Friday, 4 September 2020

Mater designs stools made with leftover grain from beer and plastic insulin pens

Mater's Mask Stool is made from spent grain from the Carlsberg Brewery

Products fair: design brand Mater has launched Mask Stool, made using the spent grain from brewery Carlsberg's beer production, at Danish design festival 3 Days of Design.

The stool, which was featured as part of the brand's Circular Design Exhibition at the hotel Villa Copenhagen in the Danish capital, was designed by Danish architect Eva Karlou.

Mask Stool by Earth Studio
The Mask Stool is adjustable in height

The exhibition also included a new version of the Earth Stool, which is made from the discarded plastic of insulin pens.

Mask Stool is made using a sustainable design technology Mater developed together with the Danish Technological Institute and the University of Copenhagen, which mixes fibre-based materials with plastic waste.

Spent grain leftover from Carlsberg's beer production process, called mask in Danish, is used to create the stool. The wet fibre-based mass is dried and then combined with a granulate of plastic waste to create a mixture that can be moulded into furniture.

Mater's Mask stool is made from spent grain
It was made from a wet fibre-mass that has been dried and combined with plastic waste

The designers did a lot of testing before getting the new material right, and it has opened doors to several new material possibilities.

"It's not only challenging, but it's also very interesting because now we know how to do this," Karlou said.

"Now we can use not only the spent grain but also coffee beans and wood chips," added the architect. "This production method is unlimited. We can scale it up and do collaborations with all kinds of different industries to take their waste and turn it into great design."

Earth Studio's Mask Stool made from spent grain
The stool was created by Mater and Eva Karlou's Earth Studio

Karlou and Mater work together under the Earth Studio moniker. The partnership is located next to Mater Earth Gallery in Copenhagen and works on architecture and interior concepts, furniture design and development of new sustainable materials.

Earth Studio has previously launched the Earth Stool, which is partly made from recycled plastic packaging waste. At 3 Days of Design, Mater showed a new version of this stool.

Mater's Earth Stool made from
The Earth Stool can be made using plastic from discarded insulin pens

This stool has a seat made from either plastic waste from Danish pharmaceutical company Novo Nordisk mixed with shells left over from the roasting of coffee beans, or, as with Mask, from spent grain mixed with industrial plastic waste from Denmark.

The Novo Nordisk plastic waste came from discarded insulin pens, which were heated in a specially developed machine. The mass was then moulded, using a production process that was also developed together with the Danish Technological Institute with support from the University of Copenhagen.

"We are known in Denmark for having Novo Nordisk, which is the global leader on insulin pens for diabetes," Mater founder and CEO Henrik Marstrand said. "The waste produced from this is converted with heated coffee beans in a 50-50 mix."

"This is the way our company is going," he added. "It's looking at converting the waste stream into products without any compromise on aesthetics or material finishing."

Mater's Nova Sea Chair made from old fishnets
Mater's Nova Sea Chair has a shell that is made from recycled fishing nets

The exhibition also included the Nova Sea Chair, which was made from 96 per cent discarded fishing nets and hard plastic for Villa Copenhagen by Mater, in collaboration with Danish design studio Arde.

The fishing nets are sourced from the world's only recycling plant for these nets, which is located in Denmark and pays fishermen for their used equipment to save them from being dumped in the ocean.

Arde and Mater created the Nova Sea Chair
Nova Sea Chair was made by Mater and Arde

As part of 3 Days of Design, Karlou and Mater also unveiled a new hotel room at Villa Copenhagen, with interiors made using sustainable materials including recycled wood and plastic.

Bricks taken from the construction site when the hotel was built were crushed and turned into a paste that was used to clad the walls.

Though the design has only been implemented in one room, for now, Karlou said she hopes what Earth Studio learns from its design will eventually be repeated in other rooms at Villa Copenhagen.

"Some of these things are really 'learning by doing,' but that's also great sometimes because we have got to have a playground," she said.

3 Days of Design is Denmark's annual design event and was originally set to take place in May, but the festival was postponed due to the coronavirus pandemic.

Product: Mask Stool, Earth Stool and Nova Sea Chair
Brand: Mater

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Thursday, 3 September 2020

Durbach Block Jaggers and John Wardle Architects create brick-clad cultural centre in Sydney

Phoenix Central Park gallery and performance space by Durbach Block Jaggers and John Wardle Architects in Sydney, Australia

Phoenix Central Park is a gallery and a performance space in Sydney designed by Durbach Block Jaggers and John Wardle Architects.

The performance space, which was designed by architecture studio Durbach Block Jaggers, is shaped like a bell with stepped walls formed by curving horizontal timber louvres.

