738 Broadway

AEA - 738 Broadway - Living room_low

A French article published in the XY Magazine of La Presse + on Septembre 4 2016.

LE 738 BROADWAY

Deux grandes firmes canadiennes ont joint leurs forces afin d’élargir leurs horizons et offrir, du même coup, un premier projet ambitieux à New York. Avec le 738 Broadway, notre génie créatif repousse encore une fois ses frontières.

Le 738 Broadway est un projet immobilier de quatre appartements, qui intègre les vestiges du Broadway McKenna Building, tout en offrant des espaces de vie résolument contemporains. Ce projet comprend deux lofts de 2400 pieds carrés, un loft de 3200 pieds carrés répartis sur deux étages et un penthouse de 2400 pieds carrés avec une grande terrasse privée située sur le toit.

Le design d’intérieur a été réalisé par Escobar Design by Lemay, auparavant Andres Escobar & Associés, et qui s’est récemment joint à la firme Lemay, un des chefs de file canadien en architecture, design et urbanisme. Colombien d’origine, Andres Escobar a étudié à Montréal, avant d’ouvrir son premier bureau dans la métropole, puis un deuxième à New York.

INDUSTRIEL CHIC

Le Broadway McKenna Building est un ancien entrepôt, construit en 1867 dans Greenwich Village. En pleine révolution industrielle, l’architecture new-yorkaise s’édifiait à partir d’acier grâce à un mode de construction appelé cast-iron building (bâtiment en fonte). Usines, magasins et entrepôts utilisaient cette technique rapide, solide et peu coûteuse, notamment dans les quartiers de SoHo, NoHo et Greenwich Village. Le paradoxe du temps a aujourd’hui métamorphosé ces quartiers d’ouvriers en haut lieu d’une bourgeoisie bohème, jeune et branchée.

Entièrement vêtue de blanc, la façade de l’immeuble a conservé son architecture d’origine. En franchissant le seuil d’entrée, on constate que le blanc se déverse également à l’intérieur, sur les murs, planchers et plafond. Puis notre regard est attiré par une immense murale de mosaïque italienne, conçue entièrement sur mesure par Andres Escobar et son équipe. Réalisée par la firme SICIS, l’œuvre dévoile une scène emblématique des rues de New York, avec ses gratte-ciel et ses taxis jaunes.

TOUT EN SOBRIÉTÉ

Dans les lofts, c’est la taille gigantesque des espaces à aires ouvertes qui surprend. Les tons clairs, l’immense fenestration et les retombées de plafond éclairées accentuent également la hauteur. Le foyer de marbre italien Calacatta est la vedette indiscutable de ce tableau. Cet impressionnant monolithe fait plus de 5 mètres (17 pieds) de longueur.

Les cuisines sont dotées d’électroménagers dissimulés derrière des armoires de cuisine de marque italienne et conçues sur mesure. La salle de bain des maîtres, aussi habillée de marbre Calacatta, possède une baignoire à débordement et une robinetterie encastrée au plafond. On y trouve même une télévision, dissimulée à même le miroir. Et luxe oblige : un système de domotique contrôle l’éclairage, la musique, le chauffage, la climatisation et la sécurité.

Les quatre appartements se délivrent donc des détails utilitaires pour laisser place à des espaces radieux, minimalistes et contemporains. Un repaire new-yorkais où le luxe rencontre la simplicité formelle et intemporelle. Alors ? Envie d’un pied-à-terre dans la « Grosse pomme » ?

Rich’s – Toronto Offices

Inspired by a love of food in all its glory, the Rich’s Canadian headquarters was strategically designed to welcome and delight; capturing the company’s rich culture, history, and presence as a leading business to business brand. With a global headquarters in Buffalo New York, Rich’s saw Toronto as an opportunity for a convenient, accessible hub to host international visitors. Infused with regional themes and materials to celebrate the Canadian location, the lively workplace fosters engagement and innovation. The result is a new workplace humming with energetic activity where employees love coming to work every day.

Richs’ people are their most valued business asset. Reflecting this company vision, key design elements cultivate a fun, healthy workplace that is flexible, open and intuitive. Faced with the challenge that most employees previously worked from home, the project mandated creating a new space to bring employees together under one roof, as well as improve staff mobility and achieve more effective communication. Starting with a challenging floor plan of space leftover from the production facility, spatial manipulations involved creating circulation to move employees around the space. The headcount was cleverly achieved by optimizing space through hoteling and creating malleable shared meeting areas for large-scale training, product development and product demonstrations. Meeting budget required strategic value engineering, as a new HVAC and electrical infrastructure consumed the majority of the fixed budget.

Key design elements included adding a new entrance and vestibule to re-orient the space. Despite spatial challenges, the workplace strategy ensures all employees work together in a collegial, energetic environment. Features include fully integrated AV, and a fitness centre to invite a healthy lifestyle. The designer also implemented access to light at every opportunity.

