"Sitting on a train, we often see passing sceneries as a rush of color," Isa Glink said. "When we're up in the air on a plane, we're able to see different landscapes and traces of man's influence on the environment. When we drive, we're hopefully looking forward but what we see in our peripheral vision are stripes and grids. When we walk, we're able to slow down and zoom into nature on a microscopic level. Altogether, these different scales form a telescopic and panoramic view of Earth." The Hamburg-based Kinnasand creative director was describing her new Spheres collection, a vast range of textile variations set for use as curtains and carpets. Available in everything from nylon-like blends to tensile open structure and twill weaves, the new product line is cast in a color range spanning from soft, muted, and earthy hues to sharp neon tone and photo transfer motifs. "I arrived at this theme for this year's collection out of the observation of my own horizon and how those around me travel, " Glink explained. "I arrived at the theme for this year's collection out of the observation of my own horizon, what I see when moving around but also how those around me travel. Conditions of transit affect us in different ways and alter our awareness. Our minds are flooded with information all the time but it's not always a bad thing. Read the full article on our interiors and design website, aninteriormag.com.
Posts tagged with "Hamburg":
If you can't get to the grand opening of Herzog and de Meuron's Elbphilharmonie (Elbe Philharmonic) concert hall in Hamburg on January 11, then fear not. A drone tour is on hand to whizz you through and around the building, showing off the Swiss firm's breathtaking interiors. The drones explore the wooden circulatory areas, as well as the main concert hall which is clad with acoustic gypsum fiberboard panels. The waterfront complex features three concert halls, a plaza for public viewing that provides sweeping views across Hamburg, and 45 private waterfront apartments. The largest concert hall—with a capacity of 2,100—floats within the main building on 362 spring assemblies for further sound-proofing. Drones also travel outside the building which features a shimmering glazed facade and a dramatic wave-like roofscape, mimicking the nearby river Elbe. Here, audiences can take in and fully appreciate the 1,100 glass panes that comprise the facade from close-up views. With each panel measuring a minimum of 13 feet across, many have been spotted with small dark gray reflective dots. Some panels are curved to distort the facade's reflection of the river, thus creating a shimmering effect. Each panel is unique and individually crafted. While creating an appealing aesthetic, the reflective glass facilitates temperature regulation by reducing heat gains. Structurally, the building relies on the support of roughly 1,700 reinforced concrete piles: It’s located where a waterfront warehouse stood until the project began (though its brick facade is still there) just under a decade ago. Click here for the drone tour!
Starwood Hotels has announced that it will open The Westin Hamburg next year in the much-anticipated Elbe Philharmonic complex. The 10-story, 205-bedroom hotel by architects Herzog & de Meuron will be housed within a glass-fronted, wave-shaped building that sits atop a historic warehouse on the banks of the river Elbe. Boasting a pointed, wave-shaped roof, the complex will also feature three concert halls, 45 private apartments and a more than 43,000 square foot, publicly accessible plaza offering 360-degree city views. A head-turning assimilation of old and new, the bottom half of the complex is a former warehouse known as Kaispecher A, designed by Werner Kallmorgen and built between 1963 and 1966 on the site of the original neo-Gothic Kaispecher. Architects Herzog & de Meuron gutted and renovated the warehouse specifically for the project. Meanwhile, the upper half of the complex is an all-glass expanse of 1,100 panes, each measuring 13–16 feet wide, with carefully placed projecting curves that give each window a fingerprint-like accent. The windows were shaped with high precision and marked with small basalt grey reflective dots that prevent the building from overheating in sunlight while creating a shimmering effect that ripples as it catches different reflections. Sandwiched between the conjunction of old and new, the aforementioned viewing plaza is set off by the contrast between the bottom half’s brickwork and the top half’s iridescent glass frontage. The hotel lobby, a café and access to the foyers of the new concert hall are also located there. At the heart of the complex is a world-class concert hall with 2,100 seats that rise up on interwoven tiers on all sides of the stage like vineyard terraces. Enter acoustics specialist Yasuhisa Toyota, who was commissioned to seal the concert hall in a material he developed known as White Skin, which also guarantees perfect acoustics. As an added precaution against sleep-deprived hotel guests, the entire concert hall is enclosed in two concrete shells. Floor and ceiling flow seamlessly into one another as if from a single skin made of 10,000 gypsum fiber panels composed of natural plaster and recycled paper. Accessing the warehouse is a journey unto itself: visitors mount a 269-foot escalator with a concrete arch, whose end cannot be seen. The glowing spherical tunnel, speckled with glass sequins that refract the light, envelops one completely. If you’re wondering about that seafaring roof, its pointy undulations consist of eight spherical, concavely bent sections merged together. It is sprinkled with 6,000 giant sequins that make it ripple and shine like the water surrounding it. Those raring to visit should bear in mind three important dates: the Westin Hamburg is due to open in October 2016, the public plaza in November 2016, while the Elbe Philharmonic will be inaugurated on January 11, 2017.