Phoenix Central Park gallery and performance space by Durbach Block Jaggers and John Wardle Architects in Sydney, Australia
The brick facade was an architectural collaboration

Connected to the auditirium is a gallery space designed by John Wardle Architects as a stack of irregular boxes formed from concrete that has been left bare as a backdrop for the artworks.

Both studios collaborated to create the alternately jagged and undulating facade of long pale-brick facades that enclose the building.

Phoenix Central Park gallery and performance space by Durbach Block Jaggers and John Wardle Architects in Sydney, Australia
Long pale bricks were washed with mortar to look like stone

"The facade was the result of equals involved in the back-and-forth serious play of architecture," Durbach Block Jaggers co-founders Camilla Block and Neil Durbach told Dezeen.

"Phoenix Central Park is an essay in the collaborative process," added John Wardle Architects founder John Wardle.

"Our two practices came together, frequently with the client in the room and discussed strategies that were both at variance to and orchestration of both practices and the interior strategies that were being employed."

Phoenix Central Park gallery and performance space by Durbach Block Jaggers and John Wardle Architects in Sydney, Australia
Concrete galleries were cast in situ

The cultural venue was commissioned by Australian billionaire Judith Neilson as a place to bring together the visual and performing arts.

"One of the intrigues of this commission was the lack of any specific detail given by our client Judith Neilson, she was intent on the brief being as open-ended as possible," explained Wardle.

"This a private gallery space that would at times address public programs, this fuelled the idea of spaces that would contain single works and an audience of one."

Phoenix Central Park gallery and performance space by Durbach Block Jaggers and John Wardle Architects in Sydney, Australia
Holes left from the casting process can be used to hang art

To execute this concept, the gallery volume contains a mix of rooms, with some designed to display a single piece of art in isolation next to spaces large enough to house whole collections.

Concrete floors, cast "painstakingly" in situ, are connected by a timber staircase with ridges that echo the puckered brickwork of the facade.

"The basement, ground and upper levels are all cast-in-situ concrete, the degree of difficulty was extraordinarily high as the footprint of this building is on a tight inner urban site," explained Wardle.

"The galleries were shaped out of hard walls of solid concrete and soft walls of plaster with deep background for fixing artwork," he added. "We developed a hanging system that utilizes tie rods holes used in the construction of the precast."

Phoenix Central Park gallery and performance space by Durbach Block Jaggers and John Wardle Architects in Sydney, Australia
Skylights let in soft light to the upper galleries

Skylights allow softly diffuse life to permeate the upper galleries, while the floor below is left atmospherically gloomy.

Another oculus forms a focal point on the exterior wall, with the brickwork dimpling around the circular window and its smaller, slightly offset, twin.

Phoenix Central Park gallery and performance space by Durbach Block Jaggers and John Wardle Architects in Sydney, Australia
Round windows appear to be pressed into the facade

This unique feature is designed to draw attention from passersby while reminding gallery visitors of the world outside its walls, said the architect.

"We were interested in using brick as a complete surface, as a fabric-like drape that abstracted and approximated the structural characteristics of the internal elements," said Wardle.

"The vast dimple suggests the weight of the two interlocking windows impressing upon the fabric of the brick surface."

Phoenix Central Park gallery and performance space by Durbach Block Jaggers and John Wardle Architects in Sydney, Australia
Curving timber lines the performance space. Photo by Julia Charles

This sense of drama continues inside the performance venue, where Durbach Block Jaggers chose a layout informed by Elizabethan-era theatres.

The stage is designed to be seen in the round, so a balcony area of seating loops around the perimeter of the curving walls.

Phoenix Central Park gallery and performance space by Durbach Block Jaggers and John Wardle Architects in Sydney, Australia
There are many different vantage points to view performances. Photo by Martin Mischkulnig

"The performance space is a billowing timber bell-shaped room, a carved 'clearing' that sits within a mute and enigmatic facade," said Block and Durbach.

"Crossing the threshold is an unexpected leap from the ordinary to a secret space of held peace."

Phoenix Central Park gallery and performance space by Durbach Block Jaggers and John Wardle Architects in Sydney, Australia
Lifts between floors are a dramatic red. Photo by Tom Ferguson

The pale timber ribs provide a striking, tactile backdrop that serves an acoustic as well as aesthetic function. These timber elements were prefabricated in a factory and assembled on site.

Outside the theatre, the lobbies are dark and moody, punctuated by gold-lined arches and striking all-red lifts that spill blood-coloured light when the doors open.

