Can a building ever be compared to Lady Gaga? Most experts may say no, but they obviously haven’t seen the New Museum, one of the best looking museums ever made according to Delaine Isaac.

The New Museum, founded as the New Museum of Contemporary Art by Marcia Tucker in 1977, is the only museum in New York City exclusively devoted to presenting contemporary art from around the world. On December 1, 2007, the New Museum opened its first freestanding, dedicated building at 235 Bowery.

The building, designed by Kazuyo Sejima and Ryue Nishizawa/SANAA with Gensler, New York, serving as executive Architect, is expressed as a series of six asymmetrically stacked aluminum-clad rectilinear boxes shifted off-axis around a central steel core. Sejima + Nishizawa‘s inspiration came from the traditional set-backs exhibited by some of the city’s earlier skyscrapers.

The facade is shrouded in 3,270 square meters of expanded aluminum, originally developed in the United Kingdom as a means of reinforcing roads. It was the first time this medium has been employed in the United States. The basement of the New Museum features a 188-seat theater.

The young Mexican-German Architectural and Interior Design studio Manadaº has been awarded with the Interior Innovation Award 2012 by the German Design Council at the imm Cologne. Manadaº received this prestigious award for their design of the Bed 42, along with the Interior Innovation Award Winners 2012 Patricia Urquiola, Konstantin Grcic, and Ronan & Erwan Bouroullec, among others.

Image courtesy Manadaº

The Bed 42 was in displayed at the imm Cologne fair, 16 – 22 January, 2012, and has already been booked for other exhibitions around Europe.

The Bed 42 is a materialization of multiple explorations by Manadaº. By mixing a bed and a desk in one product, they explore the flexibility of use of everyday objects; keeping always as a priority the aspiration to create quality products that are both sustainable – in an economical, social and environmental way – and timeless in their design.

Image courtesy Manadaº

"We do believe that what makes a design timeless is its constructive con-sciousness; " says Manadaº partner Alejandro Tapia. "The design approach has a lot to do with it becoming timeless," adds the architect and Manadaº partner, Katarina Alatzia. "Certified solid wood gives us that; it is a noble material that ages properly and is environmentally sustainable. That is part of a timeless design," finishes Alejandro.

Image courtesy Manadaº

The design of the Bed 42 reflects the creative DNA of the partners' nationalities, from one side the precision that characterizes German design, and on the other side the handcrafting skills of Mexican artisans. The bed has been manufactured in 4 weeks without any machine fabrication by using 2 inches certified solid walnut wood and local handcraft labor.

Image courtesy Manadaº

The young duo is one of the players in the up-coming young Mexican design scene, and the Interior Innovation Award 2012 is definitely a confirmation that they are on a right path in their search for sustainable and timeless design.

The imm cologne is the most important fair in the furniture market. Right from the beginning of every year the trade fair presents the new international furniture trends and surprises with numerous marketable innovations. The broad range on offer is combined with high standards of quality and an excellent presentation of the products. The fair also provides an effective platform for young designers. The trade visitors value that the trade fair’s pronounces business atmosphere and high standards of organization and services. The days of the fair that are also open to end-consumers, provide to the exhibitors ample opportunities for product and market tests, while the consumers find information and suggestions on the trends. In close connection with the extensive program of events that will take place all over the city of Cologne, imm cologne becomes the center of the international world of furnishings and design for a week.

Hotel Residence in Atacama, render courtesy LAN Architecture

SITE

Extreme

Extreme is the word that keeps coming back on the table at the time of the study. Extreme but necessary is the choice to implement life and activity in the region.

Hotel Residence in Atacama - Location plan, drawing courtesy LAN Architecture

Extreme is the site, the climate, the drought, the light, the horizontal dimension of the territory. Extreme is also the way the place will be used: without schedule, without rules, without connection to the site, lost in the middle of the desert.

Extreme is the fact that once there, there is no alternative but to live in this very hotel. Extreme is also the time given to draw a project that embraces all the factors.

Hotel Residence in Atacama - Site concept, drawing courtesy LAN Architecture

Facing the extreme.

This is the drive that leads us, from the desert, through civilizations, techniques and architectures to an idea. In this process, we quickly understood that for a form of life to develop, a certain number of conditions are essential, and the more favorable the conditions more the life form will evolve and civilize and head towards urbanity and culture.

