Following last year’s Towards New Workplace Paradigms series, the new furniture – titled Zones – is focused on creating spaces for privacy, collaboration and relaxation within a flexible environment.
The collection features a semi-private pod combining two sofas, as well as seating, tables, screens and easels.
“The boundaries between traditional and emerging work space is breaking down,” said PearsonLloyd co-director Luke Pearson. “People don’t just work in offices; hotels, public transport, cafes and home have become an extension of the office.”
“Zones responds to this mentality by embracing and facilitating today’s dynamic work ethos.”
The largest piece in the series is Lounge, a partly enclosed pod of two couches wrapped in a screen. It is envisioned as a space to read, think, talk and write that is insulated from the noise of the office.
The Canteen table can be used for stand-up meetings, while the Workshop table with benches comes in a square shape to enable many people to converse easily.
Seats range from the reclining, high-backed Solo lounge chairs to a compact stool, while the easel is available in both blackboard and whiteboard finishes.
The series is tied together with a common visual language of rounded, almost oblong shapes and muted natural finishes.
The products incorporate wood, aluminium, plastic and textiles in colours like olive green, moss and slate grey.
Flattened and gently bent strips of wood are a feature of the legs of the chairs and tables, as well the easel frames.
The choice of materials and finishes were driven by the desire to make people feel more at home in the office environment.
“In a world of mass production, the authenticity of a product becomes increasingly important,” said PearsonLloyd co-director Tom Lloyd.
“Warmth, humanity and simplicity within Zones provides a platform for focus and relaxation and can facilitate activity and collaboration when necessary.”
The style is in keeping with PearsonLloyd’s earlier series for Canadian office systems company Teknion, which introduced a face-to-face double seat where you can sit “as close as you can get to a co-worker without HR having to get involved”.
Office furniture is currently experiencing a rethink driven by social and technological changes that free workers from their desks, while keeping them ever connected through mobile devices.
Other innovative designs have come from Dutch studio Prooff, which created a line of plush leaning posts that don’t neatly fit into existing categories of furniture, and experimental desks modelled on bunk beds from Lund University students working with the co-founder of Hay.
Paris architecture office Dorell Ghotmeh Tane has created a new home for the Estonian National Museum – a 350-metre-long sloping glass building that rises from the runway of a former Soviet airbase near the city of Tartu (+ slideshow).
Dorell Ghotmeh Tane (DGT) won an international competition to design the museum with its proposal for a site on the airfield, which is located four kilometres northeast of the city.
Scheduled to open in October 2016, the glass and concrete building will host exhibitions, performances and education activities. Facilities inside include gallery spaces, a conference hall, public library, auditoriums, educations rooms, offices and storage space for the museum’s collections.
The glazed facades are screen printed with a random pattern of white dots designed to enhance and distort reflections of the surroundings. In the winter, the dots complement the snowy environment to lend the building an icy aesthetic.
The land the museum occupies once belonged to Raadi Manor, which was owned by a family of Baltic German aristocrats and later became home to the original Estonian National Museum.
In 1940, 100 hectares of the manor’s land were requisitioned to create an airport that was an important base for Soviet bombers for 50 years. The manor was destroyed in a bombardment during the second world war.
DGT’s design seeks to reestablish the site as a place for culture and enjoyment at the heart of the local community, whilst recognising and referencing its troubled and sometimes painful history.
“The building is formed by the extension of the airfield’s concrete floor, which becomes the roof of the building,” architect Dan Dorell told Dezeen. “The [roof’s] slight slope embodies the projection of a nation that is taking off from a troubled past into a new future.”
The tallest elevation, which reaches a height of 14 metres, folds inwards to form a cavernous sheltered courtyard that directs visitors towards the entrance.
From the entrance, the building extends 350 metres and gradually decreases in height until it reaches the exit at the far end, where the height is just three metres. Several solid volumes containing the various programmatic elements are distributed along its length.
Each of the angled facades is predominantly clad in triple glazing, offering views of the ruins dotted around the site.
“Wide openings allow indirect natural light on the north facade where exhibitions and public spaces are located,” Dorell added. “In the south part of the building, all offices, libraries and education classes take advantage of the sun irradiation.”
Part of the building spans a 40-metre section of the Raadi lake, which is visible through the glazed facades and provides a site for activities including ice skating in winter and boating in the summer.
Photography is by Takuji Shimmura.
Architect: Dorell Ghotmeh Tane (DGT)
Engineer: Arup and EA Reng
Facade: RFR Engineering
Interior architect: Pille Lausmäe
Landscape architect: Kino
Graduate shows 2016: cling-film dresses and pieces constructed from scrapped motorcycles are included in our design reporter Alice Morby’s top five picks from this year’s Royal College of Art Master of Arts in Fashion presentation.
