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New Pinterest board: Aesop store designs

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Do you have a favourite Aesop store design? Browse our new Pinterest board to view every one of the Australian skincare brand’s outlets featured on Dezeen, including the boutiques that made it into our top ten roundup.

Follow Dezeen on Pinterest | See more Aesop store designs

The post New Pinterest board: Aesop store designs appeared first on Dezeen.

Cutout / Decoupage exhibition in New York

There’s a recently opened exhibition of artwork influenced by Matisse’s cut paper artwork on display at the Nancy Hoffman Gallery in New York until January 24. Featured artists include UPPERCASE reader Virginia Fleck and our issue #18 cover artist Sarah Bridgland.

Virginia Fleck

Virginia Fleck

Sarah Bridgland

Sarah Bridgland

Nathalia Edenmont    

Nathalia Edenmont

 

 

Lucy Mackenzie  

Lucy Mackenzie

 

Prince Charles reveals 10 principles for "more mature view" of urban design

Prince Charles

News: the Prince of Wales has called for urbanists to “reconnect with traditional approaches” in an essay that lays out his vision for the future of architecture and planning.

“I have lost count of the times I have been accused of wanting to turn the clock back to some Golden Age. Nothing could be further from my mind. My concern is the future,” begins Prince Charles’ 2,000-word essay in the latest issue of The Architectural Review.

The prince goes on to set out 10 “important geometric principles” for urban masterplanning that he says aim “to mix the best of the old with the best of the new” and provide a template for designing places “according to the human scale and with nature at the heart of the process”.

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“It is time to take a more mature view” and “reconnect with traditional approaches and techniques”, says the British royal.

“This approach does not deny the benefits and convenience that our modern technology brings,” he writes.



“All I am suggesting is that the new alone is not enough. We have to be mindful of the long-term consequences of what we construct in the public realm and, in its design, reclaim our humanity and our connection with nature, both of which, because of the corporate rather than human way in which our urban spaces have been designed, have come under increasing threat.”

“To counter this, I believe we have to revisit the learning that for so long has been embedded in traditional approaches to design, simply because they are so rooted in our own connection with nature’s patterns and processes. As we face so many critical challenges in the years ahead, these approaches are crying out to be brought back to the forefront of contemporary practice.”

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Charles, who is first in line for the British throne, has previously found himself at loggerheads with large swathes of the architecture industry after sharing his opinions on architecture in public.

During a now infamous speech marking the 150th anniversary of the Royal Institute of British Architects in 1984, the prince launched an unprecedented attack on contemporary architects.

A proposal for the extension of London’s National Gallery by British firm Ahrends, Burton and Koralek bore the brunt of his criticism. “What is proposed is like a monstrous carbuncle on the face of a much-loved and elegant friend,” said Charles.

His comments caused outrage among architects and resulted in the scrapping of the scheme, which was eventually replaced with a building by Robert Venturi and Denise Scott Brown. The fall out did not prevent him from involving himself further in architecture and planning, contributing to his reputation as a “meddling” prince, which he acknowledged in a speech in 2011.

As well as building his Poundbury model town in Dorset, populated with Classical-style buildings, and launching a short-lived architecture magazine, he has founded an art school dedicated to traditional styles and techniques in east London. He also created the Prince’s Foundation for the Built Environment charity to promote traditional architecture and planning – these activities are now carried out by the Prince’s Foundation for Building Communities.

At a dinner to make the 175th anniversary of the RIBA in May 2009, Charles said he had not intended to “kick-start some kind of ‘style war’ between Classicists and Modernists”.

But a battle over the £3 billion Chelsea Barracks development revealed that he had used his influence with the Qatari royal family’s property company, scuppering a scheme by Rogers Stirk Harbour & Partners in June 2009.

“We had hoped that Prince Charles had retreated from his position on modern architecture, but he single-handedly destroyed this project,” Richard Rogers told the Guardian.

With this latest essay, Charles says he is focusing on creating a sustainable future for the planet, and not architectural style.

“We face the terrifying prospect by 2050 of another three billion people on this planet needing to be housed, and architects and urban designers have an enormous role to play in responding to this challenge,” he writes.

“We have to work out now how we will create resilient, truly sustainable and human-scale urban environments that are land-efficient, use low-carbon materials and do not depend so completely upon the car. However, for these places to enhance the quality of people’s lives and strengthen the bonds of community, we have to reconnect with those traditional approaches and techniques honed over thousands of years which, only in the 20th century, were seen as ‘old-fashioned’ and of no use in a progressive modern age. It is time to take a more mature view.”

