ODDO Architects builds five-storey CH House on four-metre-wide site in Hanoi

Vietnamese studio ODDO Architects has slotted a spacious family home into a narrow gap between two buildings in Hanoi.

CH House – which is shortlisted for Dezeen Awards 2021 in the Urban House category – is located on a site measuring 35 metres long, but only 4.2 metres wide.

Hollow concrete blocks front the building

To create enough space to house three generations of one family, ODDO Architects designed a 700-square-metre building over five storeys.

The lower two levels are completely open-plan, while the upper levels are made up of smaller, separate rooms connected by various staircases.

The house slots into a narrow gap in a busy streetscape

This arrangement made it possible to create several deep light wells. Not only do these create visual connections between rooms, but they also allow daylight to filter down to every level.

"With this project, we question what is needed for a modern living space that accommodates three generations of Vietnamese, while trying to deal with the problems in high-density housing areas," said ODDO Architects.

The interior is organised over five storeys

The design offers a new approach to the tube house, a housing typology that is common in Vietnam due to the abundance of long and narrow building plots.

While these homes often lack communal spaces and greenery, CH House features large living spaces where the family can come together and has plenty of room for plants.

"The design aims to bring a breath of traditional spirit to the modern life, and at the same time creating spaces full of natural light and ensure natural ventilation within the house," said the studio.

Tree and plants fill the house

The building's facade is designed to make the best of its location on a busy street.

The upper level is designed as a double layer, with a perforated concrete screen fronting a window wall. This makes it easier for residents to naturally ventilate their home while shading it from the sun and preventing dust from entering.

The two lower levels are open-plan

Meanwhile, the base of the building is recessed in order to create some separation from the road.

Trees are planted in both the upper and lower parts of the facade to provide biophilia benefits, based on the thesis that humans have an innate tendency to seek connections with nature. There's also an extra large window, which gives the building a distinct identity.

Read:

2HIEN house in Vietnam built using tiles salvaged from the owners' previous home

"Nature is an important element, providing a positive effect on people's mental health," said the architects.

"However, the rapid development of large cities creates the lack of green spaces for people to relax. That is why planting trees and plants inside the house is necessary and helps create a peaceful living space to release stress."

Bedrooms offer varying levels of privacy with folding screen walls

The arrangement of rooms inside is kept simple, to maximise light and the feeling of spaciousness.

Six bedrooms are located across the three upper levels, along with extra living spaces so residents don't have to always spend their time together. There's also a terrace on the roof.

One staircase doubles as a mini library

Many rooms are fitted with folding wooden screen walls, so they can be opened or closed at different times of day.

Other space-spacing solutions include a staircase that doubles as a mini library, thanks to bleacher-style steps that can be used as seats and bookshelves.

CH House is home to three generations of one family

ODDO Architects is led by architects Mai Lan Chi Obtulovicova, Nguyen Duc Trung and Marek Obtulovic.

They are not the only Vietnamese architects to explore new approaches to the tube house. Other recent examples include 2HIEN by CTA and Saigon House by a21studio.

A terrace is located on the roof

The architects hope that CH House will pave the way for more greenery-filled homes in the city.

"CH house is not only a home for dwellers but also a place attempting to create linkage between humans and nature, which is very often missing in Hanoi due to many environmental problems and limited green spaces," they said.

Photography is by Hoang Le.

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Project credits

Architect: ODDO Architects
Structural engineer: Ngo Anh Tuan

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Touch Screen Oven by Fisher & Paykel

Dezeen Showroom: New Zealand based appliance brand Fisher & Paykel has released a range of minimalist touch screen ovens, designed to improve the home cooking experience.

Designed to be sleek, customisable and functional, Fisher & Paykel's latest touch screen ovens are equipped with three main cooking options.

The design's touch screen mechanism has been engineered to deliver the same quick and results as a modern mobile phone.

Fisher & Paykel's touch screen ovens come in black and stainless steel

Each oven has three main cooking methods. Cook by Function offers 16 basic cooking options; Cook by Food allows users to change their preferences depending on what they are making; and Cook by Recipe has easy step-by-step guidance with imagery and menus.

Once the meal is ready to be served, Fisher & Paykel's self-clean technology breaks down any food residue at a very high temperature, helping to keep the oven clean and ready for the next meal.

