Ice Vodka

Ice Vodka / YuQiong Kim, Can Tu, Zhiwei Ji / HaiKou, HanNan province, China

Ice Vodka

               —For frigid weather

     the cafe will remind you of the cool vodka.

Concept:

as the weather in russia is cold so i combined the shape of the cafe with the iceberg. the “iceberg” is made of glasses and metal

Ice Vodka

Design description:

the shape of the building is a vodka bottle, on behalf of Russian very well. Contemporary design with the old building has a sharp contrast, more prominent in the sense of Yaroslavl Internal space means that ice is a vodka inside of ice. Through with the original building internal space, sitting in the warm house but by frosted window to watch the cold climate of mystery.Outdoor pavilion is glacier, combining with the cold weather in Russia.


Война Грибов – War of the Mushrooms

Война Грибов – War of the Mushrooms / Dennis Lassche / The Netherlands

Война Грибов – War of the Mushrooms

В старые-стародавние времена царь Горох воевал с грибами. Гриб боровик, над грибами полковник, под дубочком сидючи, на все грибы глядючи, стал приказывать:
— Приходите вы, белянки, ко мне на войну!

Отказалися белянки:
— Мы — столбовые дворянки! Не пойдем на войну! — Приходите, вы, рыжики, ко мне на войну! Отказались рыжики:
— Мы — богаты мужики! Не пойдем на войну!
— Приходите вы, волнушки, ко мне на войну! Отказалися волнушки:
— Мы, волнушки, — старушки! Не пойдем на войну!
— Приходите вы, опенки, ко мне на войну!
Отказалися опенки:
— У нас ноги очень тонки! Не пойдем на войну!
— Приходите, грузди, ко мне на войну!
— Мы, грузди, — ребятушки дружны! Пойдем на войну!

Война Грибов – War of the Mushrooms / 2

There is a tendency in the world and also for this site in particular, that buildings tend to become simple box-like structures. A standardization of space is taking place for many decades.

Humanity is so much more then a mere repetition of similarities. People and certainly the Russians are very colourful indeed.This is not too much represented in the current building blocks.

Война Грибов – War of the Mushrooms / 3

Russian folklore is very important in the history of the country and mushrooms are very connected with the spirit of the people. Gathering of mushrooms is a yearly tradition and it attracks many people.

In the green dense Russian forrests, the mushrooms give some colour to the monotony (of green). They invade and take over, they thrive on the ‘leftovers’ from the forrest.
In the grey cities something similar is taking place: the monotony (of the grey) and boxed life of a city has to be dealt with.

Война Грибов – War of the Mushrooms /  4

This is presicely why I propose not a standard shaped attachment to the restaurant, but instead a collection of spaces. These spaces together form a whole and take the surroundings into the architectural language.

The monotony and the boxed life has to be invaded, just like the mushrooms invade the forrest. The war of the mushrooms has started!

The cells consist of wooden structures (planks) ingenuisly connected.The material mainly consists of wood (it is recommended to use the Accoya-technique, or something similar for the purpose of sustainabilty of the wood) and glazing. On the top of each cell are wooden panes, which block the sun in the hot summer and let the sun peak through in the cold winters.

author: Dennis Lassche

It is also possible to modify the design in the future for further expansion. In this way the concept adds to its sustainable character.
The access is a raised and prolonged stair-system. It has two sides: a summer side (concrete blocks) and a winter side with raised metal grids in order that the snow can fall through. The winter steps can be turned into a flower garden in summer.


Detail in Simplicity

Detail in Simplicity / Charles Bettes, Paul Spooner / London, England

Detail In Simplicity

A Proposal for the NMAXU Competition ‘Architecture & Food’ By Spooner & Bettes

Detail in Simplicity

The design is based around an honest, simple use of materials that respond to the brief and the site, to create a thoughtful contemporary proposal.

Design Approach

Spooner and Bettes believe that design should be simple, informed by the brief and put together cleanly using a careful use of materials. It should not distract from the programme and proposed use of the space, in this case eating and drinking with friends and colleagues.

