Slippery Slope

Lots of volume. Lots of white. great negative space.

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Sou fujimoto‘s ‘house k’ is a voluminous, crescent-shaped home in northeastern osaka’s dense urban fabric. the approach to an disproportionate L shaped site is one of a soaring, thickened ground plane. pressed against the neighbors’ homes on three sides and bordered by a grove of trees, the rectangular volume literally grows out of the ground with a gentle concave motion until it peaks at the eastern-most point. the canopy therefore becomes a striking visual object from the exterior while providing the family with much-needed exterior space in the form of a rooftop terrace. the habitable roof additionally confronts the ubiquitous concrete slabs with a composition of trees in faceted metal planters. Sou fujimoto‘s ‘house k’ is a voluminous, crescent-shaped home in northeastern osaka’s dense urban fabric. the approach to an disproportionate L shaped site is one of a soaring, thickened ground plane. pressed against the neighbors’ homes on three sides and bordered by a grove of trees, the rectangular volume literally grows out of the ground with a gentle concave motion until it peaks at the eastern-most point. the canopy therefore becomes a striking visual object from the exterior while providing the family with much-needed exterior space in the form of a rooftop terrace. the habitable roof additionally confronts the ubiquitous concrete slabs with a composition of trees in faceted metal planters. Sou fujimoto‘s ‘house k’ is a voluminous, crescent-shaped home in northeastern osaka’s dense urban fabric. the approach to an disproportionate L shaped site is one of a soaring, thickened ground plane. pressed against the neighbors’ homes on three sides and bordered by a grove of trees, the rectangular volume literally grows out of the ground with a gentle concave motion until it peaks at the eastern-most point. the canopy therefore becomes a striking visual object from the exterior while providing the family with much-needed exterior space in the form of a rooftop terrace. the habitable roof additionally confronts the ubiquitous concrete slabs with a composition of trees in faceted metal planters. Sou fujimoto‘s ‘house k’ is a voluminous, crescent-shaped home in northeastern osaka’s dense urban fabric. the approach to an disproportionate L shaped site is one of a soaring, thickened ground plane. pressed against the neighbors’ homes on three sides and bordered by a grove of trees, the rectangular volume literally grows out of the ground with a gentle concave motion until it peaks at the eastern-most point. the canopy therefore becomes a striking visual object from the exterior while providing the family with much-needed exterior space in the form of a rooftop terrace. the habitable roof additionally confronts the ubiquitous concrete slabs with a composition of trees in faceted metal planters. Sou fujimoto‘s ‘house k’ is a voluminous, crescent-shaped home in northeastern osaka’s dense urban fabric. the approach to an disproportionate L shaped site is one of a soaring, thickened ground plane. pressed against the neighbors’ homes on three sides and bordered by a grove of trees, the rectangular volume literally grows out of the ground with a gentle concave motion until it peaks at the eastern-most point. the canopy therefore becomes a striking visual object from the exterior while providing the family with much-needed exterior space in the form of a rooftop terrace. the habitable roof additionally confronts the ubiquitous concrete slabs with a composition of trees in faceted metal planters. Sou fujimoto‘s ‘house k’ is a voluminous, crescent-shaped home in northeastern osaka’s dense urban fabric. the approach to an disproportionate L shaped site is one of a soaring, thickened ground plane. pressed against the neighbors’ homes on three sides and bordered by a grove of trees, the rectangular volume literally grows out of the ground with a gentle concave motion until it peaks at the eastern-most point. the canopy therefore becomes a striking visual object from the exterior while providing the family with much-needed exterior space in the form of a rooftop terrace. the habitable roof additionally confronts the ubiquitous concrete slabs with a composition of trees in faceted metal planters. Sou fujimoto‘s ‘house k’ is a voluminous, crescent-shaped home in northeastern osaka’s dense urban fabric. the approach to an disproportionate L shaped site is one of a soaring, thickened ground plane. pressed against the neighbors’ homes on three sides and bordered by a grove of trees, the rectangular volume literally grows out of the ground with a gentle concave motion until it peaks at the eastern-most point. the canopy therefore becomes a striking visual object from the exterior while providing the family with much-needed exterior space in the form of a rooftop terrace. the habitable roof additionally confronts the ubiquitous concrete slabs with a composition of trees in faceted metal planters. Sou fujimoto‘s ‘house k’ is a voluminous, crescent-shaped home in northeastern osaka’s dense urban fabric. the approach to an disproportionate L shaped site is one of a soaring, thickened ground plane. pressed against the neighbors’ homes on three sides and bordered by a grove of trees, the rectangular volume literally grows out of the ground with a gentle concave motion until it peaks at the eastern-most point. the canopy therefore becomes a striking visual object from the exterior while providing the family with much-needed exterior space in the form of a rooftop terrace. the habitable roof additionally confronts the ubiquitous concrete slabs with a composition of trees in faceted metal planters.

House K by world renowned Japanese architect Sou Fujimoto / photographs by Iwan Baan, text by designboom:

Sou fujimoto‘s ‘house k’ is a voluminous, crescent-shaped home in northeastern osaka’s dense urban fabric. the approach to an disproportionate L shaped site is one of a soaring, thickened ground plane. pressed against the neighbors’ homes on three sides and bordered by a grove of trees, the rectangular volume literally grows out of the ground with a gentle concave motion until it peaks at the eastern-most point. the canopy therefore becomes a striking visual object from the exterior while providing the family with much-needed exterior space in the form of a rooftop terrace. the habitable roof additionally confronts the ubiquitous concrete slabs with a composition of trees in faceted metal planters.

