Search results for "yabu pushelberg"
MANGROVE REEF WALLS KVdR Design with Jessene Aquino-Thomas
Approximately half the world population lives in urban areas near coastlines, with coastal armoring reducing native habitats and enabling invasive species to thrive. Mangrove Reef Walls are integrally cast within seawalls to recreate tidal habitats along urbanized waterfronts. The digitally developed mangrove and oyster geometry maximizes surface area and texture variety promoting adherence, growth, and hiding areas for numerous species. Ultimately, these eco-friendly seawall panels may be tuned for a variety of local species.HVAC
WHISPERRECESSED LED Panasonic
The WhisperRecessed LED is an 80 CFM exhaust fan that hides abaft an LED Recessed Light and disappears behind the ceiling. It is an attractive way to remove moist, polluted air from the home, and it helps to prevent mold and mildew. The architectural-grade recessed light fixture provides powerful yet quiet ventilation.OPENINGS
PORTAPIVOT 6530 XL Portapivot
With their discreet joinery, these unique room dividers are designed to be mounted on an already finished floor and under a solid or reinforced ceiling surface, without any preinstalled mounting systems. The minimal aluminum frame is designed to be fitted with 6- or 8-millimeter-thick safety glass and is available in three anodized colors: silver, black, and bronze. The axis can be positioned at one-third or in the center, with a configurable swing capacity of 90, 180, or 360 degrees.TECHNOLOGY & INNOVATION MAKERARM Makerarm A beautifully designed robotic arm that’s infinitely customizable, Makerarm is a factory on a desktop. It offers interchangeable tool heads that easily snap on and off, allowing instant conversion from a 3-D printer to a CNC mill to a laser engraver to a pick-and-place machine, among countless other functions, in a matter of seconds. Makerarm rotates 360 degrees and, at over 700 square inches, its work area is one of the largest of any 3-D printer or fabricator on the consumer market. BATH
FONTANE BIANCHE Salvatori + Fantini
A dialogue between circle and square runs through this entire collection from Fantini, created in collaboration with Italian stone company Salvatori. The washbasin is carved from a square marble block, from which a circular hemisphere is extracted. The Fontane Bianche line also includes faucets, showers, and handles.FACADES
CORSO Innova Tile
This long-format brick presents a new emphasis on the horizontal lines of fine brick installations with its 19.70-inch unit length. The extended shape, the colors, the variations of textures, and the size and position of mortar joints work together to express the modernity of terra-cotta. The architectural ceramic method of production broadens the range of available colors.RESIDENTIAL INTERIOR FURNISHINGS
MUSHROOM TABLE Yabu Pushelberg for Henge
Designed as complementary pairs, the Mushroom Tables have an unexpected lightness given their all-metal construction with softened, refined edges and rounded corners. The tables’ differences in height and scale are precisely considered, while the process of sand-casting is reflected in both form and finish, exhibiting a handwrought fluidity. The base of each table is more substantial than its top but is mirrored in its form; slender posts change in profile, from circular to square.
What We Saw
Six quick picks from BDNY 2017
Best of Products Awards
Meet the winners of our 2017 Best of Products Awards!