Detail in Simplicity / 2

Simple

Rather than elaborate decorations, design intent is expressed using clean lines, a thoughtful composition of materials and their junctions and a careful understanding of the programme. A system of ‘reduction’ is used to eliminate elements that do not improve the space or add anything to the overall design.

Detail in Simplicity / 3

Solid

Although the proposals should ‘fade in to the background’, becoming the setting for the actions that take place about them, the inserted elements should have a mass and weight to them, a timeless quality that ensures they become a solid addition to the space that will age alongside the wider environment.

Detail in Simplicity / 4

Space

By using scale, partitions and platforms smaller spaces and areas are created to develop a range of stories and provide a narrative for the space. This range of areas provides the users with ways of occupying the spaces and differing feelings and environments to occupy.

Detail in Simplicity / 5

Concept

Seating / Serving / Eating

The small width allowed for in the brief, the veranda proposed difficulties with providing areas to sit and eat, whilst also allowing for movement around and between the tables. We quickly divided the 3-metre space into 4 strips, 2 for sitting, one for eating and another for movement. These strips became our starting point, allowing us to play with heights and planes, creating a sculptural folded piece with spaces above and below rather than on one plane.

authors: Spooner & Bettes

Concrete

The climate of the area along with the programme detailed in the brief led us to believe a low maintenance and long lasting material, was best, one that is easy to use, form and look after. We required a material that will develop with age, whilst providing a solid and obvious weight to the proposals. On top of this the budget required a cost effective way of developing an interesting addition to the building. We felt concrete was appropriate due to the subtle and beautiful aesthetic associated with is as well as the cost effective nature of the material.

Bar / Veranda / Garden / Pavilions

We felt it was important that the scheme read as whole rather than individual elements and looked to link the various aspects of the brief within our design. Therefore rather than creating a floating platform level we aimed to develop a proposal that linked the bar with the garden, and read as a continuous folding plane becoming the pavilions as well as the veranda. This play of levels develops a story within the scheme and a development of the space and the inherent interest associated with it.

Proposals

Seating

The table layout indicated on our drawings indicates tables spaces for 40 people, with a covered area seating a further 30 people on bench style seating. This is indicative and could have more tabled seating if required. The pavilions / additional garden seating fold up from the concreted garden area and again could be developed to provide more or less seating as required.

Concrete / Planting / Steel

The combination of concrete walls and floors with green walls and planting areas creates a hard wearing proposal that is also softened and creates interesting yet subtle details with the folded concrete areas. Thin grooves cut into the concrete planes reduce the scale of the faces to provide a more textured and human scale to the veranda. Black steel is introduced to maintain the clean aesthetic and forms handrails and stairs treads.

Lighting

The lighting is positioned so as to maintain the subtle and simple design of the scheme. It is cut into the floor plane of the concrete seating space and lights up the shuttered concrete wall to provide indirect lighting to the seating areas. The covered area has small spotlights that ‘randomly’ light up small areas to transform the space at night whilst maintaining the desired aesthetic. Lighting could be added to the pavilions in the same way.

The veranda accompanies the food and drink and is designed as we feel food should be; simply, honestly and thoughtfully. We hope you enjoy it.


Stranded veranda in the air

Stranded veranda in the air / Francisco S. Garza Jr. / Arlington, Texas. USA

Stranded veranda in the air


Рафинад. Как есть.

Рафинад. Как есть. / Зверьков Иван, Кухтова Софья / Москва, Россия

РАФИНАД.  КАК  ЕСТЬ.

Рафинад. Как есть.

ФИЛОСОФИЯ  КОНЦЕПЦИИ.

Какие ассоциации вызывает у вас слово «рафинад»? Сладкий, кубический, белый, твердый, растворимый… Все просто. Но, подержав в пальцах кусок рафинада чуть дольше обычного,  начинаешь задумываться над его двойственностью. Рафинад – куб, но грани его нечетки, зернисты. Рафинад твердый, но его задача – раствориться и отдать свои свойства. Рафинад сладкий, но вкус его в твердой форме концентрирован до приторности.