The RCA Fashion Show took place in the abandoned Averard Hotel in Lancaster Gate – the first time in 20 years it has taken place outside the college’s Kensington campus.
Graduating menswear, womenswear, knitwear, footwear and accessories students all showcased their designs during the presentation, which also included a contemporary dance routine and a spoken word performance.
It was the second presentation under the direction of Zowie Broach, who took over as head of the college’s Fashion programme following the retirement of long-standing leader Wendy Dagworthy in 2014.
In keeping with last year’s MA presentation, Broach changed the traditional format of the show and allowed only one look per student – each identified by a numbered card carried by the model.
Here are our top five picks from the 2016 show:
Aiming to create the “perfect” dress, womenswear designer Stefanie Tschirky used scientific theories to help define silhouettes and lines in The Chaotic System in Space.
“I started to look into theories such as the Golden Ratio Theory and the Chaos Theory, finding perfection in chaos,” she told Dezeen. “It led me to have many conversations with maths and physics students from the Imperial College London, as we questioned perfection and beauty and its meanings in science and art.”
Using a mixture of threads and cling film, Tschirky created garments that appear to “seal the body” and become a second skin.
Tschirky directed her model to behave in a way that was “dark and fragile” during the presentation, directing her to the video work Acceptance by Bill Viola for inspiration.
Titled Fluid Sense, the collection was developed through Anilionyte’s extensive research into liquid-based materials.
A one-shouldered lilac- and orange-coloured top that looked as if it had been poured over the model was made from polymer-based fluid prints.
“[Fluid sense is] the feeling of wearing liquid clothes,” Anilionyte told Dezeen. “Body temperature and natural perspiration stimulate polymer-based fluid prints that adapt to human body shapes and become a second skin.”
“Liquid material shifts into a new form of textile that has a strong relation to the body.”
Mao Tsen Chen
For his collection, Mao Tsen Chen decided to switch the roles of animals and humans, exploring what would happen should animals start taking materials from us.
“Us wearing real fur is like taking an animal’s skin or clothes, so when animals start to fight back, they start to take our skin from us,” Chen told Dezeen.
Using faux fur, chenille yarn, polyester, cellulose yarn and cotton, he created an extravagant coat with different layers of texture and volume.
Niels Gundtoft Hansen
Danish menswear designer Niels Gundtoft Hansen reflected on his childhood skating in Copenhagen to create oversized garments using heat-pressed tarpaulin.
“I grew up skating the wet streets of Copenhagen in a cold and yet isolated Nordic landscape,” he said. “All my life I’ve been physically connected to tactile and rough environments.”
He chose to express these qualities through a visual language he describes as “naive and goofy”.
“I tell the story of lost kids hanging out by the industrial docks,” he continued. “Vandalism is the agenda and their uniform is metamorphosed by the oil sea, wet asphalt and rusty containers.”
Bouyez-Forge aimed to blur the lines between fashion and mechanics when he created a glossy, green womenswear item from scrapped pieces of a motorcycle.
“The outfit is almost like a mode of transport,” he told Dazed & Confused. “Maybe it could take you to another land, another dreamscape.”
The double-sided foldout map features over 70 examples of Art Deco architecture in London, such as Eltham Palace, Senate House, the Daily Express Building and the OXO Tower. Details for each building include location, date, architect and protected status.
The Art Deco London Map is designed and printed in the UK in a combination of black and silver ink. It can be used as a guidebook or a wall poster, and follows on from the publisher’s Brutalist London Map.
Art Deco is a decorative art and architecture style that emerged in the 1920s and 1930s, characterised by strong, symmetrical geometric shapes and modern materials from the time, like chrome plating, aluminium and bakelite plastic. It initially appeared before the first world war, but was popularised following the 1925 International Exposition of Modern Decorative and Industrial Arts in Paris, later spreading to the rest of Europe and the USA.
The style grew during a period of rapid industrialisation, making it a popular choice for London’s tube stations, cinemas, theatres, factories and corporate headquarters.
Related story: Google adds London to its growing list of 3D-mapped cities
The architecture highlighted on the map reflects the era’s fascination with industry and technology, featuring streamlined forms that reference aviation, skyscrapers and radio sets.
The guide features an introduction to Art Deco written by Henrietta Billings – director of conservation group Save – and original photos by Simon Phipps, who both also collaborated with Blue Crow Media on the Brutalist London Map.
“What we now celebrate as Art Deco is eclectic and truly international — Cuban and Constructivist influences can be seen, as well as references to ancient archaeology, such as the discovery of Tutankhamun’s tomb in Egypt in 1922,” said Billings.
Five winners will receive one of the Art Deco London guides, which are available to purchase from Blue Crow Media’s website and independent bookshops across London for £8.