Yuichiro Hori of Stellar Works Weighs In
Why China is absent from the design conversation
From Functional to Fashionable: glass blocks used to create a glowing facade in Shanghai.Located in a high-end fashion district in Shanghai, this storefront was dramatically reclad in a custom glass block assembly by Toronto-based architecture studio UUfie. The facade is part of an adaptive reuse project, converting an old office building into a new flagship store for fashion house Ports 1961. Eiri Ota, the Director and Principal Architect of UUfie, says the design concept evokes the idea of a landform that resembles an iceberg floating freely in the ocean, “During the day, [the facade] mutes the surroundings, while subtly reflecting the sunlight. In the evening, the view is icy and crisp, and the surface illuminates with embedded LED lights integrated into the joints of the masonry.” The iceberg concept is inspired in part by the fashion brand’s celebration of the spirit of travel. The facade is composed of two types of glass blocks, a standard 12” (300mm) square block and a custom mitered block of the same dimensions. The use of corner blocks offers a seamless uninterrupted materiality. From a distance a larger grid emerges, registering the facade control joints and steel frame beyond. The grid acts as an organizing element for the building envelope, controlling the limits of the material while providing a basis for formal adjustments to the massing of the facade. At key moments, the building face pulls and pushes, establishing the main pedestrian entry and billboard displays for passersby. Ota relates these design moves to the building’s context, “the building has a sense of being undulated, expanding and contracting, as if it is shaped by its environment.” UUfie was able to achieve a three-dimensional “corbeling” look for the glass block by carefully integrating steel plates into the design. As the facade tapers, the blocks rest on a stainless steel plate of the same dimension, which extends to a steel frame. LED lighting, inserted into the masonry joints casts light toward the interior, which is indirectly reflected back to the exterior, establishing a soft glow effect and conveying the depth of the assembly. UUfie’s Toronto-base office worked to refine the detailing of the wall system to ensure that the on-site assembly process would operate as smoothly as possible, which meant condensing the number of connections in the modular assembly down to a set of standard details. This effort doubly helped to establish a rigorously refined aesthetic and efficient construction process, reflecting Ports 1961’s approach to carefully honed craft production. The finishes selected for the facade were a thoughtful addition to the project. The glass block is a satin finish, and the underside of the exposed steel plates is shot blasted to create a soft matte finish. These deliberately “soft” finishes operate contextually to contrast with Shanghai’s electric chaos. Ota attributes the success of the project to the facade’s materiality and formal massing: “The differing geometries and changing perspectives of the facade express the transformative nature of the city and the people of Shanghai.”
Bronze facade is inspired by Chinese historic architecture.In designing the facade of the new Waldorf Astoria Beijing, Chicago-based Adrian Smith + Gordon Gill Architecture (AS+GG) set out to create a contemporary expression that maintained a relationship to the city’s historic context. The project, after all, is within walking distance of the Forbidden City and many of the Chinese capitol’s famous Hutongs. “How do we make the experience of going to a hotel special and what about it would be Chinese?” enquired founding partner Gordon Gill. “From an experience standpoint, what about the wall could change your experience in your room?” The answer was a bronze facade with a bay window system that protrudes out from the face of the building. The bay windows are not uniform, however, but tuned to differing angles and orientations to frame particular views. This makes the whole building “like a compound eye,” according to Gill. Working in co-ordination with Toronto-based Yabu Pushelberg, the interior architects, the team developed a modular system based on the size of the rooms and the dimensions of the structural bays. It led to a cleaner design that was easier to construct. While the texture created by the bay window system is ornamental and connected to the context, it also provides solar shading. Shade provided by horizontal glass fins above the recessed vertical windows allowed the architects to use very clear low-iron glass to give the best views possible. “It is not tainted by a tint or a color in any way. There is a low-e coating on the glass, but it’s a low-level so it’s not reflective on the inside,” said Gill. The architects developed the bronze details, and the client initially liked it. The designers were excited, but nervous about it actually happening. Gill explained, “We went back to the chairman a few weeks later for the presentation, and he came back and said ‘Well I want you to know that I had lunch with the mayor and I told him that this building was going to be bronze, and he loved it, so now we have to do it.’ So it was just a matter of detailing out.” Metal panels can present technical challenges, especially catalytic failure between the z-clips and the metal panels, including rusting, corrosion, or telegraphing through the panel. The design team mitigated these problems, so the main challenge was to get the color right. Bronze is not a typical material, so they had to rely on their own blend of copper, nickel, and brass to achieve a warm, golden color that was not too yellow, red, or brown, but somewhere in between. There is variation from panel to panel—an unpredictability that adds to the texture and richness of the facade. The unusual material was inspired by two large bronze pots at a nearby historic hospital building, which the client had referenced. This decision exemplifies the ethos of the building, which was to capture the elegance and quality of Waldorf Astoria’s brand in contemporary yet contextually sensitive building. It has come to serve as an example to luxury hoteliers around the world.
The Miami Art/Design Fair week starts quietly with a murmuration of starlings, a blob-like cluster of birds flying in perfect formation while re-morphing, changing shape, and moving up and down the horizon, but retaining their amorphous sense of unity throughout the aerial dance. I am stuck in traffic, trying to reach the first of many events, when just as suddenly the birds vanish. The moment of unexpected natural beauty will resonate throughout the week as a revelatory message of sorts. I only have to figure out what it means.