Each oven has three main cooking options

"When we designed these new ovens we wanted to deliver a product that could seamlessly blend into your kitchen, the clean black glass and touchscreen make this oven disappear into a dark kitchen, which is so useful," says Helen Haider, head of marketing at Fisher & Paykel.

The oven is available in black or stainless steel. Both come in a choice of dialled or completely touch screen.

Product: Touch Screen Ovens
Brand: Fisher & Paykel
Contact: emma@dmcpr.co.uk

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Factory Records sleeves were "about things I didn't have" says Peter Saville

Legendary designer Peter Saville has revealed the inspiration behind his early work for Factory Records, saying the influential covers featured "things that I saw and wished were part of my reality".

Speaking at the launch of his fabric collection Technicolour for Danish brand Kvadrat at 3 Days of Design in Copenhagen, Saville talked to Dezeen about his design process and how his early work has influenced popular culture.

The British designer is known for his work for Manchester record label Factory Records, which he started designing posters and eventually album covers for in the late 1970s.

Peter Saville designed the cover for Joy Division's Unknown Pleasures

Saville would go on to create some of the most famous record covers of all time, including Joy Division's Unknown Pleasures and New Order's Blue Monday. These early designs were informed by things Saville felt were missing in his own life.

"The material that informed the early work was about things I didn't have," he told Dezeen editor in chief Marcus Fairs in a live-streamed interview.

"It was about things that I saw and wished were part of my reality."

Record covers informed by earlier design movements 

His covers often featured nods to art and design styles that he had come across and was curious about, which were then transmitted to a larger public via the album designs.

"I would go to the college library, and I would pick up a book on the De Stijl movement in Holland in the 1920s and 30s," Saville said. "And I would look around me in Manchester in 1970 and say, where is this?"

"I did have this free medium of the record cover," he added. "So I used that medium to quote things that I wanted to see, and it turned out that they went to people and some of those people felt the same."

Power, Corruption and Lies features a painting by Henri Fantin-Latour

Among those record sleeves were ones that would go on to have a huge impact on contemporary design, including New Order’s second studio album, 1983’s Power, Corruption and Lies.

This featured a 19th-century Henri Fantin-Latour oil painting of flowers that Saville believes brought a then-abandoned aesthetic back into the design world.

"I didn’t see why floral aesthetics had been abandoned, other than flower power in the Sixties," he said. "So that kind of rococo floral motif was something that I thought had a place in popular culture. And it did."

"It turned out to be kind of an endorsement of cool, and we’ve seen a lot of flowers in fashion and contemporary culture since then."

For decades "people weren't clear how or why to work" with Saville

Saville’s early work has influenced designers and brands in genres from music to fashion and cars. However, he says it has taken a while to get to the stage where he is once again a go-to name for design collaborations.

"I had 10 years in the beginning with music and then with fashion, and then there was a difficult 20-year period between, say, 1990 and 2010, when people weren't really clear how or why to work with me," Saville explained.

"And in the last 10 years, that's changed quite dramatically," he added. "The most significant thing is that the people who the earlier work touched, influenced and inspired, channelled that through their respective sectors, whether they were in fashion, photography, film, architecture or textile."

Peter Saville joined Dezeen editor-in-chief Marcus Fairs for a live talk in Copenhagen

Once the people whose work he had influenced became successful in their own work, they began to approach Saville for collaborations.

"They became decision-makers in their respective fields," he said. "And then gradually they would come to me. So it was the middle period where there was a generational difference, and – it's bad to say – it's understandable that the older generation didn't quite see or understand what I was doing."

"You had to wait until the ones who did had the opportunity."

Technicolour collection Saville's first textile project

Saville’s Kvadrat collection, called Technicolour, features upholstery, rugs and curtains, and references the colourful spray paints used to mark sheep that roam the UK countryside to show who owns them.

The designer compared his design process when working on the collection, which is his first-ever textile project, to his early record sleeve designs.

Read:

Peter Saville designs "rural graffiti" Technicolour collection for Kvadrat

"There is actually a very evident correlation here with the early work I did when I was doing record covers," he explained. "Some of those covers, and particularly the ones that are most known, were entirely autonomous exercises for me."