The publishers will also release a Constructivist Moscow Map later this year, as well as a Brutalist Washington DC Map in November 2016.
Blue Crow Media is an independent city guide publisher founded by Derek Lamberton. It also publishes a series of award-winning food and drink maps and apps for London, New York and Berlin.
Competition closes 11 July 2016. Five winners will be selected at random and notified by email, and their name will be published at the top of this page. Dezeen competitions are international and entries are accepted from readers in any country.
Throup‘s New Object Research project made its catwalk debut yesterday at the Holy Trinity Church, also known as One Marylebone.
The collection was created after a year and a half of work that built on the Argentina-born, London-based designer’s initial set of four outfits titled New Object Research, which debuted in January 2013.
At the entrance to the church, four casts of Throup’s body wearing these garments were laid on top of each other in a pile.
The installation was named The Resting of the Past, and was created as a memorial to the previous designs.
“This piece represents the acceptance of the now,” said Throup. “Through defacing my own work by covering it in ghost-like white paint, I am disregarding its current surface value whilst allowing it to peacefully rest.”
To present the latest garments, Throup worked with puppet designer and engineer James Perowne on a performance piece titled The Rite of Spring/Summer/Autumn/Winter.
The show was split into three scenes. In the first, a white box placed in the centre of the catwalk was hoisted to the ceiling to reveal a pile of fabric and sticks underneath.
Masked figures dressed all in white began to agitate the poles, causing the material to slowly rise into a human figure dressed in one of Throup’s black garments. The puppeteers then manipulated the pseudo body so it appeared to walk down the catwalk.
When it reached the end, a young girl ran on and removed its dark mask, revealing a white face underneath.
Subsequent looks, all in black and white, were walked down the catwalk on puppets in a similar way – with the masters pushing sticks from behind to emulate the movements of a real model.
One of the moveable mannequins was illuminated from within so its hands, feet and head glowed when the stage lights were turned off.
The final two puppets were “shot” while on the catwalk so coloured powder exploded from their heads.
After the runway presentation concluded, curtains were drawn back to reveal the puppets and outfits hung from the ceiling in front of the church’s stained glass windows.
Throup’s collection of prototypes, described by the designer as trans-seasonal, will be displayed and available for limited-edition purchase on request from London’s Dover Street Market, which recently reopened in a new location.
A fully commercially distributed collection is in development for release in January 2017.
The Spring Summer 2017 edition of the London Collections: Men event runs from 10 to 13 June 2016. In previous seasons, Mackintosh presented its Autumn Winter 2016 range on a set of white podiums and other shows were hosted at a space illuminated by light-filled perforated boxes.
In another similarly unusual fashion presentation, an Alpine choir pivoted on hydraulic platforms as part of Moncler’s Autumn Winter 2014 show.
Show concept and creative direction: Aitor Throup
Garments and accessories: Aitor Throup
Product development, sampling and production: AT Studio
Puppet design: Aitor Throup and James Perowne
Puppet engineering, development and manufacturing: James Perowne
Puppetry direction: Aitor Throup and Rachel Warr
Puppet development consultants: Ivan Thorley and Caroline Bowman
Puppet development assistants: Elliott Kinney, Pip Herbst and Susan Dacre
Puppeteers: Andrew London, Caroline Bowmann, Charlotte Quartermaine, Ivan Thorley, Sam Clarke
Music: Sergio Pizzorno
Soundscape and spatial sound design: Rodaidh McDonald
Sound installation and optimisation: Matrix Nine Ltd
With the Euro football championship now underway, we’ve collected together everything you need to know about six of the tournament’s key venues, including a new stadium by Herzog & de Meuron.
The Bordeaux stadium comprises a sharp-edged rectangular roof supported by hundreds of slim white columns. It was completed last year by Swiss firm Herzog & de Meuron, who previously designed the “Bird’s Nest” Olympic stadium in Beijing.
The first match to take place in the 42,000 capacity stadium was Wales v Slovakia on Saturday, with Wales winning 2-1. Austria will play Hungary there on 14 June, followed by Belgium v Republic of Ireland (18 June), Croatia v Spain (21 June) and the third quarter-final on 2 July. Read more about Stade de Bordeaux »
Stade de Nice by Wilmotte & Associés SA
Also known as the Allianz Riviera, Nice’s multi-purpose 36,000-seat stadium began construction in 2011 after France was awarded the Euro 2016 tournament. The undulating structure features a large wooden trellis and transparent facade, and uses geothermal energy to heat and cool itself. It was designed by French architect Jean-Michel Wilmotte, of Wilmotte & Associés SA, which is currently overseeing a major renovation of the Gare du Nord station in Paris.