The week begins at 4:00 p.m. with a tour of the newly refurbished Design District with developer Craig Robins and Mathieu Le Bozec of L Real Estate (an LVMH subsidiary). With all the millions flowing in, Robins has managed to skip several stages of gentrification and go straight to platinum luxury utopia. More than a hundred luxury brands are either already open or will soon be open, including Bulgari, Cartier, Louis Vuitton, Pucci, Versace, Dior, Givenchy, Dolce & Gabbana, Hermès, Tom Ford, etc. One looks for the grand architectural gesture and finds instead a high-end shopping mall, a protected urban space fortified with luxury brand logos and a variety of surface treatments. Much of the effect is just that, special effects, well-placed claddings, wrappings, and graftings, a kind of architectonic nipping and tucking that employs reflective glass, mottled surfaces, and theatrical lighting to achieve the desired suspension of disbelief. Will it be an effective enough illusion to lure zillionaire shoppers from the lush comforts of Bal Harbour Shops and the other high-end venues of South Florida? Without them, the heady rise of the Design District may turn into an equally precipitous decline. The new Palm Court creates a conspicuously fortified enclosure to protect Manolo Blahnik–wearing shoppers from accidentally bumping into urine-scented street folk, but the plaza is semi-public, open on the north and west to pedestrian traffic, and soon there will be an outdoor cafe on the second level and a handsome cast-concrete public events space designed by Aranda/Lasch to help lure non-shoppers deeper into the complex.
Courtesy Alastair Gordon
Some of the unfinished buildings have been draped with translucent mesh veils that give them a mysterious, burka-like presence. There’s also an element of folding and pleating going on in some of the facades. The Aranda/Lasch building is clad in cast concrete slabs with patterned imprints that mimic a kind of embroidery. The two-story arcade of narrow glass fins by Japanese architect Sou Fujimoto reads as a lattice of chilly blue icicles. It may help to break the ferocity of the Miami sun while framing the shops along the southern side of the Palm Court, but its engineering seems fussy and needlessly overwrought.
The district is desperately in need of more parking, as is all of Miami, and the origami-like folds of Leong Leong’s unfinished multi-level garage on North Miami Avenue are best seen from the elevated perspective of I-195 as blue-and-white metallic membranes appear to crinkle from side to side as one drives by at 70 miles per hour.
The Design District’s star attraction, however, is Buckminster Fuller’s Fly’s Eye dome that dropped like an alien intruder into the very heart of the complex. It’s a digitally re-engineered version of the original 24-foot-diameter Fly’s Eye that was fabricated in 1979 by John Warren and is now installed on the western deck of the Pérez Art Museum Miami, two miles to the south. The new version was built by Daniel Reiser to meet local codes, and has already become the symbolic centerpiece of the entire Design District, upstaging all of the architecture that surrounds it.
Courtesy Alastair Gordon
I arrive late at the opening reception for the Edition, the renovated former Seville Hotel, pushing past tall thin models in black lycra mesh who stand guard with transparent clipboards as shields, like the “Hounds of Hell,” as one rumpled writer suggests. Ian Schrager concocted the refurbished hybrid hotel in tandem with Arne Sorenson of the Marriott. John Pawson is project architect and interiors are by Yabu Pushelberg with black walnut veneers and sandy shades of beige with creamy pale undertones. We sit in the Matador Room and listen to Shrager and Sorenson compliment one another and explain how they had created the highest-end luxury boutique hotel on Miami Beach, comparing their efforts most humbly to the corporate branding of Apple. The original Seville Hotel (1955) was designed by Melvin Grossman, protégé of Morris Lapidus, and the new owners want to keep its rat-pack elegance intact while smoothing and slimming it down. The Edition/Seville holds its own against the Fontainebleau and Eden Roc and only lacks the kind of money-shot moment that Lapidus was so good at choreographing. Grossman outdid his mentor when it came to an outdoor circular bar and a multi-level diving platform, both of which have been lovingly restored along with the oversized chandeliers and gold mosaic columns in the lobby.
Courtesy Alastair Gordon
Design Miami opens for previews on Tuesday and at last acknowledges the environment in three curated shows within the main exhibition pavilion. For Swarovski, Jeanne Gang offers Thinning Ice, an ingenious interpretation of melting polar ice caps with white enameled icebergs rising from a reflective floor laced with rivers of melted ice (tiny Swarovski crystals) flowing through narrow fiber-optic streams.