"I was afforded the medium of the record cover for my own indulgence," he added. "There was no brief, there was very little collaborative discussion; with the New Order covers, there wasn't exactly a single person who was the gatekeeper and that work was a free medium of expression for me."

Technicolour is Saville's first textile collection

This is in contrast with his graphic design work, which Saville says is about articulating the requirements of others, but similar to the way in which he designed the Technicolour textile collection.

"This project with Kvadrat is therefore, ultimately, the closest that I've done in 25 or 30 years – other than one or two art projects – this is the closest equivalent to being able to transport an idea uncompromised from one place to another," the designer said.

Archive project and Aston Martin identity in the pipeline

As well as the project for Kvadrat, Saville is currently working on a big archive project of his own designs and a "a little renewal" of the identity for British luxury car brand Aston Martin.

This came about after he spoke to the brand's head of design Marek Reichman about the iconic Aston Martin wings, suggesting they could use an update.

"I was a little bit critical of the wings," Saville said. "I thought, the cars are getting more and more modern but the wings still look a little bit mid-century, and he said, 'I agree'. Then, surprisingly, at Christmas, he sent me a message saying 'Do you want to look at the wings?'"

"So I've been doing that – very tentatively because it's almost sacrosanct," he added. "There's the wings and once you do that you begin to look at the typeface, so there's a graphic work."

Saville's design for Architecture and Morality by Orchestral Manoeuvres In The Dark

The new Aston Martin identity will be unveiled next year, Saville said, citing the lengthy timeline involved when working with cars.

Saville also teased a potential second Kvadrat collection in his live-streamed conversation with Dezeen.

"I have the idea, but it would be inappropriate for me to try talking about it," he said. "It's about colour and there will be another kind of shifting of context."

Saville’s Technicolour collection for Kvadrat was unveiled at Danish design festival 3 Days of Design, which also featured the launch of design brand Hay's renovated shop and new showroom and emerging design exhibition Ukurant Perspective.

In an interview with Dezeen, Kvadrat CEO Anders Byriel said that Copenhagen is currently experiencing a new "golden age of design" that sees it rivalling Milan.

Main photograph is by Nick Knight.

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The 2021 SEGD Conference Experience Philadelphia focusses on reconnecting, rethinking and refueling

Dezeen promotion: the 2021 edition of SEGD Conference Experience Philadelphia provides a chance to explore experiential design through a three-day conference with a programme of workshops, talks and tours.

SEGD Conference Experience Philadelphia is titled Reconnecting, Rethinking and Refuelling and will celebrate experiential design, focussing on the themes of education and inspiration.

The experiential design conference takes place in Philadelphia

It takes place from 4 to 6 November and features workshops, design tours, networking, skill, and teaching sessions.

The conference hopes to explore what the future of experiences will look like. This includes changes to our environment post-covid, whether the dialogue around inclusion and equity has altered storytelling, and how people's perception of space has changed during the year.

The event is tailored to attract experiential design communities, including experiential architecture, experiential and environmental graphic designers, landscape architects, interaction designers, branding and strategy experts, makers, fabricators, and clients.

The conference includes talks, networking sessions, and tours

"There is a tremendous sense of anticipation for this year's SEGD Conference in Philadelphia," said Cybelle Jones, SEGD CEO.

"This is an outstanding opportunity to reconnect, network and refuel!" Jones continued.

"We have three days of activities with an outstanding lineup of visionary speakers and keynotes, as well as curated experiences aimed to reunite our community."

The event aims to attract experiential design enthusiasts

Co-chairs and speakers at the event will question what designers can do to overcome the challenges of today, including global warming and pandemics.

This year's edition includes three co-chairs, Exit Design's studio director Amy Rees, Crafted co-founder Nick Vincente and Bluecadet founder Josh Goldblum.

The SEGD Conference Experience Philadelphia has raffles and auctions

Conference speakers are from a number of design studios and will deliver talks that interrogate the themes of Individual, Community and Universal set by this year's chairs.

This includes talks by brand strategy company Collins founder Brian Collins, the founders of arts organisation Meow Wolf, architectural firm Gensler, and a keynote session led by Jo Bailey Bryant from Lord Cultural Resources, Aki Carpenter from RAA, and Dayton Schroeter from SmithGroup.

"I'm excited for the themes and the topics that we've put together for the conference," said conference co-chair Amy Rees.