Yesterday, Poland beat Northern Ireland 1-0 here. Spain will play Turkey on 17 June in this stadium, followed by Sweden v Belgium (22 June) and a further match on 27 June.
Grand Stade de Lyon by Populous
Lyon’s stadium was completed in January 2016, making it the newest building on this list. A triangulated roof extends over the public spaces surrounding the building, designed by architecture studio Populous to amplify the noise of the 59,000 fans inside. The firm is known for designing major international sports venues – it recently revealed a stadium design for San Diego Chargers American football team.
The first match taking place here will be Belgium v Italy tonight, followed by Ukraine v Northern Ireland (16 June), Romania v Albania (19 June), Hungary v Portugal (22 June), one of the last 16 matches (26 June) and the first semi-final (6 July).
Stade Vélodrome by SCAU
Famously open to the elements in the past, Marseille’s newly-renovated stadium now includes an undulating web-like roof, enveloping the structure and sheltering crowds for the first time. Paris firm SCAU – who have previously worked on the Grand Louvre and the Hôpital Georges Pompidou – were also tasked with increasing the capacity from 60,000 to 67,000 spectators and developing the surrounding area into a new cultural district for Marseille.
England tied with Russia here on Saturday. Upcoming matches include France v Albania (15 June), Iceland v Hungary (18 June), Ukraine v Poland (21 June), the first quarter final (30 June) and the second semi-final (7 July).
Stade Pierre Mauroy by Valode & Pistre and Atelier Ferret Architectures
Lille’s 50,000-capacity stadium features a wire-mesh facade that reflects direct sunlight and a retractable roof that can open or close in only 30 minutes. It was completed in 2012 by French studio Atelier Ferret Architectures. Half of the pitch can be raised and inserted directly over the other half to create a smaller, more focused space. Other notable sports venues by the studio include the Bollaert-Delelis stadium in Lens, France, and the Spiral stadium in Africa.
Germany played Ukraine here on Saturday, winning 2-0. Russia will play Slovakia on 15 June, followed by Switzerland v France (19 June), Italy v Republic of Ireland (22 June), last 16 (22 June) and the second quarter-final on 1 July.
Stade de France by SCAU
France’s national stadium was originally built for the 1998 World Cup and is the second SCAU-designed structure on our Euro 2016 list – as well as the biggest, seating 80,000 spectators. Its distinctive roof is designed to look like it is floating above the structure, but is actually supported by 18 steel masts to protect spectators while leaving the pitch uncovered.
The first match of the season took place here, with France beating Romania 2-1. Republic of Ireland will play Sweden tonight, followed by Germany v Poland (16 June), Iceland v Austria, (22 June), last 16 (27 June), the fourth quarter-final (3 July) and the final (10 July).
Architectural photographer Iwan Baan has taken new images of the Steven Holl-designed Bloch Building at the Nelson-Atkins art museum, which show the structure as it enters its 10th year (+ slideshow).
Iwan Baan, one of the world’s most acclaimed architectural photographers, was commissioned to capture new images of the building, which will celebrate its 10th anniversary next year.
“It is inspiring to see in Iwan’s new photos how well the Bloch Building is used, bringing the museum experience for the public into the landscape, shaping space and light for engaging the art,” said Chris McVoy, a senior partner at Steven Holl Architects.
“The earth rises up between blocks of light, carving meaning in spaces for art,” added Holl.
Situated on the eastern edge of the campus and overlooking a sculpture Park, the 165,000-square-foot (15,330-square-metre) building is composed of five connected glass pavilions that glow softly at night.
The volumes step down a gentle slope and are partly embedded in the landscape.
The building was conceived as a “delicate counterpoint” to the museum’s main building, a Neoclassical stone structure dating to 1933. It expanded the museum’s exhibition space by more than 70 per cent.
“From the movement through the landscape, the five glass ‘lenses’ form new spaces and angles of vision, while bringing different qualities of light to the galleries below,” said Holl’s New York-based firm.
The building’s main concourse is filled with natural light that streams in from clerestory windows.
Artwork is displayed in irregularly shaped galleries with white plaster walls and dark grey flooring.
In addition to galleries, the building contains a lobby, store, cafe and library.
At the time of its opening, the building was hailed by former New York Times architecture critic Nicolai Ouroussoff as a “work of haunting power” that demonstrates how art and architecture “can happily coexist”.
“It’s an approach that should be studied by anyone who sets out to design a museum from this point forward,” Ouroussoff wrote.
The building was the centrepiece of a major improvement project that included renovations to the museum’s original building and a restoration of the sculpture park.
Holl won the commission in 1999 through an international competition.
“The proposed design for the museum was an imaginative and unexpected solution to the institution’s needs, balancing innovation with respect for the beloved Nelson-Atkins Building,” the museum said in 2007.