Hotel Residence in Atacama, render courtesy LAN Architecture

How to transcribe these conditions in a site where for thousands of years the phenomenon hasn't been generated by itself? How to import urbanity in an area where nature overwhelms man?

Our hotel project rapidly became a small city project, a human settlement in which is combined habitat, commerce, education, politics, culture. A city inhabited, thanks to ESO by Man from different origins where ethnic and cultural diversity meets.

Hotel Residence in Atacama, render courtesy LAN Architecture

Amazing isn't it?

How to define a city but a gathering of individual, collective and public interconnected within a limit?

Our proposition has the ambition of unifying in a single gesture the conditions that will structure an ecosystem and allow human  activity in a human hostile environment.

STRATEGY

To achieve the announced objective we set a strategy where each component of the project plays an essential role in the definition of the whole:

Rooms becomes roof, roof is a plaza, the plaza a window, the window a façade, the façade a landscape, etc…

The hotel is clearly defined and identified easily, alike a city; it can be apprehended, to become a landmark.

Simultaneously, each part presents its own identity, and shows its complementarity to the other.

Hotel Residence in Atacama - Strategy, drawing courtesy LAN Architecture

The following diagrams show the genesis of the composition, a system of relationships:

1- THE SITE

2- ALTIMETRIC INTEGRATION SYSTEM: COMMON SPACE – ROOM

In order to limit the impact of the operation on the site, the room system takes place on the higher plateau, taking advantage of the different levels on the site, protects and defines therefore spaces located on the lower level.

Hotel Residence in Atacama, render courtesy LAN Architecture

3- PLAN LAYOUT PRINCIPLE – VISUAL INTEGRATION ON SITE

Orientation and views were the principle factor that guided the layout of the room. 49% of the rooms are oriented towards west, 24% towards east, 17% towards north and 10% towards south.

This layout generates two spaces "piazza" East and West that can be used at different time in the day depending on the sun.

4- THE ROOMS-INTERIOR-EXTERIOR PRIVATE AND COLLECTIVE

Around the piazzas, two principles define the project functionality.

System 1:
The rooms are built in and juxtaposed on the terrace, to define different kind of exterior spaces.
A private sunken and protected terrace is accessible from the room that opens up on a wide belvedere, a place of conviviality to meet and watch the sunset.

System 2:
The rooms form an elevated platform that offers the best views on the surroundings while increasing the head height of the subjacent spaces.

Hotel Residence in Atacama, render courtesy LAN Architecture

5- THE COMMON SPACES:

The layout and the organization of the upper part of the project define the common spaces.

System 1:
The restaurant etc…with its 5m high ceiling ending with an open roof slit, the space is visually connected with the West piazza and the horizon becomes the protagonist of its identity, the latter participates by its light and colors to the identity of the space.

The space will be used around the clock and should be able to accommodate simultaneously big gatherings, small groups and individuals.

Therefore, leveled spaces following the natural slope of the site generate more intimate spaces, small lounges and larger spaces.

System 2:
The swimming pool part etc. …with its 12m high ceiling is a kind of programmed winter garden, an interior Landscaped area that offers a very different microclimate from the exterior environment.

The desert is still present but not in a hostile way anymore, it is softened and promotes a friendly atmosphere. The zenithal light, changeable, allows different atmosphere.

6- RELATIONSHIP OF DIFFERENT FUNCTIONS:

Hotel Residence in Atacama - Strategy, drawing courtesy LAN Architecture

CLIMATE

The climate of the Atacama Desert is very particular, and although it is experienced as extreme and inhospitable, the temperatures are not that extreme, at least, not at the altitude of the site at 2900m. It is not the dry bulb temperatures measured in normal conditions – in the shade and sheltered from the wind – that make the climate inhospitable, but rather other elements such as solar radiation and wind.

Here solar radiation is all the more important as it is paired with practically non cloud cover. As a result, people and buildings are exposed to a high degree of insolation and during the day, almost all the year round, and at night, a «negative radiation» or heat loss through the sky that increases when there is no cloud cover.

So if one is protected from the sun and the wind whilst enjoying the outside heat, we can experience one of the most enjoyable climates. Once we know how install protection and create openings, direct needs are relatively low.

This could be the principle theme of the project: to generate transitional spaces between outside and inside that reduce energy needs and offer a variety of different situations.

Insertion

The insertion of the project in the site is dictated primarily by the plot and the desire to limit excavation work, and to offer interesting views to all rooms and living areas.