Phoenix Central Park gallery and performance space by Durbach Block Jaggers and John Wardle Architects in Sydney, Australia
Courtyard gardens are planted with succulents. Photo by Tom Ferguson

Planters in the courtyard garden have similar irregular outlines that echo the asymmetrical walls of the venue. The planters' thick rims double as benches, and inside hardy succulents and cacti are planted in a gravelly surface.

Phoenix Central Park has been longlisted for Dezeen Awards 2020.

John Wardle Architects was founded in 1986 by John Wardle and has offices in Melbourne and Sydney. Wardle won the Australian Institute of Architects Gold Medal earlier this year.

Founded by Neil Durbach, Camilia Block and David Jaggers, Durbach Block Jaggers is based in the city of Potts Point. A previous residential project by the studio is this clifftop house that was inspired by a Picasso painting.

Photography is by Trevor Mein unless otherwise stated.


Project credits:

Architects: Durbach Block Jaggers and John Wardle Architects.
John Wardle Architects team: John Wardle, Stefan Mee, Diego Bekinschtein, Alex Peck, Luca Vezzosi, Adrian Bonaventura, David Ha, Ellen Chen, Andy Wong, Manuel Canestrini, Meron Tierney
Durbach Block Jaggers team: Neil Durbach Camilla Block, David Jaggers, Simon Stead, Anne Kristin Risnes, Deb Hodge, Xiaoxiao Cai, Adam Hoh
Project manager: Aver, Colliers
Planner: Mersonn
Structural
Engineer: TTW
Civil engineer: TTW
Geotechnical engineer: Pells Sullivan Meylink
Building services engineer: Evolved Engineering
Traffic and pedestrian modelling: GTA Consultants
Fire engineer: Affinity Fire
Acoustic consultant: Marshall Day
Landscape Architect: 360º
Signage and wayfinding: Studio Ongarato
Building surveyor: Philip Chun & Associates
Accessibility consultant: Philip Chun & Associates

Facade engineers: Inhabit
Lighting design: Bluebottle
Custom bricks: Krause Bricks

Bricklaying: Favetti bricklaying

Architectural steelwork and art hanging doors: TILT; All styled, Active Metal
Off form concrete: Hi-Form
Gallery roof: ARC roofing with ARMA

Timber source: Dinesen
Timber and joinery: Top Knot Carpentry and Joinery 
GRP
Ceilings: Shapeshell with DDI
Stone seat: Sourced from Hendersons Quarry in Harcourt and worked by Studio 2
CLT performance space ceiling: Hess Specialty
Render: CoverUp Dynamics

Brass basins: Bespoke House
Brass linings: Bronzeworks
Tiling: Nash
Joinery: Debrich

Commercial kitchen: Austmont
Speciality glass: Ozsea; Definitive Glass
Brass DBJ hardware: Chant

Hardware: Keeler
Joinery and upholstery: Infracraft
Contractor: Bellevarde Construction; FDC Group

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Limp Balloons Slump Over Each Other in Pastel Sculptures by Artist Joe Davidson

“Untitled” (2020), cast tinted hydrocal, 9 x 9 x 4 inches. All images © Joe Davidson, shared with permission

In varying states of deflation, Joe Davidson’s pastel balloons sag, slump, and flop in every direction. The limp, elongated forms are stacked on top of one another in seemingly precarious piles and resemble latex tubes filled with days-old air. While the sculptures are playful in both color and form, the Los Angeles-based artist notes that they also hold earnest themes of masculinity and aging, two concepts he’s thinking about often.

Davidson prefers to explore new materials and those beyond the bronze, stone, and wood typically used in this medium. “I was in a period about ten years ago where I was working exclusively in Scotch tape,” he shares. His more recent interest has been in plaster, which he uses to make the balloons. “There’s something about the malleability, chalkiness, and its history that is always appealing,” he says.

Adding color has been a recent evolution and one Davidson is adjusting to still. “My work historically tends to be monochromatic, as I have usually decided to let the nature of the materials speak for themselves. However, there’s something tantalizing about the color pastel scheme (I hate pastel!). It’s awkward and pretty, enticing to touch and sarcastic at the same time,” he says.

For this particular series, the artist cites myriad references, including Jeff Koons’s balloon animals and Louise Bourgeois’s use of anthropomorphism. Overall, though, he often returns to the Dadaists and Italian Arte Povera, who “were always welcoming chance and randomness in their work,” he says.

They came from totally different viewpoints (Dada embracing the absurdity of existence post WWI and Arte Povera looking for the poetic in the mundane), but their processes really resonate with me. A critical part of the process is setting up certain parameters and letting the art fix and finish itself.  I exercise a lot of control in creating the framework for a work, but I always listen to what the material is telling me it wants to do.