The museum will celebrate the 10th anniversary of the Bloch Building with a series of public events. The building is named after Henry W Bloch, co-founder of the financial services company H&R Block.
Other projects by Steven Holl – winner of a 2014 Praemium Imperiale arts prize — include the Linked Hybrid towers in Beijing and an extension to the Glasgow School of Art in Scotland. He recently unveiled plans for a visual arts centre at the Franklin & Marshall College in Pennsylvania.
Bjarke Ingel’s Serpentine Gallery Pavilion, which opened last week, will have an afterlife touring Asia and the USA after being bought by Canadian developer Westbank. But what happened to the myriad seasonal architecture marvels erected around the world last year? Dezeen investigates.
Dezeen understands that Ingels’ Serpentine Pavilion has been sold to Canadian developer Westbank, which plans to dismantle the modular pavilion and reassemble it various locations abroad.
“The pavilion has a temporary footprint here in the park, and then it’s going to travel to Asia and America,” the Danish architect told Dezeen in a video interview.
Westbank, one of the main sponsors of this year’s pavilion, is also working with Ingel’s firm BIG on three residential projects in Canada.
Read on to find out what happened to last year’s Serpentine structure and the rest of the 2015 crop of pavilions:
Where is it now? The structure has been bought by Second Home, the shared workplace startup that previously hired SelgasCano to design their London HQ. Second Home plans to rebuild it in downtown Los Angeles this summer as a temporary cultural space for performances and visual art. Find out more about SelgasCano’s Serpentine Gallery Pavilion »
Circular Pavilion by Encore Heureux: relocated
Where was it then? Installed in November 2015 to coincide with the United Nations Climate Change Conference and made almost entirely out of recycled materials, Circular Pavilion sat right outside Paris’ city hall. The rectangular structure’s counterintuitive name was a reference to the circular nature of reusing and recycling.
Where is it now? The pavilion has been relocated to Paris’ 15th Arrondissement to find new life as a bowling association’s clubhouse. Find out more about the Circular Pavilion »
Where was it then? Local studio OBBA created this pavilion for the Amorepacific Museum of Art Project, an annual contemporary art exhibition that travels around the workplaces of the cosmetic brand Amorepacific in South Korea each year. The 2015 edition took place at the Alvaro Siza-designed Amorepacific Research and Design Centre in Seoul.
Where is it now? An unnamed visitor to the Oasis bought it and is having the pavilion rebuilt in the grounds of her own museum. Find out more about the Oasis pavilion »
Where was it then? Commissioned by Paris property developer Emerige, this pair of powder-coated steel pavilions designed by the Bouroullecs was constructed in the Jardin des Tuileries – the gardens in front of Paris’ Louvre museum – during the city’s International Contemporary Art Fair (FIAC) in October.
Where is it now? From the outset these pavilions were set to be donated to the City of Paris after the exhibition. Designed to be assembled in as little as three hours and transported by articulated lorry, they will travel around the city acting as pop-up venues for public events. Find out more about the Kiosque pavilion »
Yure pavilion by Kengo Kuma: relocated
Where is it now? The Yure Pavilion was removed by the gallery and re-assembled at Château d’Asnières-sur-Seine, also the home of Sou Fujimoto’s 2014 Many Small Cubes pavilion for the same gallery.
ICD Aggregate Pavilion 2015 by researchers and students from the University of Stuttgart: dismantled
Where was it then? The ICD Aggregate Pavilion was created to be a showcase for granular construction, designed with deconstruction and reconfiguration in mind. Built from 30,000 spiky components using a robot, it was erected over the summer of 2015 on the campus of the Institute for Computational Design.
Where is it now? Built without any binding material, the pavilion was simply taken apart and placed in to storage. The parts will be reused for the Stuttgart team’s next structure. Find out more about the ICD Aggregate Pavilion »
Eigen Huis & Interieur pavilion by i29: recycled
Where is it now? Much of Dutch studio i29‘s disorientating installation was built by adding coloured and mirrored surfaces to standard fair-stand components, which were disassembled at the end of the event and have since been reused in other installations. Find out more about the Eigen Huis & Interieur pavilion »
MPavilion by Amanda Levete: relocated
Where was it then? Overlapping fibreglass petals were designed by London architect Amanda Levete to create a transparent roofed structured for Australia’s annual MPavilion commission in Melbourne’s Queen Victoria Gardens – an official counterpart to the Serpentine Gallery Pavilion in London.
Where is it now? Relocation is part of the designer’s brief for the annual MPavilion commission. Levete’s pavilion has a new home in a park in the Melbourne docklands, while the previous year’s structure by Sean Godsell now sits outside the city’s Hellenic Museum. Find our more about Amanda Levete’s MPavilion »
Where was it then? This floating pavilion, based on the solitary cabin of writer Henry David Thoreau, was created for the Horizons arts and nature festival in France last summer.