The project appears to float above the contour lines and is orientated to the west, parallel to the slope with views towards the Salar of Atacama.

All rooms, whatever their orientation, have unobstructed and interesting views. The play of levels means that no room has a vis-à-vis effect (as indicated in the below diagram).

Hotel Residence in Atacama, drawing courtesy LAN Architecture

The climate is, as we have seen, in terms of dry temperature, relatively pleasant. The bioclimatic design is based on the solar protection and limiting heat loss at night.

Hotel Residence in Atacama, drawing courtesy LAN Architecture

Thus, the strategy is based on a structure of staggered floors offering sun protection and allows the creation of buffer zones that limit convection. These spaces are also an exterior extension of the dwelling. This morphology is backed against the ground to take advantage of its inertia.

The aim is to limit the buildings gross requirements in terms of heating, cooling and lighting. The effect is to smooth out the outside temperature curve while limiting the effects of wind and radiation.

To reduce thermal loss, all the walls are insulated. In subsequent design phases, studies will allow us to refine the performance of the insulation to avoid the risk of increasing needs for cooling by an overheating phenomenon.

The systems we anticipate incorporating at this stage of the project, combine performance and realistic goals and can be classified under four themes: environment, design, economics and technology.

The project's context – an isolated site in Chile and unconnected to the usual networks – orientates working towards a balance of the four themes.

The goal is to combine the highest environmental efficiency (energy, raw materials, transportation, etc…) with the less complex technology (low maintenance, easy implementation, etc..) and the lowest cost possible.

These three themes go towards of detailed and responsive design.

PROGRAM DISTRIBUTION

The strong directional design drives the initial decision to split the residence program in two distinctive horizontal sections: the upper zone dedicated to the guest's rooms and the below zone which address the common areas.

The main entrance to the residence is at the ground floor, at level -8.00 m, where all the reception services are gathered.

Hotel Residence in Atacama - Program, drawing courtesy LAN Architecture

At this floor, the overall organization of the program divides the space in a wet area, where to find all the sport activities as well as the gardens, versus the dry zone, where to find the restaurants lounges and the multipurpose room. The two zone have been customized and accurately designed in order to fit the specificity of the building' s section: Where the water reflects the slot of light coming from the last level, the restaurant expands towards the above west plaza.

The entrance area is centered between the dining lounges to the north and the recreational rooms to the south. Split levels and double height sections animate the floor, which benefits of extraordinary panoramic exposure on three sides. As thematic sequence, the program has been structured in order to provide adequate alternation of more intimate and private domain, such as reading lounges, and more open and dynamic areas, i.e. buffet zone or game rooms.

Hotel Residence in Atacama - Axonometric, drawing courtesy LAN Architecture

The Residence's rooms define the content of the concrete box, and are distributed on three levels: the majority of the suites are allocated at level 2, with direct access and security-control entrances from and to the campus. This floor is internally connected to the lower common areas as well as to the other two floors of rooms. Each of the three floors offer to the guests unique rooms condition: within a rational and modular design in fact, the scheme achieves diversity of interiors through the multiplicity of hybrid spaces which surrounds the rooms. All the rooms benefit of exterior views as well as connections towards the east and west plaza, whose geometry generates semi-private terraces and more open collective zone where to socialize.

Hotel Residence in Atacama - Room layout and section, drawing courtesy LAN Architecture

The efficient use of the floor plate creates intelligent distribution of rooms served by minimum circulation. Nevertheless surprising and pleasant moment of social gatherings are offered and evenly disposed along the rings. The strong relationship with the exterior and the special topographical plates that the design features provide many degrees of interactions between the users. Due to the scale and variety of lounge's sizes the common space at the rooms floors in fact range from small and intimate spaces to the extreme of the plaza's openness.

Hotel Residence in Atacama - Elevation and section, drawing courtesy LAN Architecture

+ All images and drawings courtesy LAN Architecture

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The new lamp by SEMdesign is called Vektor. This wall lamp got his name because of his powerful geometric shape.

Vektor can be hanged in all different directions, so you can hang the lamp either horizontal or vertical. Apart from in white, this lamp comes also in the strong primary colors red and blue. Although the same geometric shapes return into the lamp, due to the difference in color a totally different atmosphere can be created. Each color creates a different appearance and gives a different feel to a room.