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The Open-Office Trap : The New Yorker

 

The open office was originally conceived by a team from Hamburg, Germany, in the nineteen-fifties, to facilitate communication and idea flow. But a growing body of evidence suggests that the open office undermines the very things that it was designed to achieve. In June, 1997, a large oil and gas company in western Canada asked a group of psychologists at the University of Calgary to monitor workers as they transitioned from a traditional office arrangement to an open one. The psychologists assessed the employees’ satisfaction with their surroundings, as well as their stress level, job performance, and interpersonal relationships before the transition, four weeks after the transition, and, finally, six months afterward. The employees suffered according to every measure: the new space was disruptive, stressful, and cumbersome, and, instead of feeling closer, coworkers felt distant, dissatisfied, and resentful. Productivity fell. read more!

The Open-Office Trap : The New Yorker.

Now that Incandescent Lamps are “Effectively” gone, will OLEDs shine?

From Metropolis Magazine

Image

Jamie Hankin/courtesy Blackbody

The I.Rain fixture, designed by Thierry Gaugain, descends from the ceiling of the new Blackbody showroom in New York, the first OLED store in the world. The company’s founders, Bruno Dussert-Vidalet and Alessandro Dolcetta, put together a team of 13 engineers and researchers devoted to advancing OLED technology.

“How have we always thought about a light fixture?” asks Peter Ngai, vice president of research and development at Acuity Brands Lighting. “You make something hot and bright, and you put it on the ceiling. When we screw in a light bulb, the first thing we do is find a shade. Why? You have to diffuse the light, and maybe you have to figure out how to get rid of the extra heat.”

Ngai says that somewhat primitive approach could soon change radically. The reason? Organic light-emitting diodes, or OLEDs: Think of them as a two-dimensional light surface, rather than a directional light source. OLEDs emit light from a layer of electroluminescent material that is just a few nanometers thick (200 times smaller than a human hair). Unlike the classic hot, bright ceiling fixtures of the past, they discharge light already diffuse and low-heat. This allows them to be flat, lightweight, and flexible; and, depending on the top layer and substrate material, they can also be transparent. “Instead of a point source, it’s an area source,” says Ngai, who runs the Acuity Lab in Berkeley, California. “It emits light over a large surface—say, two by two inches, or eight by eight inches.” Taken together, all these properties have profound implications for architectural lighting.

OLEDs aren’t new. They were developed in 1978 at the Eastman Kodak Company, based on a phenomenon called electroluminescence, which was discovered in the 1950s. (LEDs are based on slightly older research; the first LED was created in Russia in 1927.) OLEDs create light by applying voltage to an organic (carbon-containing) compound sandwiched between a substrate and a transparent top layer. So, why is this technology poised to break out now? First of all, manufacturing techniques are improving, making cost-effectiveness an attainable goal. Thinner and more flexible substrates recently have been developed. A technique called thin-film encapsulation will further reduce thickness, allowing for lowered manufacturing costs and greater flexibility. Transparent electrode materials could make it possible for OLED tiles to serve as both windows and light fixtures. And with their diffused illumination, they’re also suitable for larger areas. The result is a new type of flat light source that’s fundamentally different from anything before it. read more…

Creating a “true” 21st Learning Environment

Happy New Year All!

Lately I’ve been ruminating about what it takes to create learning environments. It seems that for years we’ve equipped our schools and libraries with sterile, functional, and cost-effective room configurations that simply lacked imagination, were boring, and drab at best. All of the while we’ve demanded that our students and readers ‘use their imaginations’ and ‘stretch their minds’ in these inhospitable rooms. Over the weekend, I found a great classroom that I feel is stepping into the realm of imagination and represents what I think is a true learning environment. Your thoughts?

130730_vs_011This image is courtesy of contract magazine. It features VS America furniture and was designed by David Stubbs for Clark County School District. The first thing I like about this room is the colors. Gone are the industrial pink and green paints, brown desks, and aged metal legs of old, in are lime green and primary blue, and white desktops acting as canvases. Blue is associated with the sky and sea and symbolizes trust, wisdom, confidence, and intelligence among other things. It’s been proven to have beneficial effects on the body and mind. It’s calming and induces tranquility. Green on the other hand symbolizes growth and is strongly connected to emotional correspondence and safety. These bright colors are grounded with a warm white field color and grey blend carpet tiles with an engaging geometric pattern. Given this color palette, how can an imagination not soar in such an environment?  Next, the furniture and its curvilinear shapes and nested tables SCREAM “think outside of the box”! To me, this space is very uplifting. What do you think?

“Daybreak” Featured At Saatchi Online Blog

Great representation for a great painter, artist, craftsman!

Maurice Sapiro

http://blog.saatchionline.com/post/71791042823/daybreak-maurice-sapiro-united-states-oil

Portrait

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Daybreak Maurice Sapiro United States Oil PaintingOriginal: $1,500

Daybreak
Maurice Sapiro
United States
Oil Painting
Original: $1,500

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