Design: Straticom
Design Team: Sabrina Giacometti, Marla Schwisberg, Tamara Poyato
Photography: Naomi Finlay

via officesnapshots.com

Tipi House in the Woods

Japanese architecture studio Hiroshi Nakamura & NAP Co, to who we owe the Ribbon Chapel, designed the Nasu Tepee house, in the area of Tochigi, in Nasu. Located in the heart of the woods, these buildings borrow their shape to the tipis of ancient people such as the Jomon, native Africans and Mongolians. Thanks to the high ceilings and triangular windows, the natural light is sufficiently released in the rooms.

via fubiz.net

Perspective Rooms with Line Patterns

Austrian artist Peter Kogler imagines rooms where the walls, the floor and the ceiling are decorated with 3D patterns playing with reliefs and perspectives effects. He uses a 3D graphic program dedicated to the development of illusions cross in space and prints large posters to put them on walls in order to come to this fascinating result.

via fubiz.net

Colorful Pavilion Structure in Melbourne

Australian studio John Wardle Architects has created a colorful pavilion at the National Gallery of Victoria , Melbourne for the 2015 Summer Architecture. An ephemeral installation which inspired by the shape of Sidney Myer Music Bowl.

via fubiz.net

12 Designers create unique experience at the Silken Puerta América Madrid

Generally it’s the city or destination that inspires people to travel, but occasionally, it might just be the hotel you get to stay in. Take, for instance, the Silken Puerta América Madrid. I mean, I’ve always wanted to go to Madrid and all, but after perusing the endless photographs of stunning amazement, I want to book the next flight to Spain. For this month’s Destination Design, we take you there, to this dream-worthy hotel that will literally give you an eyegasm.

At first glance you see just how colorful and stunning the exterior is, but sit back, and wait for the the mind-blowing interior. It’s just as good, if not better. 19, yes 19, of the best of the best architecture and design studios from around the world were invited to design a floor, each with their own design concept. Each designer BROUGHT IT when it was time to bring the designs to life, with different materials, colors, shapes, etc., to create some of the boldest rooms you could ever imagine. There are 12 floors of rooms and each one is completely different from the next, transporting guests to another realm.

The parking area, designed by Teresa Sapey, is full of bright, bold colors and graphics that lead the way.

Stairs from the parking area by Teresa Sapey

Hotel’s restaurant, Lágrimas Negras, designed by Christian Liaigre

The lobby’s minimal design was designed by John Pawson to be a space of peace and quiet within the hotel. Using vertical wood slats, he created a semi-circle that allows for privacy.

Marmo Bar designed by Marc Newson

The first guest floor was designed by Zaha Hadid with her signature fluid lines and curvy details. You will definitely feel like you’re walking through a science fiction movie.

Designed by Zaha Hadid

Designed by Zaha Hadid

Designed by Zaha Hadid

Floor two was designed by Norman Foster to feel luxurious without being over the top. Using leather, in various textures, the spaces feel elegant and livable.

Designed by Norman Foster

Designed by Norman Foster

Floor three, designed by David Chipperfield, has a completely black hallway that leads to the guest rooms while giving you a cozy, intimate feel.

In the rooms, Chipperfield plays with light while also incorporating black that he used in the hallways.

Plasma Studio took control of floor four which you’ll notice, is an exercise in geometry. From the time you get off the elevator, you’ll walk through the three-dimensional hallway to your room.

Designed by Plasma Studios

Marc Newson also tackled the sixth floor where he chose a bold, shiny red for the walls that greet you as you walk the halls.

Once inside the rooms, Newson went with a subtle grey and white color scheme with island-like beds out of leather.

Seventh floor designed by Ron Arad

Designed by Ron Arad

The eighth floor was designed by Kathryn Findlay and her goal was to recreate a space that guests could meditate and dream.

Designed by Kathryn Findlay

Creating boxes within boxes, Richard Gluckman designed the ninth floor using glass, plastic, and aluminum but in unusual ways to achieve a simple, luminous space.

10th floor by Arata Isozaki

11th floor by Javier Mariscal and Fernando Salas

Jean Nouvel designed the facade, the penthouse, and the 12th floor, which includes 12 suites. Mixing photography and architecture, the floor is meant to leave guests with feelings of sensuality and pleasure.

Designed by Jean Nouvel

What: Silken Puerta América Madrid

Where: Avda América,41 o Corazón de María,10, 28002. Madrid, Spain

How much? From approximately 225€ per night

Highlights: Unique, design-driven rooms that showcase the best avant-garde design the world has to offer.

Design draw: Each bold floor was designed by a world-renowned architect or designer who was given free rein to do what they wanted. The results are mind-blowingly dreamy.

