Milan 2014: Japanese design studio YOY presented a lamp that projects the shape of a shade onto a wall and a rug that doubles as a chair in Milan this week (+ slideshow).
The new collection from YOY includes a tray that appears to defy gravity and a series of drawers that can be mounted on the wall, as well as the rug and two lamps.
"In this exhibition, we tried to make a new story between a product and a space," YOY co-founder Naoki Ono told Dezeen. "We would like to create strange feelings with humour in an ordinary room."
The table and floor lamps are both made from aluminium and plastic. Rather than using a light bulb, the designs have a hole in the head with an LED light inside, which projects the shape of a shade onto a nearby wall.
The rug has a 10-millimetre-thick aluminium sheet inside that makes it strong enough to hold the weight of a person when rolled, enabling it to be used as a seat. The black fabric is made from polyester and elastic.
The wooden tray, called Protrude, appears to be perilously perched on the edge of a table when in fact it is fixed with a stainless-steel clip.
The drawers are designed to hang on a wall and have a mirror inside to make them appear deeper. They come in small, medium and large, and are available in black and white plastic.
The pieces are showing at stand D-43, Salone Sattelite, Fiera Hall 15 in the Salone Internazionale del Mobile, Milan from 8 - 13 April.
Milan 2014: Brooklyn-based designer Marc Thorpe is showing a range of tables inspired by leaves and stems in Milan this year (+ slideshow).
Designed by Marc Thorpe for the Italian brand Moroso, the collection is called Morning Glory and is made from powder-coated welded steel rods for the stems and laser cut bent steel plates for the leaves.
The collection takes its name from the flowering vine that fills Thorpe's garden in New York.
"The Morning Glory project is a personal story," Thorpe told Dezeen. "My home garden in Brooklyn is covered in the vine. We live with it everyday. I'm inspired by the world around me and always look for what I like to call the modernism within."
While in real life the leaves of the vine would catch water, Thorpe said his leaves were designed to hold something stronger – "like beer".
Morning Glory is designed to be arranged in clusters. The tables come in a mix of autumnal and earth tones including forest green, burnt red and beige.
The table is on display in Pavilion 16 at the Salone Del Mobile in Milan until 13 April.
The holiday home was designed by Australian studio Iredale Pedersen Hook for a site near the town of Nannup. Situated between a forest and a flood plain, the area provides a habitat for local fauna including emus, kangaroos and snakes.
The house was given a cranked layout to create different experiences along its length. It was also lifted off the ground to enhance views and reduce disruption to the site.
"This is a holiday house, a place of temporary inhabitation that offers a variety of experiences and relationship to the native landscape," said the architect. "Spaces are strung in a line, an open-ended line that allows one to enter, exist and then leave and continue."
The kinked plan optimises different views of the forest on one side and the horizon on the other. It accommodates outdoor living areas, including an enclosed balcony at the rear of the property and a pointed terrace that projects towards the flood plain.
Windows on the angled facades alternate between vertical apertures that make the most of the view towards the nearby trees and longer openings overlooking the plain.
The use of the stilts and their diagonal cross-braces references the fallen trees that are a common feature around the forest edge, while the material palette used for the exterior references its natural setting.
"Materials were carefully selected to dialogue with the context," the architects explained. "Dark Colorbond steel, rusting steel and recycled jarrah [wood] contributes to the notion of the building as 'shadow'."
Long steel grate ramps lead to an entrance at one end of the house and a balcony at the other, continuing past the master bedroom and main living areas to the sheltered terrace.
The main entrance opens into a dark corridor that meanders past bedrooms, a laundry and a study, before reaching the two terraces on either side of the bright, open-plan living and dining room.
The architects said they wanted to enhance the experience of moving between interior and exterior spaces by emulating the experience of "wandering through a forest in and out of darkness and openness."
Richly textured, dark jarrah wood used on the floor of the corridor contrasts with the bright living spaces, while carefully chosen colours and textures were introduced throughout the interior to evoke the natural surroundings.
Treated plantation pine was used for 90 per cent of the building's framework and recycled local timber features on the outdoor decks as well as internal flooring and storage.
Photovoltaic panels on the roof supply the home's power and a solar-powered system heats its water, which includes rainwater captured from the roof.
