  • Architects

  • Location

    Stadsplein, 2640 Mortsel, Belgium
  • Design Team

    ABSCIS ARCHITECTEN BVBA
  • Area

    1045.0 sqm
  • Project Year

    2013
  • Photographs

Yul-dong Café / iSM architects

01:00 - 6 July, 2014
Yul-dong Café  / iSM architects, © Hyosook Chin
© Hyosook Chin

© Hyosook Chin © Hyosook Chin © Hyosook Chin © Hyosook Chin +30

  • Architects

  • Location

    Bundang-gu, Seongnam-si, Gyeonggi-do, South Korea
  • Architects in Charge

    Joongwon Lee, Kyung-A Lee
  • Area

    72.0 sqm
  • Project Year

    2014
  • Photographs

The Cubes House / Néstor Sandbank

01:00 - 6 July, 2014
The Cubes House  / Néstor Sandbank , © Itai Sikolsky
© Itai Sikolsky

© Itai Sikolsky © Itai Sikolsky © Itai Sikolsky © Itai Sikolsky +28

  • Architects

  • Location

    Ramot HaShavim, Israel
  • Project Area

    3000.0 m2
  • Project Year

    2013
  • Photography

    Itai Sikolsky

Organic London Skyscraper Grows as Residents Recycle

01:00 - 6 July, 2014
Organic London Skyscraper Grows as Residents Recycle, Exterior View. Image Courtesy of Chartier Corbassons architectes
Exterior View. Image Courtesy of Chartier Corbassons architectes

Inspired by vegetative growth and the bamboo scaffolding of Asia, Thomas Corbasson and VS-A have proposed a conceptual project for an organic skyscraper for London that will incorporate waste produced by its occupants. The building will rise vertically as more and more of the glass and paper needed for construction is discarded by building residents. It is estimated that enough recycled material for the building’s façade could be produced within a year. The project earned a special mention in a recent Skyscapers and SuperSkyscapers Competition.

Artist Lucy William's Remarkable Illustrations of 20th Century Modernism

00:00 - 5 July, 2014
Artist Lucy William's Remarkable Illustrations of 20th Century Modernism, Great Arthur House, 2014. Plexiglas, paper, cork, corrugated polystyrene, balsa wood, birch and walnut veneers, bronze colored card and acrylic paint on board. Image Courtesy of McKee Gallery
Great Arthur House, 2014. Plexiglas, paper, cork, corrugated polystyrene, balsa wood, birch and walnut veneers, bronze colored card and acrylic paint on board. Image Courtesy of McKee Gallery

Neither photographs nor renders, all of the images in this post are actually the intricately handcrafted creations of British artist Lucy Williams, a skilled paper-cutter with an incredible amount of patience. Luckily for us architecture fiends, the stars of Williams’ mixed-media works are her 20th century modernist designs. Check out more of her amazing work after the break.

Bricket Wood, 2013. Plexiglas, cork, balsa wood, paper, card, walnut veneer, silver colored card and acrylic paint on board. Image Courtesy of McKee Gallery Bousfield School, 2013. Paper, card, Plexiglas, cork, gravel effect scenic mat, silver colored card and acrylic paint on board. Image Courtesy of McKee Gallery 66 Frognal, 2014. Miniature red house bricks, Plexiglas, paper, card, cork, balsa wood, piano wire, scenic polyester voile, grass effect scenic mat, silver colored card and acrylic paint on board. Image Courtesy of McKee Gallery Howard House, 2014. Plexiglas, paper, cork, obeche strip wood and acrylic paint on board. Image Courtesy of McKee Gallery +5

Ferreries 16 / Cubus, Taller d’Arquitectura

01:00 - 5 July, 2014
Ferreries 16 / Cubus, Taller d’Arquitectura  , © Nani Pujol
© Nani Pujol

© Nani Pujol © Nani Pujol © Nani Pujol © Nani Pujol +13

Stock Coffee / Arhitektura Budjevac

01:00 - 5 July, 2014
Stock Coffee / Arhitektura Budjevac, © Andreja Budjevac
© Andreja Budjevac

© Andreja Budjevac © Andreja Budjevac © Andreja Budjevac © Andreja Budjevac +16

  • Architects

  • Location

    Trg Kralja Aleksandra Ujedinitelja, Niš, Serbia
  • Design Team

    Andreja Budjevac, Saša Budjevac, Miljana Ignjatović
  • Wall Art

    Jelena Ilić
  • Area

    105.0 sqm
  • Project Year

    2014
  • Photographs

Exhibition: The Mound of Vendôme

00:00 - 5 July, 2014
Exhibition: The Mound of Vendôme, Courtesy of CCA
Courtesy of CCA

On view at the CCA from 19 June to 14 September 2014 and curated by architectural historian David Gissen, The Mound of Vendôme revisits one key episode of French history when the Commune de Paris in 1871 voted to demolish the Vendôme Column, abolishing all allusions to the Napoleonic era. To protect the surrounding architecture during demolition, a radical landscape was erected on Place Vendôme. Informed by the methods of experimental history, Gissen’s ongoing research project and installation at the CCA traces the provocative history of the column and mound, while arguing for its historicisation and reconstruction. 