Book it: +34 917 445 400

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six giant colored silos on vancouver’s granville island

os gemeos colorizes six giant silos on vancouver’s granville island

photo by sergio magro global BC / vancouver biennale

os gemeos takes their ongoing ‘giants’ project to canada, transforming six industrial silos with their bold mural painting for the vancouver biennale. sited on granville island, the brazilian brotherly duo are renewing the industrial landmark, which is home of the ocean cement manufacturing and distribution plant, into an enormous public art work that spans 360-degrees of the 23-meter (75 foot) tall cylindrical forms. in its completion the mural will measure a total of 7200 square meters (23,500 square feet) – their largest opus to date – bringing renewed life to the locale, positioned alongside the world-famous public market, emily carr university and boat docks that attracts 10.5 million visitors per year.

six industrial silos get a complete make-over by the brazilian artists

photo by sergio magro global BC / vancouver biennale

os gemeos on their ‘giants’ project for vancouver:

‘the first challenge of this project was to find a location that would fit with our idea. we did not want a conventional two-dimensional wall that we had done before – we wanted something different, special and unique. we have an ongoing project called ‘giants’ that has been realized in several places in the world such as greece, usa, poland, portugal, the netherlands, brazil and england, and we will continue now in canada, but with a difference. as the proposed biennale has a strong connection with sculpture, we decided to find a place where the painting can be transformed, creating a dialogue between the two-dimensional and three-dimensional worlds. another aim of this project is to bring new characters to vancouver while sharing perspectives and cultures and establishing a relationship between the people who frequent this site and integrate this work into the city scenery. the connection between water and land on granville island, on the false creek margins, also had a lot to do with the choice of location – for us, the water acts as a vein, symbolizing life, and it is very present in our work.’

bit by bit the cylindrical towers are transforming into an enormous public art work

photo by sergio magro global BC / vancouver biennale

‘every city needs art and art has to be in the middle of the people.’ – os gemeos

in its completion the mural will measure 7200 square meters (23,500 square feet)
photo by sergio magro global BC / vancouver biennale

view of the site
photo by sergio magro global BC / vancouver biennale

aerial view of the site
photo by sergio magro global BC / vancouver biennale

os gemeos on transforming six industrial silos for the vancouver biennale

video courtesy of the vancouver biennale

os gemeos in conversation with the vancouver biennale

video courtesy of the vancouver biennale

work starts on the large scale silo transformation
photo by sergio magro global BC / vancouver biennale

color blocking
photo by sergio magro global BC / vancouver biennale

the silos being transformed…
photo by sergio magro global BC / vancouver biennale

approach to the site
photo by sergio magro global BC / vancouver biennale

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3D printed polymers for virtual reality fashion

raviv uses 3D printed polymers for virtual reality fashion collection
all images courtesy of noa raviv

classical greek sculpture once represented an ideal vision of beauty. mastering techniques during the eras of ancient civilizations, each composition was able to capture intricate details of the human body – the sinuous curves, the rigid muscles, the small facial features – with primitive means. it was copied and reproduced many times throughout history until it became an empty repetition of style and expression. for these reasons, designer noa raviv has used the classical art and its evolution as the point of departure for ‘hard copy’, a fashion collection created during her time at shenkar college of engineering and design.

gradients of blue highlight the stress in the fabric

in collaboration with stratasys, one of the largest manufacturers of 3D printers in the world, raviv has deliberately developed manipulated digital images with computer modelling software; deformed pieces envisioned by a command that would be difficult for the technology to execute without setting a complex configuration of parameters, components, and codes. ‘these objects cannot be printed, nor produced in reality. they exist only in the virtual space. the tension between the real and the virtual, between 2D and 3D inspired me to create this collection,’ said the tel-aviv-based designer.

volumetric layers are transported onto the flat surface of the dress

following this motif, each item is a true representation of an alternate reality presented within the confines of screens. for example, the grid is a tool used within programs such as rhinoceros, autoCAD, and illustrator in order to grant designers the ability to understand size, scale, and proportion. within the context of the collection, the series of criss-crossing perpendicular vectors is referenced by lines of black and white polymers that articulate ruffled and undulating silk and tulle fabrics as they assume shapes similar to the traditional versions of bodices. this is contrasted by accents of orange that decorate the perimeters of the pleated textiles, a characteristic meant to symbolize the action of selecting the edge of a volume or surface in modelling software.

conglomeration of distorted grids and contours

accents of orange represent the action of selection an edge in virtual space

the garments consist of tull and silk organza fabrics

the translucency of the skirts are meant to emphasize the tops through contrast

the collection was created for shenkar college of engineering and design

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Tripoli Congress Center

The practice of Tabanlioglu Architects designed the Tripoli Congress Center in Libya next to the Zoo Park and a forested area, transforming the zone into a Congress Valley with a future hotel nearby and private villas.

The trees on the site were preserved and the area where no trees grew was where the building was raised spreading over two floors and a semi-transparent metal façade with a portico as the main entrance. The inner glass walls have a circulation area that acts as an extension of the natural landscape allowing the natural light to pass into the central space and during the nighttime the slits illuminate the outdoors.

The materials chosen are natural ones like stone or glass and other ones that come from renewable sources with low carbon emission, while the building was raised with construction waste management, material reuse and local sources.

The main lobby gives access to a double height atrium with mezzanines where the meeting rooms are located and bridges connecting them together.

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