Design: SEMdesign | http://www.semdesign.nl
Measurements of this lamp: l:470 x b:140 x 97 mm
Material: Plastic polystyrene with a LED strip inside

Vektor Wall Lamp, image courtesy SEMdesign

Vektor Wall Lamp, image courtesy SEMdesign

Vektor Wall Lamp, image courtesy SEMdesign

Margot Krasojevic shard with us her design proposal for the Pushinsky cinema competition.

Balcony Illusion Facade

Cinema presents us with choreographed narratives, perceptions of life, symbolism, realism, surrealism, a plethora of convictions. The facade should recognise and embrace this. The facade negates from the preciousness of the iconic as it de-realises our relationship with it.

Image courtesy Margot Krasojevic

A decorative motif refers to a decadent Imperial Russia, made from a polyester resin bas-relief material, is a modern twist on a historical motif represented in a minimal aesthetic. The form is representative of a suspension in time, what appears to be a static surface mimicking a fluid and ever changing landscape, inauthentic in it’s presence it’s abstracted sequence imposes a decadence through detail yet denying playfulness or making way for change which is why it is abstracted into a looser non hierarchical steel frame from which public balconies are suspended, this sequence introduces the unpredictable animating the facade. The cinema reflects change, altered perceptions and states of conditions be they existing or proposed, the screen separating the outside from the inside of the cinema.

Image courtesy Margot Krasojevic

The extruded steel lace frame is coated in a carbon fibre Silicium composite Corian cladding, which uses Photovoltaics to convert light into electrical voltage this triggers the steel ball bearing structural frame to change the angle of the striated blind facade, this shift creates a polarised effect, a dynamic/kinetic sculptural gesture which never appears twice in the same way, the blinds behave like mobiles when current is passed through the primary structure. Altering light levels and our perception of the facade gives the illusion of movement and a three dimensional space, an implied projected space.

The facade becomes inhabitable.

The balconies suspended from the steel lace frame are clad in SentryGlas, using holographic film they project an artifical light which can be controlled to alter the luminance mimicking stage set projections, the balconies act as a public gathering space whereby the individual experiences the transition from real to virtual, public to rpivate and interior to exterior, their non-hierarchical arrangement has no symmetry or order suggesting equality across the facade.

Image courtesy Margot Krasojevic

Balcony Facade

The intricate decorative casts appear are represented in a minimal aesthetic. The form is representative of a suspension in time, a very static surface mimicking a fluid and ever changing landscape, inauthentic in it’s presence through repetition, the tiled sequence imposes a very strict/rigid structure highlighting decadence through detail yet denying playfulness or making way for change. Had the tile sequence continually changed and altered throughout it’s section there would have been an introduction to the unpredictable, a n animation of that imposing structure. The cinema always reflects change, altered perceptions and states of conditions be they existing or suggestive/proposed, the screen separating the outside from the inside of the cinema needs to show this detailed yet completely unexpected frames, using the language/lexicon of Russian identity, yet dislocating them from their original meanings.

Image courtesy Margot Krasojevic

Cinema presents us with choreographed narratives, perceptions of life, symbolism, realism, surrealism, a plethora of convictions. The facade should recognise and embrace this. The facade acts as an iconic canvas, yet negates from the preciousness of the iconic as it de-realises/ the pattern.

The rich motif recalls rich floral decoration in royal spaces whilst representation is austere minimal contemporary materials like Corian are used.

The extruded lace elements are coated in solar cells which use Photovoltaics to convert light into electrical voltage which is stored in the Carbon fibre Silicium composite Corian clad external balcony frame, this triggers the transparency and curtain movement. reflect light in through the pod’s holographic glass sphere refracting it back out as a filtered source of sunlight with reduced harmful UVB radiation. This projected artificial light source can be controlled to alter its luminance mimicking film set light projections, the balconies act as a public gathering space whereby the individual experiences the transition from real to virtual, and interior to exterior.

Image courtesy Margot Krasojevic

The balconies are arranged in a non-hierarchy where there is no symmetry or order to their positions suggests an equality across the facade, The steel ball bearing frame moves shifting the Corian sections frame by frame and dislocating the striated double planes in turn animating the entire facade. The double plane blinds behave like mobiles which rotate slightly when a current is passed through the attached frame, the polarised effect alters light levels and our perception of the facade which gives the illusion of movement and a three dimensional space, an implied projected space. The facade becomes inhabitable.