Рафинад. Как есть. / 2

Рафинад непрозрачен, но при определенном освещении начинает сам излучать свет. Рафинад белый, но до того момента, как не начнет отдавать свои свойства, растворяться и растворять в себе. Рафинад граничный, хрупкий и совсем не эгоистичный. Ведь как только он попадает в определенную среду, он с готовностью делится всеми своими свойствами и, растворившись, делает ее немного слаще.

Рафинад. Как есть. / 3

ПОЯСНИТЕЛЬНАЯ  ЗАПИСКА  К  ПРАКТИЧЕСКОЙ ЧАСТИ.

За основной прототип взят модульный кубический объем — сахар-рафинад. Модуль –рафинад универсален. Он может быть  самостоятельным объектом (павильон из ударопрочного пластика), объемным формообразующим элементом (стеклоблок с пескоструйным напылением), представать в виде мебели и предметов интерьера, являться светопрозрачным ограждающим элементом (стеклопакеты с пескоструйным напылением), становиться плоскостью при создании декоративного покрытия (декоративная штукатурка). Возможные варианты применения представлены на листе … (реконструкции фасада) и на листе….(концепция).

Рафинад. Как есть. / 4

Проект веранды представляет собой продолжение размышлений на тему практического применения модуль-рафинада. Основной объем веранды сформирован кубическими стеклоблоками с пескоструйным напылением. Подобное решение создает в интерьере естественное рассеянное освещение днем и эффект внутреннего свечения ночью,   при этом сохраняется приватность и защищенность внутреннего пространства. Модуль-рафинад также присутствует и в интерьере – в виде кубических пластиковых столов вдоль окон.

Рафинад. Как есть. / 5

В предлагаемом варианте реконструкции фасада тема продолжена в решении большого вертикального окна лестничных маршей. Его предполагается заменить стеклопакетами с пескоструйным напылением, соответствующим решению стеклоблоков веранды. Также на боковом фасаде предлагается использовать  декоративную штукатурку с аналогичной текстурой. Кубический объемы модуль-рафинада также найдут поддержку в решении мощения вдоль главного фасада здания. Для улучшения свойств материалов используются специальные грязе-, пыле-, водоотталкивающие составы.

Рафинад. Как есть. / 6

Временные павильоны на 6-8 человек выполнены из ударопрочного пластика с пескоструйным напылением, предполагается использование каркаса для создания легкой сборно-разборной конструкции.

авторы: Зверьков Иван, Кухтова Софья


FUTURE

FUTURE / Carlos A. González Alemán / Spain

Design a terrace/veranda of the restaurant «Buffet»

 Architecture & Food

FUTURE

The approach to this project has been studying the office buildings which belongs. Its origin is reminiscent rationalist clean lines of the building.

This office building is purely rationalist. The modernity of the building made with their windows repetitive serialization. We make a controlled rate at all times.

FUTURE / 2

The project aims to accommodate a terrace adjacent to the restaurant. This terrace given the small entity will have to be new to the office building but without forgetting its origin, to which it belongs.

FUTURE / 3

We want something NEW BUT INTEGRATED.

The main idea of the project part of the facade of the office building and to mark it we turn again to form the new not only in form but in materials.

FUTURE / 4

The going up and down our section and space reminiscent of the low and high of temperature.

The TEMPERATURES HAVE NO PROBLEMS IN THE SOUTH. WITH A LITTLE SHADING will suffice.

FUTURE / 6

The main idea is mainly based on a nonlinear cover that angle but we remember the new part, not only in form but lightweight material.

FUTURE / 7

The terrace is articulated seats with centre table, corridor, coffeel table and openings into outer space. In section we can see it clearly. Although winter is better to be inside in the restaurant if we put slats and movable stoves can be out. It is always good to take something at low temperatures why not ? May be.

Carlos A. González Alemán. Arquitecto.


