Innovation - 24.06.2019

Conifera Arthur Mamou-Mani & COS

Arthur Mamou-Mani collaborated with COS for the Salone Internazionale del Mobile in April, designing this installation built with 3D printed bio-plastic in the courtyard of Palazzo Isimbardi in Milan. The fashion house COS, headquartered in London, built its eighth consecutive installation at Milan’s annual Salone del Mobile, this time in collaboration with the London-based French architect Arthur Mamou-Mani.Conifera is a large-scale digitally designed pavilion built with 700 3D-printed ‘bio-blocks’ made of renewable materials. The project centered on using 3D technology without sacrificing sustainablity and the message. The structure connects the palazzo’s central inner courtyard to the garden, creating a transition symbolized in a change of materials, with a mix of wood and bioplastic transforming into soft, translucent, pure bioplastic towards the other end.In Arthur Mamou-Mani’s words, “Conifera blends the digital with the physical world while addressing sustainability through the use of compostable bio-plastic, propduced and 3D printed locally. It is a dialogue between technology and craft, between the manmade and the natural and between monu

Casa Rural VB

Architecture - 10.06.2019

Casa Rural VB

Lucas y Hernández - Gil

In Villalba de los Barros, in the south of the region of Extremadura, Estudio Lucas y Hernández-Gil has renovated one of the small town’s whitewashed houses, blending new and preexisting. The area where the town is located is called Tierra de Barros because of the deep red tone of its clayey soil. The project involved a rural inn on the main square, a two-story construction containing four bedrooms, three bathrooms, a hallway, a sitting room, a kitchen, a dining room, a patio, and a cellar. The strategy of the architects was to highlight the original features of the existing building, and preserve its character in the new ones, even with the incorporation of current uses and details.Structurally the building is held up by loadbearing walls and an Extremaduran (timbrel) vault at ground level, which accommodates the more social and public parts of the program. New openings are made on this level in order to create more space and connections between rooms.As for interior materials and finishes, again the intention was to maintain the house’s atmosphere of the past, so the lost original flooring was reinstalled, handmade by local ceramicists.

Entre Pinos

Architecture - 06.06.2019

Entre Pinos

Taller Héctor Barroso

In the middle of a forest in Valle de Bravo, Mexico, stand five houses caressed by the moving shadows of the surrounding pines. They are identical in typology, each one divided into six volumes that generate a play of voids and a central courtyard where one can enjoy silence, privacy, and marvelous views of the woods. The design is more closed to the north, maximizing privacy by limiting fenestration to the necessary, while presenting generous openings southward, capitalizing on natural light and views. Entrepinos (amongst pine trees) is a project that seeks to connect with the place. Hence the use of materials of the area, such as wood and soil, and excess soil extracted during the digging for the foundation was used as finish in the exterior and interior walls.The interior layout goes by levels. Upstairs go the bedrooms, and on the ground floor are the shared spaces, which expand to the exterior, forming a continuity with terraces, the patio, and the gardens.

James Simon Galerie

Architecture - 22.05.2019

James Simon Galerie David Chipperfield Architects

Located between the canal and the River Spree, in the center of Berlin, the Museumsinsel comprises five historic buildings raised between 1824 and 1930, and has now just opened a new addition, the James Simon Galerie The inauguration of the James Simon Galerie marks a key moment in the history of the Museumsinsel, creating a new entrance that welcomes visitors and organizes the circulations throughout the five buildings that make up the ensemble. Designed by David Chipperfield Architects, the project evokes the classical character of the ‘cultural acropolis’ imagined in 1841 by Friedrich Wilhelm IV of Prussia, who hoped to turn the ‘island’ into a sanctuary for art and science. This new building continues the restoration – also developed by Chipperfield – of the Neues Museum, which after being bombarded during World War II remained for decades in a state of ruin. Upon establishing a connection with this work – designed in 1843 by Friedrich August Stüler – the new building departs from historicist trends yet remains silent. After a careful study of the different degrees of destruction of the building, which still preserved some of its detailed finishes and frescoes, t