Perrier-Jouët’s Ephemera by Katharina Mischer and Thomas Traxler is a mechanical ornamental garden that rises and falls in response to human movements around a large oak table, a sweetly melancholic reminder of man’s love-hate co-dependency with nature. Olson Kundig Architects have delivered the finest gesture of the show with their lounge installation called 38 Beams, bringing a muscular Northwestern vibe to Miami’s often-ephemeral sub-tropical environment. It’s a kind of Lincoln Logs stacking of horizontal beams that allows for visual and atmospheric penetration from the main hall so that VIPs won’t feel so lonely and removed while sitting within, sipping glasses of Perrier-Jouët. The massive beams, measuring about 15 inches by 30 inches and 30 feet long, were recycled by Olson Kundig from an old industrial building in Los Angeles, refurbished, flame-proofed and then lightly sanded.
On Thursday morning I am obliged to moderate a fractious panel on the theme of “The Future of Design” with furniture diva Patrizia Moroso, Italian architect/designer Piero Lissoni, and Israeli-Brit enfant terrible Ron Arad, who speaks about his remodel of the Watergate building in Washington, DC. In addition to making architectural changes, Arad has designed everything from furniture to napkins and stationary with a font based on shredded documents from the Watergate hearings. He also broke up the program by presenting a new prototype based on a funky old mattress that he’d spotted on the street near his London studio. The mattress lay up against a wall, bent in half, deformed, reeking of malodorous human indignities, but he became obsessed with it, nonetheless, taking photographs, making sketches and somehow transforming it from trash into an elegant low-impact couch that he named “Matrizia” in honor of Patrizia Moroso who laughed and, on the spot, agreed to put it into production in her family’s 62-year-old factory based in Udine, Italy. A design critic from England pointed out that while most designers see a problem and attempt to come up with a solution, Arad sees a problem and creates more problems.
Friday morning, the wind whips off Biscayne Bay, seeming to pick up velocity as it caroms off buildings and spills down onto the site of this morning’s official groundbreaking ceremony for One Thousand Museum, the bone-like, 62-story tower designed by Zaha Hadid. A temporary wall of trees tips over and spreads dirt over the carpeting. Tables collapse, champagne glasses shatter. Waiters try to contain the damage. Valet parking attendants and security personnel scatter and then regroup as Hadid herself arrives, an hour late, entering the throng like a rock star, a royal personage, a diva who now finds herself surrounded by crazed fans pushing their iPhones into her face and inching closer to get a shot of the architect, now looking somewhat embarrassed, now growing concerned for her own safety as a Miami-Dade cop pushes into the mob and goes to her rescue.
There’s a champagne brunch on the beach, an immersive video event, a plastic pollution installation in Wynwood, the Peter Marino show at the Bass Museum of Art, a Prouvé demountable house at the Delano that I still haven’t seen but I give up after sitting in cross-bay traffic and finally abandon my car by the side of the road and start to cross the Venetian Causeway by foot. Protests have broken out in reaction to the Eric Garner grand jury on Staten Island. Roads are blocked and conditions escalate when news gets out about a similar case of police brutality in Miami itself: Delbert Rodriguez Gutierrez, a 21-year-old street artist otherwise known as “Demz,” was run over by a squad car this morning when the cops spotted him “tagging” a private building near 24th Street and gave chase. Gutierrez died soon after.
The crowds are swelling even further, tempers flaring, momentum building as the mob moves outward and expands into a single body with a single mind: “I can’t breathe!” they chant, holding up their hands, “I can’t breathe!” echoing Garner’s dying words. The protesters march onto I-195, shutting down the highway and blocking the Julia Tuttle Causeway, a prime connector between mainland and beach, between art fairs and design shows, disrupting the to and fro, the art world gossip, the backroom deals and interviews and celebrity clusterfucks, VIP red carpets, vacuous panel discussions. Suddenly the entire Art Basel Bubble bursts with the loud refrain: “I can’t breathe!” and there is nothing left but an urge to file this report as quickly as I can. But I feel pressed to relate the ending back to the beginning—as a proper story should: The starlings rose up in their murmuration on Monday afternoon and appeared to be telling me something that I couldn’t understand. I am still at a loss for words.