Where is it now? The pavilion travelled from its original site in central France to the Biela Noc festival of contemporary art in Slovakia in October. Its current location is not known. Find out more about Walden Raft »
Camera Obscura by Mariano Dallago: in storage
Where was it then? This camera-like wooden pavilion was part of the San Martin Art Culture and History outdoor exhibition in the mountainous Italian province of South Tyrol.
Where is it now? The Camera Obscura was not lucky enough to be the single entry bought by the event’s organisers each year. Its creator, photographer Mariano Dallago, has proposed a number of new homes for the pavilion elsewhere in Italy but hasn’t yet found a permanent residence for it. Find out more about Camera Obscura »
Where was it then? The Around Pavilion was built in the King’s Gardens near Denmark’s 17th-century royal palace in Copenhagen last summer for another annual programme based on London’s Serpentine Gallery Pavilion commission.
Where is it now? The pavilion was dismantled at the end of August and its 16,000 metres of pine battens were donated to the architecture department at Denmark’s Royal Academy of Fine Arts for making scale models. Find out more about the Around Pavilion »
Shiver House by NEON: survived
Where was it then? London studio NEON built this pavilion with shingles that “shiver” and adapt in response to changing weather as part of an annual outdoor exhibition focusing on environmental and site-specific art in Korppoo, in the Turku archipelago of southern Finland.
Where is it now? Although originally intended to be a temporary structure, the Shiver House is now permanent and will be part of the 2016 Barfotastigen exhibition. Find out more about Shiver House »
KA300 Pavilion by J Mayer H: dismantled
Where was it then? Architect J Mayer H created this latticed timber pavilion for the 300th anniversary of the city of Karlsruhe in Germany last summer. The structure housed a stage and events space, a cafe, an information point and various informal seating areas, as well as a viewing platform on the roof.
Where is it now? The pavilion was dismantled after the festivities and its parts are set to be reused for other projects. Find out more about the KA300 pavilion »
Where was it then? Ekklesia was a cardboard and wooden lattice constructed to encourage debate in a public square in Valencia, Spain, as part of the Fallas festival.
Where is it now? Burnt. All of the structures in the annual festival, which takes place in March, are burned in celebration of the arrival of spring. Find out more about the Ekklesia pavilion »
New Horizons Red Pavilion by TAKA, Clancy Moore Architects and Steve Larkin Architects, and Yellow Pavilion by Hall McKnight: in storage
Where was it then? A collaboration between four Irish architects, these two pavilions were constructed for the 2015 London Festival of Architecture last summer and sat in Cubitt Square – part of a huge development zone near London’s King’s Cross station.
Where is it now? The pavilions were taken down and put in storage after the festival. Proposals for their reuse are currently being explored. Find out more about the Red and Yellow pavilions »
The Temple by Kingston University students: dismantled
Where is it now? The Temple is part of an annual student project from the university, which also includes the disassembly of the pavilion at the end of the festival. The timber from last year’s structure is due to be reused for the 2016 edition this month. Find out more about The Temple »
Where was it then? These two structures were built last summer on New York’s Governors Island, which hosts an annual pavilion design competition called The City of Dreams.
Where is it now? The competition is focused around the idea of sustainability and reuse. Both of 2015’s pavilions have been recycled – BanG studio‘s Billion Oyster pavilion has been turned into oyster beds off the coast of the island and Chinchilla Architects’ Organic Growth Pavilion has been turned in to a number of smaller, permanent shelters and chandeliers around the island. Find out more about the pavilions by Bang Studio and Chinchilla Architects »
The ETH Future Pavilion by ETH Zurich: recycled
Where was it then? The ETH Zurich Future Pavilion in New York was designed as a showcase for the innovative use of recycled building materials during the city’s Ideas City festival last may. It was built on a narrow strip of parkland in the East Village.
Where is it now? The pavilion was completely recycled and the wooden pallets it stood on were returned. ETH researchers suggested that the project could set a precedent for future structures made from rented materials. Find out more about the ETH Future Pavilion »
Where is it now? The structure was bought by South Cambridgeshire District Council for a new site in Histon & Impington, Cambridgeshire. It serves as a shelter, classroom, venue and bar for outdoor events in the centre of Homefield Park. Find out more about the Glaze pavilion »
Pulp Pavilion by Ball-Nogues Studio: recycled
Where was it then? LA studio Ball-Nogues created this pavilion – made from paper pulp sprayed onto tensioned pieces of string – for the Coachella music festival in California, which takes place over two weekends in April.