"We're looking at what we can do, as individuals, in moving the industry forward, but also looking at it more holistically, thinking about how our work individually, communally, and universally can make an impact."

There is an awards ceremony at the conference

Project tours during the event will give visitors a glimpse behind the scenes of some of Philadelphia's notable cultural locations, including the Barnes Foundation, Eastern State Penitentiary, the Philadelphia Museum of Art, the Mutter Museum, the Franklin Institute, and Mural Arts.

A reception and presentations from the winners of the 2021 SEGD Global Design Awards will form a series of events that celebrate experiential design across the final day of the conference.

Design tours take visitors to some of Philadelphia's iconic cultural locations

"It's an extraordinary pleasure to gather some of the greatest minds in experience design in Philadelphia, to explore our craft and opportunity to thoughtfully design a more interesting, equitable and better world," said Bluecadet founder and Conference co-chair Josh Goldblum.

"We're planning tours of the city and projects here, so really looking forward to giving our conference attendees a chance to get to know our city and see some of our great assets and some of the great work being done here," said Rees.

Conference attendees at the President's Reception during the first night of the event

Dezeen readers are offered a special discounted rate of $800 to attend the conference. Use this link to receive that rate.

Photography is by Nadia Adona.

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This article was written by Dezeen for SEGD Conference Experience Philadelphia as part of a partnership. Find out more about Dezeen partnership content here.

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Golden cinema in France by Antonio Virga evokes the age of "monumental" movie theatres

French practice Antonio Virga Architecte has used perforated brickwork and gold metal to wrap a cinema building in Cahors, France, which filters light onto the surrounding public square at night.

Antonio Virga Architecte's aim for the building, named Cinema Le Grand Palais, was to reunite a complex of historic buildings originally used as a convent and then a military base – the east wing of which burned down in 1943.

The project is shortlisted in the civic building category of Dezeen Awards 2021.

Antonio Virga Architecte designed the Cinema Le Grand Palais. Photo is by Pierre Lasvenes

"In recent years the space between the buildings, poorly defined, was used as a parking lot," described the Paris-based practice. "With the [cinema], the basis of our project was to find the lost urban city that the site once had or could have," it explained.

"The architecture of the cinema reaches out to old Cahors, to the history of the square and to the lost concept of old monumental movie theatres."

The brick box resembles surrounding buildings

The seven-screen Cinema Le Grand Palais, which also includes a museum space, is designed as a blank, pale brick box.

It is an almost uncanny copy of the surrounding 19th-century blocks, echoing their height and roof shapes but with bold golden doors and no windows. 

One block has a brick facade

"It was important to have a timeless architectural expression," explained the studio.

"We wanted something that would connect strongly with the existing – maybe as if it has been there for a long time, avoiding all pastiche or faux vieux [fake old]."

The second block is clad in perforated gold metal

As Cinema Le Grand Palais required more space than the brick building would provide, it is enlarged by a more contemporary volume clad in perforated gold metal. This is intended to appear as a modern extension to the "timeless" brick form.

"We opted for this 'false' extension, a second building in golden metal, a material that again blends well with the colours of Cahors," the studio said.

Perforations that reference latticed mashrabiya screens, most commonly found in traditional Islamic architecture, have been created in large areas of the brick facade and cover the metalwork.

During the day these perforations allow light to enter the cinema, while at night they are illuminated from within, revealing their location on the brick facade as a series of rectangular areas that appear to glitter.

Screens are accessed through a double-height foyer

"We tried to play with mass and lightness, an idea also expressed through the facades, with their mashrabiya that 'receive' light throughout the day and irradiate by night, making the building lighter," described the practice.

Internally, the brick and metal forms are connected seamlessly, with two cinema screens located on the ground floor and a further five screens above.

There are seven screens inside

A double-height foyer and adjacent cafe space occupy the front of the brick form, accessed via a run of glass doors signaled by a gold-lined cut made in the facade.

Another recently completed cinema on Dezeen includes the renovation of the historic Blauer Stern Cinema in Berlin by Batek Architekten, referencing its original mouldings with neon lights.

Other projects shortlisted in the civic building category for this year's Dezeen Awards include an all-timber school in Denmark and a garden-like preschool in Vietnam.

The photography is by Luc Boegly unless stated. 

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