A Provocative Possible Future for Moscow's Failing Business District

00:00 - 5 July, 2014

What can you do with a business district that has an office vacancy rate of 40%, is completely separated from its surroundings and is facing increasing competition from business centers emerging throughout the city? These are questions that are increasingly being asked about Moscow's International Business District, the symbol of capitalism that was planned in 1992 after the fall of the Soviet Union, yet is still under construction today.

Eduardo Cassina and Liva Dudareva, founders of METASITU and researchers at the Strelka Institute, have proposed a provocative idea in response to this dilemma: envisaging the business district's future in 2041, they imagine a scenario where the district is linked by underground metro to Sheremetyevo And Domodedovo airports in the North and South - forming the world's first mega-airport, and the first one where it is possible to live in the terminal building without ever leaving.

Read on after the break for more explanation of idea

Diagram showing the locations of Stop Over City and the two existing airports. Image Courtesy of Eduardo Cassina and Liva Dudareva In many ways, Stop Over City is more closely related to the global airports it is connected to than to the city outside its doors. Image Courtesy of Eduardo Cassina and Liva Dudareva An underground tunnel connecting buildings in Stop Over City. Image Courtesy of Eduardo Cassina and Liva Dudareva The entrance hall in Stop Over City. Image Courtesy of Eduardo Cassina and Liva Dudareva +7

Unfolding House / Jae Heon Jeong

01:00 - 5 July, 2014
Unfolding House / Jae Heon Jeong, © Youngchea PARK
© Youngchea PARK

© Youngchea PARK © Youngchea PARK © Youngchea PARK © Youngchea PARK +20

  • Architects

  • Location

    Yongmun-myeon, Yangpyeong-gun, Gyeonggi-do, South Korea
  • Design Team

    Moonhui LEE
  • Area

    253.0 sqm
  • Photographs

Light Matters: Creating Walls of Light

00:00 - 5 July, 2014
Light Matters: Creating Walls of Light, Uniform wallwashing at 171 Collins Street, Melbourne. Architects: Bates Smart Architects. Lighting design: Electrolight, www.electrolight.com.au. Image © Dean Bradley
Uniform wallwashing at 171 Collins Street, Melbourne. Architects: Bates Smart Architects. Lighting design: Electrolight, www.electrolight.com.au. Image © Dean Bradley

Modernism induced a shift in lighting away from luminaires and towards invisible light sources that render spaces in a purer (forgive the pun) light. For the first time, lit walls were used to define rooms and to structure architecture. Today I’d like to explore early prototypes - including Philip Johnson’s Brick House and the Seagram Building - and discuss how their lighting techniques continue to influence architecture today. 

Grazing light at Sancaklar Mosque, Istanbul. Architects: Emre Arolat Architects. Image © Thomas Mayer Wallwashing at British Museum, London. Architecture: Foster & Partners. Lighting design: Claude Engle, Chevy Chase, Maryland. Photo: Dennis Gilbert / View. Image © ERCO, www.erco.com Wallwashing at Nordrhein-Westfalen House, Germany. Architeture: John Pawson. Photo: Werner Huthmacher. Image © ERCO, www.erco.com Cove lighting at private spa. Designer: Carmody Groarke. Lighting design: Lighting Design International. Image © Christian Richter +8

Sarah Sze's 2013 U.S. Venice Biennale Installation Coming Home

00:00 - 5 July, 2014
Sarah Sze's 2013 U.S. Venice Biennale Installation Coming Home, Wood, steel, plastic, stone, string, fans, overhead projectors, photograph of rock printed on Tyvek, mixed media at Triple Point (Planetarium), 2013. Image courtesy of Sarah Sze, Tanya Bonakdar Gallery, New York, and Victoria Miro Gallery, London. Photograph by Tom Powel Imaging
Wood, steel, plastic, stone, string, fans, overhead projectors, photograph of rock printed on Tyvek, mixed media at Triple Point (Planetarium), 2013. Image courtesy of Sarah Sze, Tanya Bonakdar Gallery, New York, and Victoria Miro Gallery, London. Photograph by Tom Powel Imaging

Is that rock inside or outside? Wait, is it even a rock? If not, then what is it? As bizarre as these questions may seem, they are the exact ones Sarah Sze wanted people to ask themselves when visiting her Triple Point (Planetarium) exhibit in the United States Pavilion at the 2013 Venice Biennale. Sze, whose work tends to distort the viewer's perception of reality, "transformed the U.S. Pavilion into a chain of immersive experiences through a series of interrelated installations."

Although the project was specifically designed to engage the Neoclassical Pavilion, part of it will be on display at the Bronx Museum of the Arts from July 3rd through August 24th of this year. For more on the artist and the exhibit, keep reading after the break.