To follow Davidson’s playful sculptures and get a peek into his studio, head to Instagram. (via swissmiss)

 

“Pig Pile” (2020), cast tinted hydrocal, 20 x 20 x 20 inches

“Pile On” (2020), cast tinted hydrocal, 17 x 8 x 9 inches

“Pretender” (2017), cast tinted hydrocal, rope, screws, 77 x 42 x 10 inches

Left: “Untitled” (2020), cast tinted hydrocal, 8 x 8 x 6 inches. Right: “Untitled” (2020), cast tinted hydrocal, 7 x 6 x 6 inches

“Pile On” (2020), cast tinted hydrocal, 17 x 8 x 9 inches

Left: “Untitled” (2020), cast tinted hydrocal, 7 x 6 x 5 inches. Right: “Untitled (Poufs)” (2020), cast tinted hydrocal, 14 x 8 x 8 inches

“Pretender” (2017), cast tinted hydrocal, rope, screws, 77 x 42 x 10 inches



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Wheeler Kearns Architects clusters gabled units for Lake Michigan house

St Joseph Beach Residence by Wheeler Kearns Architects

Chicago practice Wheeler Kearns Architects has built a lake house in Michigan with a cluster of buildings clad in wood.

Designed for a young family of four, St Joseph Beach Residence is located on a waterfront plot on Lake Michigan in the town of St Joseph.

St Joseph Beach Residence by Wheeler Kearns Architects

Wheeler Kearns Architects created a series of gabled volumes wrapped in horizontal wooden boards for a unified aesthetic. When viewed from the side, three of the rooflines appear to connect in a zig-zagging formation.

The studio built four structures for the residence, two of which are connected to form the main house, in order to create a series of intimate outdoor spaces.

St Joseph Beach Residence by Wheeler Kearns Architects

"To break down the massing and scale of both the enclosures and the open site, an arrangement of volumes purposely shapes different outdoor rooms and creates smaller, defined interior living spaces," said Wheeler Kearns Architects.

A grassy front lawn, one-storey garage and a two-storey guesthouse define the front-half of St Joseph Beach Residence, while the rear has an outdoor swimming pool and a partially-covered patio. Glass walls present wide views of the lakefront at the back.

St Joseph Beach Residence by Wheeler Kearns Architects

"The site offers two distinct environments, street side and lake side," the studio said. "The street-facing 'neighbourhood' facade is expressed with crisp black-steel, punched openings and a formal entry court."

"By contrast, on the lakeside, floor-to-ceiling glass provides panoramic westward views to the dunes and Lake Michigan."

The timber exterior of the house was chosen to withstand harsh winter winds while still having a traditional and maritime feel. Gridded black windows offer a contemporary flair.

Rather than using local or endangered hardwood siding, however, Wheeler Kearns Architects opted for an acetylated or compound wood material for siding called Radiata Accoya, which is known for being more sustainable and rot-resistant.

St Joseph Beach Residence by Wheeler Kearns Architects

"Horizontal shiplap wood-cladding and cedar shingles are detailed in a taut, minimal way, and are designed to both protect and weather gracefully in the constant wind coming off the lake," the studio said.

Upon entering the home from the front garden is an entry with a stairwell and a dining room beyond. To one side is a living room, while another portion of the ground floor has a kitchen with another dining space.

St Joseph Beach Residence by Wheeler Kearns Architects

The ground floor layout is formed by two rectangular structures that are offset from each other but linked together to form a Z-shaped layout. Upstairs includes a master suite located above the entry and kitchen, and two bedrooms with ensuites and a study above the living and dining room.

St Joseph Beach Residence by Wheeler Kearns Architects

The smaller, two-story structure on the property has a two-car garage, mudroom and bathroom on the ground level, and an office, bathroom, guest bedroom upstairs. On this level, a terrace acts as a walkway between the upper levels of the two volumes.

For interiors, the home features ceilings and matching floors and built-ins of white oak. The golden hue contrasts with the grey wood exterior to allude to a sense of warmth.

St Joseph Beach Residence by Wheeler Kearns Architects

"Throughout the home, inside and out, finished or exposed, wood captures the ever-changing dance of light, wind, sand and water," said the studio.

White walls and ceilings are interspersed throughout alongside large portions of windows with black steel frames. Munich-based designer Stephanie Thatenhorst created the decor based on wood furniture pieces and accents in black leather, blue and grey tones.

St Joseph Beach Residence by Wheeler Kearns Architects

A basement completes the project and includes a den, wine room, storage area, laundry room, sauna and gym.

Wheeler Kearns Architects was founded in 1987 by American architect Dan Wheeler after time spent at Skidmore Owings & Merrill. The studio has also designed a low-lying home in the woods of Illinois for a couple north of Chicago.