Where is it now? The five years of research that went into the structure included a series of break tests for its eventual disassembly after the festival. The paper structure was created with no additional chemicals so it could be immediately recycled or composted. Find out more about the Pulp Pavilion »
Where was it then? Brazil’s pavilion for the Milan Expo site on the outskirts of the Italian city featured a huge climbable rope canopy above a wood-floored garden and was one of the largest structures on the Expo site.
Where is it now? The Brazilian pavilion was auctioned off to an Italian architect, Vito Pellegrino, and the structure is now destined to be installed at Foof – a dog museum in north-western Italy. Find out more about the Brazil pavilion »
France Pavilion for Milan Expo by XTU Architects: in storage
Where was it then? France’s Expo pavilion was built using wooden pieces cut by robots, creating a lattice that acted as a trellis for growing fruit and vegetables. It sat alongside other national pavilions on the Expo site.
Where is it now? The architects have proposed a new site for the pavilion near the Eiffel Tower, which is awaiting approval. Other cities in France are also interested in reusing the pavilion as a covered market. Find out more about the France pavilion »
China Pavilion for Milan Expo by Studio Link-Arc and a team from Tsinghua University: modified and relocated
Where was it then? China’s innovative glue-laimnated wood, steel and bamboo Expo pavilion won praise for its elaborate construction that merged the profile of the Beijing skyline with a mountain landscape.
Where is it now? The pavilion is being rebuilt in Qingdao near the sea, but it’s original architect is unhappy with changes being made to the structure. Much of the wood is being replaced with steel.
“If we view the Pavilion as a significant symbol for culture and an important witness of the Expo history, the construction company should take the responsibility to show people the real China Pavilion,” said architect Yichen Lu from Studio Link-Arc. Find out more about the China Pavilion »
Where was it then? The Hive was named the best national pavilion at the Milan Expo. The 40-tonne metal lattice was surrounded by raised beds of planting and was themed around the lifecycle of the honeybee.
Where is it now? The main structure has been moved to Kew Gardens in London, with a new landscape design. The plants from the original exhibition were donated to the Milano Politecnico. Find out more about The Hive »
Where was it then? The UAE Pavilion by Foster + Partners sat in the main strip of national pavilions on the Expo site and was designed with panels supported on a steel frame that can be easily demounted for disassembly.
Where is it now? It was packed into shipping crates to be sent to Abu Dhabi, where it will become the Visitor Centre for Masdar, another Foster + Partners project. Find out more about the UAE Pavilion »
Where was it then? Austria’s pavilion for the Milan Expo contained a forest filled with clouds of mist, and contained enough trees to provide a source of oxygen for up to 1,800 people.
Where is it now? Breathe was disassembled and recycled – the wooden shell was reused whilst the greenery, which made up much of the exhibition, was replanted in a reforestation project in Bolzano, South Tyrol. Find out more about Breathe »
Where was it then? Designed by Daniel Libeskind, this dragon-inspired structure featuring a sinuous body and a scaly red and gold skin was commissioned by China’s largest property developer. It was one of the few non-country specific pavilions at the Milan Expo.
Where is it now? Vanke has not revealed its plans for the building. Find out more about the Dragon Pavilion »
Where was it then? Created by a team led by Italian architect Carlo Ratti, the Future Food District was one of the centrepieces of the Milan Expo and was a direct nod to the theme of the event, which aimed to look at the future of food production.
Where is it now? After the end of the Milan Expo 2015 the Future Food District was emptied of almost all of the elements that made up the installation.
“The Future Food District’s fate reflects the general situation of many pavilions of the vast Milan Expo area, which basically remain in place as ‘skeletons’,” said a representative from Ratti’s studio. Find out more about the Future Food District »
Toronto Winter Stations 2015: destroyed
Where was it then? The Toronto Winter Stations are built each winter along the city’s frozen waterfront and are each designed by a different team, selected via a competition.
Where is it now? The organisers of the Winter Stations design competition received a number of requests to reuse the 2015 pavilions but decided that the structures made little sense out of context. The timber from the pavilions was slowly stripped off for use as firewood at the Wingback installation, providing warmth for visitors to the wintery exhibition. The 2016 installations faced a similar fate. Find out more about Toronoto’s 2015 Winter Stations »
Where was it then? Andrés Jaque‘s towering network of pipes was designed as a portable water-filtration plant. It was the 2015 installation for the MoMA PS1 Young Architects Program – the US equivalent to the Serpentine Gallery Pavilion – which commissions a different architect to create a structure in the MoMA PS1 gallery’s courtyard in Queen’s, New York.
Where is it now? The architect’s Office for Political Innovation had already seen a number of its temporary designs bought and relocated as permanent installations when it won the MoMA PS1 job.
