Architectural installation, rain in interiors. This last installation with the original metal chain curtains KriskaDECOR it’s been displayed looking like raining in the interiors of the bathrooms showroom of Talsee, in Switzerland.
For the new showroom for the bathroom furniture company Talsee, the Swiss architecture firm Burkard Meyer required an innovative installation of chains hanging from the ceiling. Following the architect’s creative brief, KriskaDECOR created a new modular system for the project.
It was the first time that a municipal hall offered a contemporary jewelry exhibition. The City Council of Elche gave us the complete management of the exhibition, from the selection of pieces to the communication of the event.
We had at our disposal three free floors. The ground floor, with a surface area of 77 m2 and 5 meters high, acts as a big hall and visible attraction to visitors, who necessarily have to go through the upper floors to continue the visit. The other two floors are 145 m2 and 2,50 meters high each one, which is friendlier in terms of human scale.
© Miran Kambič
The Podčetrtek Traffic Circle is built on a regional road located between the municipal sports hall with open-air sports grounds on one side and a spa centre with numerous swimming pools and hotels on the other side. It is primarily intended to slow down the traffic in this consequently very busy area as the main accesses to both complexes also connect to the traffic circle. The design of the roundabout’s central island thus references the appearance of both facilities and marks the entrance points to the destinations of the visitors to either of the programme centers.
© Andrea Martiradonna
“We have a way of designing and making things that comes from thousands of years of history. This idea of inheritance is tied to the tradition, namely the tower. I asked myself: what do we inherit? Ourselves, our cities, the way we live in these cities. One of the most specific typologies of our culture is the tower of the nobles, which becomes civic: an Italian project, because I wanted to work on a very strong feature, part of our identity. The tower is a way to build in blocks, typical of the Latin world, while openings lit with LEDs convey the idea of technology.” = Massimo Iosa Ghini.
It is 2012 and every year a different car company sponsors a centrepiece sculpture for the Goodwood Festival of Speed. This is the sixteenth in a row that Gerry Judah has designed and produced, and this year it is bigger, more daring and beautiful, and more spectacular than ever before.
The sponsor this year is Lotus Cars. The sculpture itself is six historic Lotus Formula 1 cars driving on a winding road that has been tied into the shape of a half-hitch, or trefoil, knot. The road length is 150 metres, and the whole installation weighs 60 tonnes. There are six classic Formula 1 cars: the Lotus 32B (Jim Clark 1965), Lotus 49B (Graham Hill 1968), Lotus 72E (Emerson Fittipaldi 1973), Lotus 79 (Mario Andretti 1978), Lotus 99T (Ayrton Senna 1987) and the latest Lotus F1 Team challenger.
With the installation “STRIP” J. MAYER H. has developed a walk-on installation for the Loggiato at Ex-Ospedale Maggiore of Milan during Salone di Mobile 2012. The Floor of the Loggiato on the first floor is covered with a 50 meter long rug, printed with oversized data security patterns. STRIP invites visitors to promenade, flaneur and hang out in a playful scenario of fluffy graphics.
An installation for:
BIG ENOUGH? // Winter 2012 Architecture Exhibition // Harbourfront Centre, Toronto, CANADA
In November 2011, rzlbd was asked to participate in an architectural exhibition titled BIG ENOUGH? The exhibition is arranged by Harbourfront Centre and intended to explore: What is big enough? How much space do we really need? And how can these needs be accommodated in a city where space is such a limited commodity? The installation had to investigate the idea of what is big enough.
© Jacek Jarnuszkiewicz
The project that Jacek proposes responds, in a conceptual form, to EDC’s* mission. Designed to be integrated into the architectural context of 150 Slater in Ottawa, it is also related to his ARBORESCENT SCULPTURES, which build, in a formal and symbolic mode, on the notion of vital force embodied by plant growth and result in the representation of a fundamental archetype: the tree of life.