St Joseph Beach Residence by Wheeler Kearns Architects

Other homes on Lake Michigan, which spans the west side of the state and is one of the largest freshwater lakes in the US, include Desai Chia's Michigan Lake House, a dark residence by William Kaven and John Ronan's Courtyard House. All of them are similarly clad in wood, like St Joseph Beach Residence.

Photography is by Steve Hall of Hall + Merrick Photographers.


Project credits:

General contractor: Norman Zielke Residential Builders
Structural engineer: Enspect Engineering
Landscape architect: Mimi McKay Landscape Architecture
Interior design: Stephanie Thatenhorst

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Uncoiled Rope Sprawls Across Canvases and Open Spaces in Organic Forms by Artist Janaina Mello Landini

“Ciclotrama (expansão)” (2019), 4 Ciclotramas of “expansion” series with varied sizes, black and blue ropes, 270 x 600 x 400 centimeters. Zipper Galeria, São Paulo, Brazil. Photo by Gui Gomes. All images © Janaina Mello Landini, shared with permission

Janaina Mello Landini (previously) unbraids lengths of rope to create fibrous labyrinths that breach canvases’ edges and crawl from floor to ceiling. Including both sprawling site-specific installations and smaller pieces confined to a few dozen centimeters, the São Paulo-based artist’s body of work is broad. All of her projects, though, explore tension and space as they spread into arboreal forms or perfectly round networks.

Her recent works include a massive tree-like installation that fans out across Zipper Gallery’s floor and walls into delicate, tape blossoms. Another is a smaller, numbered piece (shown below) that was born from the artist’s response to the ongoing COVID-19 pandemic.  “My days are quite slow now, no more assistants around, but I’m still working and thinking a lot,” she shares with Colossal. “At the beginning of the pandemic, I did Ciclotrama 177 (Fibonacci)… Imagine a planet-scale Ciclotrama. It starts from the first contagion and expands, forming the actual course of infection of millions of people who were catching and transmitting the disease. And keeps going…”

Since 2010, Landini has been contributing to her Ciclotrama series, a moniker that defines each piece. “The social cartography of individual networks shows the infinite interconnectedness of personal trajectories throughout a system, society, and the world as a whole. The movement of bodies (ropes) and the relationship between rhythm and time are also fundamental aspects of these series,” she says.

To dive further into Landini’s work, check out her Instagram or Artsy, and take a virtual tour of her recent show at Zipper Gallery.

 

“Ciclotrama 177 (Fibonacci)” (2020), cotton threads and acrylic pen on canvas, 1.7 x 1.7 meters. Photo by Lucas Cimino

“Ciclotrama 177 (Fibonacci)” (2020), cotton threads and acrylic pen on canvas, 1.7 x 1.7 meters. Photo by Lucas Cimino

“Ciclotrama 141 (épura)” (2019), 20 meters of handmade cotton rope diameter 24 centimeters and 2880 meters of paper tape, 700 x 800 x 1600 centimeters. Zipper Galeria, São Paulo, Brazil. Photo by Gui Gomes

Left: “Ciclotrama 153 (aglomeração)” (2020), rope on canvas, 43 3/10 × 43 3/10 inches. Right: “Ciclotrama 124” (2018), Dipado rope sewed on natural linen, 78 7/10 × 78 7/10 × 2 inches

“Ciclotrama 141 (épura)” (2019), 20 meters of handmade cotton rope diameter 24 centimeters and 2880 meters of paper tape, 700 x 800 x 1600 centimeters

“Ciclotrama (expansão)” (2019), 4 Ciclotramas of “expansion” series with varied sizes, black and blue ropes, 270 x 600 x 400 centimeters. Zipper Galeria, São Paulo, Brazil. Photo by Gui Gomes

“Ciclotrama (expansão)” (2019), 4 Ciclotramas of “expansion” series with varied sizes, black and blue ropes, 270 x 600 x 400 centimeters. Zipper Galeria, São Paulo, Brazil. Photo by Gui Gomes

“Ciclotrama 141 (épura)” (2019), 20 meters of handmade cotton rope diameter 24 centimeters and 2880 meters of paper tape, 700 x 800 x 1600 centimeters

“Ciclotrama 141 (épura)” (2019), 20 meters of handmade cotton rope diameter 24 centimeters and 2880 meters of paper tape, 700 x 800 x 1600 centimeters

“Ciclotrama 174 (impregnação)” (2019), 50 meters of black nylon rope 40 millimeters diameter and 4.200 black nails, 6 x 7 x 5 meters. Photo by Gui Gomes



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