Designed by MOLE Architects the aim of the project was the refurbishment of an existing unprepossessing 2-bedroom 1960’s Bungalow in the village of Over, Cambridgeshire. The completed building includes the reorganisation of the internal rooms to include main and guest bedroom, opening up of garden room at the rear to be used as a main living space, focusing on an existing magnolia tree, attic space, and the addition of utility room and incorporation of garage into main house. Most significantly, the front North façade of the building has been completely remodelled into a saw-tooth elevation composed of 4 pitches clad in vertical Siberian larch boarding.
Incorporating organic sculptural elements, the design for Marni’s flagship London store creates a unique sense of visual connectivity that encourages full exploration of the two level shop. The gleaming white resin ground floor seamlessly stretches up to the first floor so that both levels appear attached. Stainless steel steps have been cut into the inclined wave that connects the floors and add to the flowing sense of movement. Polished stainless steel rails, used for displaying merchandise, migrate freely through the space like legs of futuristic insects.
Images Courtesy Richard Davies
Architect:Sybarite – Simon Mitchell, Torquil McIntosh
Name of Project: Marni Sloane Street
Location: London, UK
Client: Marni – Consuelo & Gianni Castiglioni
Specialist Contractor: Marzoratti Ronchetti – Stefano Ronchetti and Roberto Travaglia
Structural Engineer: Techniker, Ltd. – Matthew Wells, Megan Maclaurin
Zaha Hadid Architects have created a unique chamber music hall specially designed to house solo performances of the exquisite music of Johann Sebastian Bach. A voluminous ribbon swirls within the room, carving out a spatial and visual response to the intricate relationships of Bach’s harmonies. As the ribbon careens above the performer, cascades into the ground and wraps around the audience, the original room as a box is sculpted into fluid spaces swelling,merging, and slipping through one another.
The LSE’s student salon is currently an unsuccessful space: Its walls are cluttered with unsightly alarm sounders, fire extinguishers and cable trunking, a big vending maching in front of the window blocks views in and out of the space and the big recycling bins are in everybody’s way. The lighting is mismatched and inappropriate for the type of use and the furniture is neither inviting nor comfortable. The space is quite simply not very attractive.
London-based practice de Matos Ryan has brightened up the playground at Charlotte Sharman Primary School in Southwark South London with a new play scheme designed to promote dramatic inquiry.
The scheme replaces an uninspiring grey tarmac playground and is centred around two new timber pavilions and climbing wall linked by a brightly coloured abstract landscape painted directly onto the tarmac.
Hewitt Studios have just completed the HCA Hub building which forms a new front-end facility for the Hereford College of Arts. The proposal delivers much-needed cafe, exhibition and admin space in a striking new volume. With a strong sustainability agenda, the structure is formed of glu-laminated and mass-timber and the space is naturally ventilated and day-lit. A reflective pool is used to both animate the space and mediate sunlight.
The museum, a sectional extrusion open at both ends, its outline encapsulating a wave or pleat, flows from city to waterfront, symbolizing dynamic relationship between Glasgow and the ship-building, seafaring and industrial legacy of the river Clyde. Clear glass facades allow light to flood through the main exhibition space.
Entrance to the Museum
Architect: Zaha Hadid Architects
Design: Zaha Hadid Architects
Project Director: Jim Heverin
Project Architect: Johannes Hofmann
Project Team: Achim Gergen, Agnes Koltay, Alasdair Graham, Andreas Helgesson, Andy Summers, Aris Giorgiadis, Brandon Buck, Christina Beaumont, Chun Chiu, Claudia Wulf, Daniel Baerlaecken, Des Fagan, Electra Mikelides, Elke Presser, Gemma Douglas, Hinki Kwon, Jieun Lee, Johannes Hoffmann, Laymon Thaung, Liat Muller, Lole Mate, Malca Mizrahi, Markus Planteu, Matthias Frei, Michael Mader, Mikel Bennett, Ming Cheong, Naomi Fritz, Rebecca Haines-Gadd, Thomas Hale, Tyen Masten
Exterior View
Competition Team: Malca Mizrahi, Michele Pasca di Magliano, Viviana R. Muscettola, Mariana Ibanez, Larissa Henke
Services: Buro Happold (Glasgow, UK)
Acoustic: Buro Happold (Bath, UK)
Fire: FEDRA, (Glasgow, UK)
Cost / Project Management: Capita Symonds
Interior Decoration
Glasgow, United Kingdom
2004 – 2011
Glasgow City Council
Built 11,000m2
Exhibition Area: 7,000m²
Site Area: 22,400m²
Footprint Area: 7,800m²
Aerial View
The historical development of the city of Glasgow and the ship-building, seafaring and industrial waterfront along the river Clyde, gives both a unique shared legacy. Situated where the city meets river, ‘flowing’ between the two in a symbolic representation of their dynamic relationship, the museum places itself in the very roots of its origins – establishing a clear connection between its exhibits and their wider context.
Aerial Photo
The building, conceived as a sectional extrusion open at both ends, its cross-sectional outline encapsulating a wave or pleat, faces Glasgow and the Clyde, becoming porous to its context on both sides. However, this connection is not direct, but instead diverted to create a journey into the exhibition spaces contained. In every sense, the interior path through the space becomes a mediator between city and river, which can be both hermetic or porous as required.
Façade View
Circulation is through the main, open and column-free exhibition space, from which views outward allow visitors to build up a gradual sense of their external context. At the structure’s end point, the café and corporate entertainment space offers views over the confluence of the river Kelvin and the Clyde, with access to a landscaped open courtyard. Front and rear elevations are marked by their clear glass facades, both allowing expansive views over the surrounding river landscape.
Ringed stones create a shadow path around the building, moving visitors from hard surfaces to a softer landscape of grass, creating an informal space. Lined trees along the existing ferry quay reduce exposure to prevailing winds, while shallow pools along the museum’s south and east sides create a seamless continuity with the river.
New Court, the new London headquarters for Rothschild, and OMA’s first building in London, has been completed. The 21,000m2 building is embedded in the narrow medieval alley of St Swithin’s Lane in the heart of the City of London.
Rothschild bank in the City of London (Copyright OMA by Philippe Ruault)
“The Lighthouse” is a beachfront property on the south coast of England. It is a super insulated, luxury 3 bedroom house sitting in a beautiful water side location enjoying stunning views of the Solent and the Isle of Wight.
The site is enclosed between two neighboring buildings and a 7m high embankment to the north; of which pavement and street access sits at the top. This access, to the roof level of the property, and the one-directional view over the beach, English Channel and Isle of Wight to the south, has led to an interesting design which takes inspiration from traditional beach pavilions such as the De La Warr in Bexhill a little further along the coast.
The site is located in Suffolk two miles inland from Aldeburgh, and lies within the Suffolk Coast and Heaths Area of Outstanding Natural Beauty. The site itself forms part of an overall land ownership of 2.5ha surrounded by agricultural land.
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