Polyester resin bas-relief material is a modern twist on a very historical motif, the sectional changes offer a dialogue which reaches into the surrounding context and can be moved accordingly, further dislocating, addressing and informing our perceptions of the sequence of spaces, dialogue similar to the sequence of narrative frames in a reel.

1. Artistic heritage which does not fear undermining tradition, transgressing trend, politic or dogma by using motifs as references from which to evolve the nature of perception and narrative.
2. The illustration of the dynamic relationship which exists between the creation and the representation of film/art.
3. At the same time the facade will reveal the subtle relationship between works from different generations and cultural backgrounds, a rich tapestry of perceptions representations, story telling and the passion behind the exploration of abstraction and representation.

+ All images courtesy Margot Krasojevic

Jameson House, image courtesy Foster + Partners | Photo by Nigel Young

Foster + Partners recently have completed Jameson House, it is the first mixed-use project in Canada.

Lord Foster said:

Vancouver has a spectacular location, surrounded by mountains and the sea. The design makes the most of the city's fantastic natural setting, with balconies and deep bay windows looking out towards the landscape. Jameson House further develops a number of key themes that have been integral to our work for many years. The project combines restoration with new construction; it is high-density and mixed-use, offering a sustainable model for urban living; and it demonstrates innovation, both in its evolution of the high-rise building and its progressive environmental agenda.

Jameson House, image courtesy Foster + Partners | Photo by Nigel Young

Jameson House is a new 35-storey mixed-use tower in the heart of Vancouver and includes the first residential development to be completed by the practice in North America – completed at the end of last year, already the building is now almost fully occupied. The project combines the restoration of heritage buildings with new construction: the lower level offices and shops knit with the existing streetscape to reinvigorate the downtown neighbourhood, while the apartments above face dramatic views of the bay and create a new landmark on the skyline.

Jameson House, image courtesy Foster + Partners | Photo by Nigel Young

Fusing old and new, the site connects the city's financial centre with its emerging creative hub, and the scheme integrates two 1920s Beaux Arts structures: the entire internal double-height volume of the A-listed Ceperley Rounsfell Building has been returned to its original configuration and the facade of the B-listed Royal Financial Building has been retained.

Jameson House, image courtesy Foster + Partners | Photo by Nigel Young

The development comprises eleven storeys of offices and shops, topped by twenty-three storeys of apartments. The tower's form articulates these different functions: the first two storeys continue the row of shop units at street level, while the uppermost office floor aligns with the cornice line of the adjacent building. Contrasting with the flush facade of the offices, the residential floors curve outwards in four wide bays, which are staggered to allow daylight to reach neighbouring buildings and oriented to provide uninterrupted views of the landscape.

Jameson House, image courtesy Foster + Partners | Photo by Nigel Young

The tower's flexible plan supports a variety of apartment types, with interiors by Foster + Partners and living spaces in the deep curve of the window bays. At the top of the tower are two-storey penthouse apartments and landscaped roof terraces.
The design was developed in response to the local climate, seasonal sun paths, prevailing winds, humidity levels, air temperatures and precipitation rates specific to Vancouver. Foster + Partners' in-house engineering group – formerly PHA Consult – has been involved in the project from the outset, in a fully integrated approach to environmental engineering and architectural design. This has led to innovations such as chilled floors and a mechanised valet parking system, which reduces the number of parking levels and associated excavation, lighting and ventilation requirements.

Jameson House, image courtesy Foster + Partners | Photo by Nigel Young

Nigel Dancey, a senior partner at Foster + Partners, said:

Jameson House was the result of a team effort: we worked closely with environmental engineers, as well as the city, from the outset. This collaborative approach led to innovations, both in the tower's design and in our interrogation of the brief – we were able to significantly increase the density of the scheme to create a highly sustainable mixed-use development. And by combining these different functions within a compact footprint, we can further balance energy usage with the mixture of daytime and night-time activity.

Colin Bosa, CEO of Bosa Properties:

Foster + Partners has created a unique building for Vancouver, which combines high-quality finishes and a strong design sense with a clear commitment to sustainability. We are most pleased with the architectural legacy that Jameson House offers to our city.

Jameson House - Street level floor plan, drawing courtesy Foster + Partners

Jameson House - Typical residential floor plan, drawing courtesy Foster + Partners

Jameson House - Elevation, drawing courtesy Foster + Partners

Jameson House - Section, drawing courtesy Foster + Partners

+ All images and drawings courtesy Foster + Partners | Photo by Nigel Young