Here's a project description from Iredale Pedersen Hook:
Nannup Holiday House
The Nannup Holiday house forms part of a wandering path through the landscape from Perth to Nannup. This path dialogues with the landscape of intense forest, meandering river and rolling hills, each experience is carefully choreographed to enrich the occupancy of the house. A Jeykll and Hyde experience of the landscape is carefully controlled through oscillating vertical (forest) and horizontal (horizon) openings and the contrast of grounded and floating experiences. While the exterior dialogues with the numerous fallen trees, the interior is revealed through a sequence of 'growth rings' coded and extruded in relation to the building program.
This is a holiday house, a place of temporary inhabitation that offers a variety of experiences and relationship to the native landscape. Spaces are strung in a line, an open-ended line that allows one to enter, exist and then leave and continue. The house is part of a broader and longer experience that constitutes the experience of being on 'holiday', the travel to and from the site and the experience of visiting local towns and tourist attractions are then contemplated and celebrated in the context of this residence. Spaces are organised to provide a sense of seclusion and retreat, guests view the forest from a distance through vertical windows, the boys view the horizon and rolling hills through shared horizontal openings and the parents almost touch the natural landscape. These areas are collected by a dark, twisting and cranking space clad in recycled jarrah that oscillates between interior and exterior creating a sense of ambiguity and wondering through a forest in and out of darkness and openness. Outlook from this space is carefully controlled to provide detailed relief, openings also align to view through interior to exterior to interior and back to exterior.
Built form context relationship
The building hovers above the native landscape minimising disturbance, it is a shadow to the immense forest, cranking in plan and undulating in section. The plan twists in relationship to program requirements and variety of views. The section undulates in direct dialogue to the backdrop forest enriching the spatial experience with variety and complexity; spatial proportion varies between rooms capturing the verticality of the forest and the horizontality of the horizon.
It sits between the edge of the forest and the edge of the flood plain, the space between fire and flood, a fragile zone of existence. The ground level is dominated by roaming wild pigs (the size of humans), tiger snakes, dugites and other less threatening native fauna including emus and kangaroos. The elevated house with access via the steel grate ramps creates a safe retreat to observe nature.
Materials were carefully selected to dialogue with the context, dark Colorbond steel, rusting steel and recycled Jarrah contributes to the notion of the building as 'shadow'. This concept continues internally, the main passage being dark and an extension of the exterior (recycled Jarrah) and primary living spaces being lighter and more connected to the exterior (recycled WA Blackbutt). Small fragments of intense colour capture the colours of the forest undergrowth.
Integration of Allied Disciplines
The core building team camped on site during construction; it became an obsession, highly crafted and full of pride. Our structural engineer also travelled regularly to site while visiting his own holiday farm in the vicinity. His knowledge of local conditions and contractors was highly valued. The project enjoyed a high level of respect and collaboration between all teams; this is reflected in the end result.
This project offers a holistic approach to environmental sustainability commencing with design and placement of access paths. The vehicle access path is placed along the site edge an area that requires annual clearing for the firebreak. This enables us to minimise the clearing of land. The materials required to build the access path were quarried from the site (gravel and clean yellow sand). These areas were immediately rehabilitated with plant species already existing on the site.
The house was sited and designed to minimise clearing of bush and removal of trees. The area under the house is then free for re-introducing local species and will be fed by the grey water recycling.
Materials were selected based on a life cycle analysis of embodied energy, Colorbond cladding provides a durable exterior core and inhabited areas include recycled Jarrah and recycled WA Blackbutt. Timber off cuts was re-used for storeroom linings.
The building structure is 90% treated plantation pine and most furniture constructed from hoop pine plantation plywood. The structure was mostly pre-fabricated to minimise building waste.
The long roof form increases the capacity to capture rainwater, this is re-used in the house. Grey Water is recycled for garden watering under the house. Water is heated from a solar hot water system with back up instantaneous gas hot water systems located close to areas of water use to minimise water waste. Water consumption is reduces with rated fixtures and fittings.
Photo Voltaic cells balanced over the year easily cover consumption requirements. Power consumption is minimised through energy efficient equipment, use of LED and Compact Fluorescent globes and feature wall mounted light fittings manufactured from plantation plywood.
