Aaaahhhhhh… Relaxing and breathing deeply. It may not come as a surprise to anyone that this would be our reaction this exquisitely refurbished residence, located in one of Rio de Janeiro’s most exclusive neighborhoods.
It has so many of the features we love. The structure seems to belong to the site. The indoor spaces connect with the outdoors, and the subtle surface textures and materials showcase the art and the mid-century modernist vibe of the furnishings.
There is visual room to breathe, to see. There’s space to enjoy the art, distance to appreciate the gardens.
It lacks all of the typical design-magazine photo-session set-ups; the painfully over-staged vignettes, the overly sterile designer look. There is no ego or bravado, just ease and style. This is cool without trying to be cool; dramatic without all the drama.
This is that confident, mature style that is so difficult to achieve and impossible to fake.
The white, colonial-style house has good bones to start with: unobtrusive scale and proportions, spectacular site with access to views, natural building materials.
It is also surrounded by sublime mature gardens originally designed by the late Roberto Burle Marx, the designer of the Copacabana Beach Promenade with its distinctive, black-and-white Portuguese geometric wave pattern.
But the already great structure of this house was improved by a recent, complete overhaul by Brazilian architect Gisele Taranto.
The 1,500 square-meter (about 16145 square feet) house consists of two blocks. The larger block is the main family residence, the smaller one accommodates staff rooms, laundry, garage, home theater and the spa that is directly connected with the outside pool and patio area.
Taranto retained this division of functions, but rearranged most of the rooms and built two additional spaces on top of the existing ones: a home office with a roof-top garden on top of the residence, and an additional two-bedroom apartment for staff on top of the other block.
To provide better access to the outside, new, much larger windows and sliding glass doors were created. Wooden exterior slat screens and a wide canopy all around the house were built to provide protection from the extreme sunlight and heavy rains of the area.
High-quality natural materials, such as corten steel, limestone, marble and peroba do campo wood are used throughout, but they remain as a subtle background for the art and furnishings.
In this project, Taranto collaborated once again with Brazilian lighting designer Maneco Quinderé and landscape designer Gilberto Elkins. Tuija Seipell
After several months of construction, Red Bull’s Dutch subsidiary, Red Bull Netherlands, has settled into its new headquarters on the North side of Amsterdam’s Port area. The almost 1000 square-meter (about 10,763 square feet) office is part of the 7800 square-meter (83,958 square feet) Media Wharf complex at the NDSM Wharf, on the shores of the river IJ.
The office was designed by Sid Lee Architecture of Montreal and Amsterdam. The theme of the space is duality and polarity -- reason and intuition, light and dark, art and business, public and private.
Much of the space is undefined, seemingly unfinished, with a feel of street culture and the rough edges of the shipyard’s past echoed in the design.
Red Bull Netherlands’s director Jan Smilde was quoted as saying that the company wanted a location with an entrepreneurial spirit where they would have the freedom to develop innovative ideas and events.
Established before WWII, NDSM (Nederlandsche Dok en Scheepsbouw Maatschappij – Dutch Dock and Shipbuilding Company) was one of the world’s largest shipbuilders. It continued to operate until the mid-1980s, after which the shipyards were deserted except for squatters and artists who established a “breeding ground” of emerging artist there.
This area, the size of 10 football fields, has now been developed into an artistic and media hub, with studios and workshops, offices, open spaces, student housing, festival venues and restaurants. More here in English.
Perhaps we are overly practical here at TCH, but we could not help but wonder what Red Bull’s heating bill for this space is in the cold Dutch winter months. - Tuija Seipell
OUKAN 71 is an intriguing addition to the sophisticated shopping area around Friedrichstrasse in Berlin. OUKAN 71 combines a fashion and art showroom/shop with a tea room and restaurant. Located on Kronenstrasse 71 (Kronen Strasse means Crown Street in German, and Oukan is Japanese for crown), the boutique has a fascinating background.
When the earthquake and tsunami cancelled the Tokyo Fashion Week in March last year, a group of Japanese designers were looking for a place to showcase their work. Berlin answered, and a charity project, Tokyo Gakudan (Tokyo Orchestra), was presented at the Mercedes-Benz Fashion Week Berlin in July 2011, with 40 Japanese designers showing their collections.
Natalie Viaux and Huy Thong Tran Mai were responsible of the Tokyo Gakudan Runway Show at Mercedes-Benz Studio. They are also the masterminds behind OUKAN 71, inspired by the fashion show.