COSMO has been purchased by a renewable energy tech company that is now deciding on a new location. It will be reinstalled by spring 2017. Find out more about COSMO »
Design Miami/Basel 2016: a demountable office by French Modernist designer Jean Prouvé, which was used as a swingers’ club until recently, has been restored for display at this year’s Design Miami/Basel fair (+ slideshow).
The structure, now known as the Maxéville Design Office, began life in 1947 at the historic Ateliers Jean Prouvé in Maxéville and is being presented by the Galerie Patrick Seguin, frequent purveyors of Prouvé’s work.
The eight-by-12-metre demountable consists of a portable frame, enclosing a fluid space that can be modified with partitions and one-piece facing panels.
It has floor-to-ceiling windows on one side, smaller windows on two sides and sliding glass doors that open onto the front patio.
Although it was never completed to plan, the demountable was adopted as the atelier’s design studio, and sat at the entrance to the Maxéville factory, across from Prouvé’s own office.
While other Prouvé creations at the site were destroyed after his departure from the company in 1953, this one remained concealed behind cladding and over time served as a plumber’s office, restaurant and finally a swingers’ club called Le Bounty. It was dismantled and restored by Galerie Patrick Seguin in 2015.
The demountable was originally designed for the Noisy-le-Sec experimental site and was successfully presented at the Ministry of Reconstruction’s New House Competition in early 1947.
It is being presented at the Design Miami/Basel collectors’ fair in Switzerland, taking place from 16 to 21 June 2016, along with documentation of the restoration process.
Born in Nancy, France, in 1901, Prouvé rose to become one of the most important architects and designers of the mid-20th century. He died in 1984.
His lightweight, demountable structures were designed to provide housing relief and inspired some of today’s modular housing solutions.
Founded in 1989 to promote 20th-century French design, Galerie Patrick Seguin has been leading the resurgence of interest in Prouvé’s work recently. They have hunted down and restored a variety of examples of his demountable houses.
Others involved in resurrecting the architect’s work include G-Star Raw and Vitra. The companies collaborated to reissue his office furniture designs from the 1940s.
“Prouvé is now recognised as the most important architect-engineer of the mid-20th century,” Prouvé dealer Patrick Seguin said in a 2013 interview with Dezeen. “Before Prouvé, Modernism was [bent steel] tubes.”
However, Prouvé’s demountable houses did not solve France’s post-war housing crisis and very few of them survive.
“There was a programme of 160 houses, but few of them were built and most of them were destroyed after the war,” said Seguin.
The next version of iOS has arrived.
Apple revealed iOS 10, which brings huge improvements to Siri, iMessage and the iPhone’s lock screen, during its World Wide Developer Conference in San Francisco Monday.
With iOS 10, which won’t be publicly available until later this year, Apple is introducing its long-rumored Siri revamp. With the update, Apple’s assistant will be available to third-party developers for the first time.
The update should make Siri a lot more useful as the assistant will be able to work with a lot more services than before. The software development kit allows developers to integrate Siri directly into their apps and allows users to access their apps using Siri.
Apple’s QuickType keyboard is getting some major Siri-centric improvements as well. The predictive keyboard will now be able to use Siri to offer suggestions, like calendar availability and intelligent scheduling, based on what you’re typing.
— Karissa Bell (@karissabe) June 13, 2016
iOS 10 also brings some new 3D Touch features to the iPhone and a new “raise to wake” feature, which turns on your lock screen without the need to touch it.
Lock screen notifications will also be much more interactive, with improved shortcuts for the camera and Control Center.
Apple’s iMessage app is getting a major overhaul with iOS 10. The messaging app will support rich links, so users can preview content within message threads, new animated effects and emoji prediction features. A new “tap to replace” feature will allow users to replace words in their messages with emoji characters and messages will now support Slack-like emoji reactions.
Additionally, iMessage is opening up to developers for the first time so third-party apps will be able to tap into iMessage for their messaging features.
The Photos app is also getting smarter, with new facial recognition features that intelligently organize your images based on who is in them. The app will also be able to automatically organize your photos into “memories” — collections of photos based on where and when they were taken.
Apple Music is getting a major redesign with the iOS 10 release. The updated design makes it easier to navigate your music library and adds lyric support to the app. The app is also getting a new “browse” tab, which is replacing the “new” tab. The tab offers curated suggestions from Apple and shows charts highlighting the most popular music.
Apple’s News app, which was first unveiled in iOS 9, will no support subscriptions, so users can get updates when publishers they follow post new content.
Apple is also adding a new Home app, which will act as a hub for HomeKit devices.
The latest version of iOS will be compatible with the iPhone 5 and newer, fourth generation iPad and newer and the sixth generation iPod Touch. The developer preview of the app is available now, with a public beta coming in July and a formal release in the fall.
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