Composite facade brings new row house into harmony with its historic neighbors.Florian Köhler, whose firm, Köhler Architekten, recently designed and built a new row house in Hamburg’s Ottensen quarter, observes a disheartening trend among his fellow architects. When designing for a site rich in historic context, they tend to shy away from all allusions to the past, opting instead for an antiseptic modernism. “Many architects only build cubic forms without reference to their environment, and cityscapes are becoming increasingly similar,” he said. “We deliberately wanted to go a different route.” Ice Loft, which is surrounded by protected properties dating to the mid-19th century, features a tripartite facade that translates familiar historic forms into smooth curves and planes. “Our unusual approach to the transformation of classical qualities into flowing forms seems to be a suitable alternative, at least at this point, in this urban district in Hamburg,” said Köhler. For Ice Loft, Köhler Architekten sought a third way between historicism and anti-referential contemporary design. “We wanted to build and establish an unusual modern building without provocation, which would be intuitively understood,” said Köhler. The streamlined facade distills the iconic ornaments prevalent on the surrounding buildings—including bay windows and dormers—as a series of simple shapes. “We took these elements and formed them as if in one naturally flowing movement of the entire building structure and freezing them at the right moment,” explained Köhler. The architects chose HI-MACS solid surface over a more traditional material like stone. “The inserted HI-MACS panels are organically malleable as well as simultaneously precise and accurate,” said Köhler. “These characteristics fit in well with our idea of frozen material.” Because HI-MACS requires no exterior finish and thus no regular re-painting, he added, the material contributes to the building’s sustainability profile. A bent metal grid distinguishes Ice Loft’s ground floor. “In historic buildings, where the basis of ancient orders were formed by columns, the ground floor was often offset [by way of] material, color, or surface structure,” explained Köhler. The designers’ modern take on this traditional gesture includes a foundation designed as a planter, from which climbing plants will eventually erupt to transform the metal facade into a vertical garden. Besides brightening the building’s exterior, the green wall is intended as a graffiti deterrent. The building’s zinc roof, like the HI-MACS surface, abstracts the conventional dormer profile into an overturned wave. Köhler is impressed by the positive feedback his experiment in contextual design has elicited—especially from within his profession. “An architect from the neighborhood called our building ‘the most beautiful house in Ottensen,’” he recalled. “As architects are usually very critical of new ideas, especially if they relate to historical form, we are particularly pleased with this compliment.”
The city of Hamburg is kicking off a massive effort to bury and cap two miles of a highway that cuts right through town. Fast Company reported that the $800 million project will create 60 new acres of green space which include “open meadows, woods, bike paths, community gardens, and tree-lined squares.” Capping the highway will also create space for about 2000 new homes, according to city officials. While everyone likes new green space, this massive project is actually a means to solve a pretty common urban problem: noise. Since putting up walls around the increasingly crowded highway wouldn't do the trick, the city opted for the capping option. This then has the added benefit of creating new usable space. But it's not all urbanist dream world over in Hamburg. As Fast Company noted, the capping project also means widening the highway - and as you probably know, widening highways pretty much always makes traffic worse. As Hamburg gets to work on this project, Montreal is starting a highway project all its own. The Canadian city isn't burying one of its highways, but knocking it down to create a multi-modal boulevard. It is an ambitious plan with an ambitious budget and timeline; the city says it can have the project done in 2017 at the cost $141.6 million. The Hamburg project is expected to wrap up in 2022.
From Germany via Dangerous Minds comes this stunning 3-D architectural illusion: A square building appears possessed, its facade rippling, segmenting and mutating. Giant hands manipulate the building's surface and then dissolve. A wave ripples through the building's bricks as if it were shivering. It's called "How it would be, if a house was dreaming," and it's a trompe-l'oeuil video projection by Hamburg-based creative collective UrbanScreen. The title's perfectly apt, as these look like nothing so much as disjoint visions flitting across the subconscious of a slumbering building. The building in question is O.M. Unger's Galerie der Gegenwart in Hamburg, completed in 1997 as the final wing of the Kunsthalle Hamburg art museum. Its facade is flat, gridded, and largely windowless, severe by day, but a perfect pixellated canvas for UrbanScreen's fantasies by night. A steady stream of passers-by on the sidewalk below—some stopping to watch, others simply going about their business—make the metamorphosing building behind them seem all the more surreal.