Applied coatings are minimised and generally Low Voc or oil.
Architects: Iredale Pedersen Hook architects
Architectural Project Team: Adrian Iredale, Finn Pedersen, Martyn Hook, Drew Penhale, Caroline Di Costa, Jason Lenard, Matthew Fletcher
Structural Engineer: Terpkos Engineering
Builder: Brolga Developments and Construction
A growing number of designers have been using marble across a range of unusual and striking projects, so we've collected together the best examples from the pages of Dezeen. See our new marble Pinterest board»
This bright white house in Portugal by GSMM Architetti uses the trees on its hillside site to create a sense of intimacy, providing a counterbalance for the openness of its central courtyard (+ slideshow).
Miles away from the nearest town, the single-storey House in Quinta do Carvalheiro was designed by local studio GSMM Architetti as a quiet retreat that has as little impact on the landscape as possible.
"This is a holiday house; a place to renovate energy, to get close to the wild nature, to live in a different way. A place to be alone, for meditation or to be among friends," architect Monica Margarido told Dezeen.
"Our translation was to design a house where spaces were defined by transparency and reflection of the landscape, to feel protected but at the same time to feel emerged into the forest," she added.
Cork oak and pine trees surround the house and help to shade it from the sun. "The dense cork trees that surround the house provide intimacy," said Margarido.
The house has a square plan with a courtyard at its centre, offering residents an uninterrupted view of the skies.
"You lay down on the patio and you dive among thousands of stars, in your transparent envelope," explained architect Giorgia Conversi, who also worked on the project.
An expansive living area runs along the southern side of the house. Sliding glass panels line two walls, allowing the space to open out to both the courtyard and surroundings.
A fireplace separates the living area from the kitchen. There is also a sheltered terrace where residents can dine al fresco.
Two north-facing bedrooms sit on the opposite side of the courtyard, while a master suite and guest bedroom run along the eastern side of the house.
Here's some text from the architect Giorgia Conversi:
House Quinta Do Carvalheiro, São Francisco da Serra, Portugal
A new presence in the light and shade of cork trees. Clean and sharp. I'm here. I'm here, but let me cross. Occupy a space without closing. Play changing face between the white presence and the absence of glass: let me cross from the shadows of branches and give back their image to the around gnarled trunks.
Quinta do Carvalheiro is another way of living. Enter and you're still out. In the middle of the trees. In every point the look finds the way to project far away.
The walls are a pause between a glimpse and other. A border to cross, like all boundaries. A unit of measure for the space that extends around.
A challenge to the concept of "locked at home". Within four walls. In ourselves. The house doesn't obscure the view but reveals it. Doesn’t take away the other, doesn't take away the sky. But is there.
The first day is alienation. The second you start to feel it, the Quinta: is of few words but is there. The third: you lay down on the patio and you dive among thousands of stars, in your transparent envelope. Protected but free. The fourth, you realize that you can change perspective. Look inside. And, as a game of mirrors, seek your hidden corner.
An open house, first of all, to mental disposition. Open to people who arrive, to changing light, to curious insects, to the moon peeping from the hill, to ideas, to the next new discovery.
Caters News a réuni des clichés étonnants, dans lesquels différents animaux sont difficilement différentiables du décor. Des images surprenantes, montrant de jolies teintes de couleurs, et nous montrant la capacité de différentes espèces à se fondre dans un environnement. Plus de détails ci-dessous.
Designed by Hanna Emelie Ernsting and called Red Riding Hood, the piece is a round-backed, grey armchair with a grey and red blanket attached around and under the seat.
When there isn't a sitter the blanket falls, grey side down, over the back of the seat. When someone sits in it they can draw the blanket around them like a cape.
"Evenings are the time for stories, dreams and fairytales," said Ernsting. "After a strenuous workday, we long to escape for a time from everyday life and lose ourselves in the world of a book or film. These contrasting circumstances underlie the design of this armchair."
"The chair reinterprets these two facets of day and evening, work and leisure time, reality and fairyland, waking and dreaming – the rational and the whimsical," she added.
The material used is loden, a traditional German-Austrian woven wool fabric that is often used for coats because of its water and dirt-resistant qualities.
The armchair is on show in hall 13 booth D27 at the Salone Internazionale del Mobile in Milan.