SALAD

SALAD / Carlos A. González Alemán / Spain 

TODAY, I WANT TO EAT A SALAD ( TUNA )

Taste and Feeling

The concept of smell, color, taste — this feelings akin the feeling of optic nerves. Lights, dessert and feelings. We did not want something so obvious but some buildings were calling us.

SALAD
Chose the basic components of a salad and have chosen architecture buildings which were similar. Are alike. No more.

SALAD / 2

SALAD

EXAMPLES ARCHITECTURE

LETTUCE Twirling Tower. Dubai. David Fisher
CUCUMBER Tower Swiss Re. London. Norman Foster
TOMATOES Reichstag. Berlin. Norman Foster
SHREDDED CARROT Tower Agbar. Barcelona. Jean Nouvel
RED ONIONS Ronchamp. Ronchamp. Le Corbusier
EAR IF CORN Marina City. Chicago. Bertrand Goldberg
OLIVES Domo House. Florida. USA

SALAD / 3

Perhaps, these projects were or had root these elements of nature. We’ll never know but we can always invent your origin. We will not be on the right track.

There is no way  Gourmanization of architecture as a salad. A salad is fresh, full of taste, full of feeling, full of textures, full of form … and the easier is in relating it to architecture.

author: CARLOS ANTONIO GONZÁLEZ ALEMÁN

So the next time you eat a salad think you’re eating the world’s architecture. Full of taste and feeling.

We do not want the best lighting, the best textures or just want a good excuse to have fun and see that architecture can be edible. And rather we see how the forms of architecture always arise everyday thing but unusual.


gourmanization of the space – Architecture & FOOD

gourmanization of the space – Architecture & FOOD / BR Architects & Engineers Pvt. Ltd, Indranil Bhattacharya / Bangalore, India.

gourmanization of the space – Architecture & FOOD

gourmanization of the space – Architecture & FOOD / 2

author: Indranil Bhattacharya


Parasite

Parasite / Jair Galvan / Milan, Italy

INTRODUCTION

Food has been always our companion, since the very beginning of our existence, as a pure response to our primal instinct, to survive.

Parasite

Our ancestors had to struggle to feed their crews, either fighting against predators or mastering agricultural techniques. They ate what was available… if lucky.

Today, however, food has become a mere banality, every day a new cooking TV show is broadcasting, a pop-up restaurant is coming out, chains and chains of fast food are bombing our children with advertising and tons of fat, and how do we face the facts? Buying, eating.

Parasite / 2

This competition aims to make an interpretation of architecture as a cuisine masterpiece, delicious architecture, beyond metaphoric thoughts. A piece to be enjoyed at the same level as we enjoy our dishes.

Nevertheless, analyzing the current situation of food, also as an industry, is impossible to avoid the thinking. This is a metaphoric vision of what we eat, most of food today is a noxious entity, promoting consumerism, threatening our pockets as well as our health… is becoming a parasite, this is how this project is envisioned.

author: Jair Galvan

CONCEPT AND DESCRIPTION OF THE PROJECT

The parasite veranda is thought as an invader, literally sucking the original building’s (host) energy. With sucking, we literally talk about electricity, water and sewage installations, but the metaphorical approach goes further. We see a parasite as a living entity, and this means will also take vitality from the host, it is intended to steal people from the restaurant, become the main attraction, and the most wanted place.

Materials are expected to be contrasting, reinforcing the feeling of a strange body, while capturing the attention. Corten steel is used as main material for covering, as it changes during its lifespan.

The composition of the plan conveys with the overall concept, the distribution of veranda and pavilions is taken from the apparent chaos in which the intruder organism is growing, however, always looking for protection. The tree line creates a natural barrier, and thus the last correlation between concept and design: the layout is working like a cell, where the intruders are protected, and still visible.

Design and conceptualization, were didactic and funny stages, learning how parasites interact with their hosts. Influences for this project were taken from works of Daniel Libeskind, Lebbeus woods, Coop Himmel(B)lau, and the most important, nature itself.