The full essay will be published in the January edition of the Architectural Review and on the magazine’s website.

Image of Prince Charles is courtesy of Shutterstock.

The post Prince Charles reveals 10 principles for
“more mature view” of urban design
appeared first on Dezeen.

Golden Candles Blocks

Le studio new-yorkais Apparatus Studio a imaginé les bougeoirs en bronze « Candle Blocks ». Chaque bloc peut s’emboiter et a été taillé pour faire écho à la forme triangulaire d’une pyramide d’Egypte, créant ainsi des sculptures qui peuvent servir comme pure décoration, presse-papier ou serre-livres. A découvrir.

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Respectful Animal Trophies

« Respectful Animal Trophy » est une série conçue par Antoine Tes-Ted en collaboration avec Hu2. L’oeuvre est un véritable hommage à la force brute mais élégante que la nature nous offre. Cette collaboration a l’intention de présenter un design innovant avec une qualité d’exécution exceptionnelle, combinée avec un emballage raffiné.

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House by Double Negatives Architecture adapted to suit a difficult woodland site

The concrete and chipboard components of this irregularly shaped holiday home in Japan have been designed to deal with the difficult conditions of its woodland site, from restricted lighting to hilly topography (+ slideshow).

House in Nagohara by Double Negatives Architecture

Japanese studio Double Negatives Architecture used a multi-agent system (MAS) – a piece of computer software used in problem solving – to map out the forested site at the base of the Yatsugatake Mountains in Nagano Prefecture.



This allowed them to design a building specifically adapted to its site, taking into consideration the gradient of the landscape, the direction of sunlight, weather conditions and the location of large trees and rocks.

House in Nagohara by Double Negatives Architecture

Slabs of concrete and sheets of oriented strand board (OSB) are projected away from the main body of the building on white poles to shield sunlight from the windows, while an angled roof protects against a strong westerly wind.

House in Nagohara by Double Negatives Architecture

The result is an angular, irregularly shaped house that forms a ring around a patch of landscape, named House in Nagohara.

House in Nagohara by Double Negatives Architecture

The materials are used in their raw form both inside and outside. Mortar is left with its trowel marks unsmoothed and ink lettering marks the OSB.

House in Nagohara by Double Negatives Architecture

The west side of the house is lower than the east to deal with the strong westerly winds the site experiences. A panel of concrete with a diagonal fold angles down from the roof to touch the forest floor, creating a protective porch over the doorway.

House in Nagohara by Double Negatives Architecture

An angular concrete dormer protrudes from the faceted roof structure.

Wedges of glass set into the roof structure bring daylight into an upper storey encased in OSB, while expanses of frameless glazing offer panoramic views of the surrounding woodland at ground level.

House in Nagohara by Double Negatives Architecture

“The living space is linked to the site’s shape physically and mentally, achieves the site’s expansiveness and acts as an extension beyond the floors,” said the architects.

House in Nagohara by Double Negatives Architecture

Inside, the living space has cedar floorboards. The floor is stepped across three open-plan levels, connected by a white-painted steel staircase.

House in Nagohara by Double Negatives Architecture

A series of steel columns support the faceted concrete roof, while a cluster of shorter poles radiate out from a concrete stack that supports the staircase and encloses the upper floor.

House in Nagohara by Double Negatives Architecture

Beds are tucked into nooks in the concrete structure on both the upper and lower storeys.

House in Nagohara by Double Negatives Architecture

A long, high table by the kitchen overlooks the sunken living room where a large section of hinged OSB can be levered upwards to form an opening.

House in Nagohara by Double Negatives Architecture

Photography is by Kenta Ichikawa and Double Negatives Architecture.


Project credits:

Architects, design, programming: Double Negatives Architecture – Sota Ichikawa, principal-in-charge
Consultants: LOW FAT structure.INC – Taro Yokoyama, Keita Sawada, structural

House in Nagohara by Double Negatives Architecture
Site plan – click for larger image
House in Nagohara by Double Negatives Architecture
Floor plan – click for larger image
House in Nagohara by Double Negatives Architecture
Axonometric diagram – click for larger image

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adapted to suit a difficult woodland site
appeared first on Dezeen.

Cubical Facade of Sugamo Shinkin Bank

L’artiste française Emmanuelle Moureaux a une nouvelle fois repenser la façade de la banque Sugamo Shinkin, située à Tokyo. Elle a voulu jouer sur les reliefs, les formes cubiques et les couleurs en réalisant une apparence joviale amplifiée par la verdure et une composition rythmique. Plus de détails en images.

Photos by Daisuke Shima / Nacasa & Partners.
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