On two open-concept floors, OUKAN 71 offers a constantly changing selection of fashion, accessories and design, much of it currently Scandinavian, but all with a Japanese feel. The Tea Bar Restaurant serves raw, vegan, vegetarian and fish breakfast and lunch dishes by chef-patissier Eriko Ohsawa, formerly of Tim Raue’s MA and UMA restaurants. - Tuija Seipell
FieldCandy tents do not give you camouflage protection in the natural setting, nor do they help you blend in with the rest of the crowd at the campsite. FieldCandy tents are designed to stand out.
When we saw the first images of these limited-edition designer tents with their cool flysheets, we had to really stop and think. Is it true that no-one else has manufactured these types of tents for sale before? We have seen individual pieces displayed as art, but we had not seen anything quite like this.
It was one of those moments when you think: Why have all tents always looked pretty much the same? We customise everything else, why not tents? And even more remarkably: Why have we been satisfied with those boring, standard tent colours for so long?
So, through a two-year development process, Jersey, UK-based FieldCandy has created what we did not know we needed. Until now. They selected a group of 20 or so artists and designers – photographers, graphic designers, illustrators, branding and advertising designers – to create designs that were then transferred to the ultra-light, waterproof flysheet that covers the two-person tent.
They now offer more than 40 different designs by 18 artists. The designs are grouped in several collections. In The Legend Collection, for example, includes Terry Pastor’s black design with psychedelic guns and Philip Gatward’s blue and yellow parrots on a grey hued background.
On the FieldCandy website, a counter next to each design indicates how many of that design are still left. Each tent comes with a label that shows the edition number and the design name. Prices range from $430 for the black FieldCandy signature tent to over $1,000. FieldCandy ships around the world The tents are available exclusively through the website. - Tuija Seipell
It would seem a shame to take one of these black retro beauties out into the unforgiving streets of a Detroit winter. It might be best to display the hand-crafted Madison Street bike indoors, perhaps in the living room, nicely leaning against the mantel. It certainly deserves a place next to other pieces of art.
Detroit Bicycle Company founder, Steven Bock, builds each bike to order from the finest parts. For those who appreciate high-quality bike parts, all frames are made with Columbus SL CRO-Mo tubing and Nova lugs. The Madison Street's main attractions are the beautiful copper-plating of the Campagnolo and Cinelli parts, track rims with Vittoria Zaffiro tires and the inimitable Books leather saddle.
Each bike is customised, so prices vary, but we've seen complete bikes priced at $3,200 and up. - Bill Tikos
THANK YOU to our first half-a-million Facebook fans! We are excited about and challenged by your interest in what we do, your comments and your feedback!
With over 2.5 million page views per month on our site, the most popular articles generating more than 8 million views, 168,000 newsletter subscribers and 123,500 followers on Twitter, what else can we do but work even harder, and to say Thank You, Thank You, Thank You! - Bill TIkos
Illustration by Fernando Volken Togni.
Those in the market for a megayacht are already familiar with the 70-meter (229-foot) Numptia. There isn’t a luxury yachting magazine on the planet that hasn’t noticed it. Some at the upper end allocated as much as 25 pages of opulence-oozing imagery and painstaking scrutiny of every minute fact to this steel-hulled, aluminum-structured floating residence.
And those who didn’t get enough of Numptia in the printed media, had an opportunity to view it at the 21st Monaco Yacht Show in September, where it was hailed as one of the highlights among the 100 top meagayachts from around the globe.
The vessel launched in April in Genoa, after a three-year building process. It was completely custom-built for an unnamed Italian-born American businessman who wanted it for his multi-generational family.
Two specific things about Numptia have attracted the interest of the yachting world. Every aspect of Numptia was custom-created with the highest, most exquisite quality of design, materials, craftsmanship and functional performance. Even in the megayacht circles, this kind of grandeur and obsessive attention to quality and detail are rare.
The other unusual aspect is the fact that the owner selected a relatively unknown shipyard, Rossinavi Yachts of Viareggio to build it, and a little-known designer Salvagni Architetti of Rome to design the interiors.
Working closely with the owner, Achille Salvagni combined modern sensibilities with touches of traditional luxury to achieve a timeless feel of well-being. Every piece of furniture, every surface treatment, every doorknob and hinge was custom-designed for Numptia. Silk carpets woven in Tibet, solid marble in the steam bath, quartz floors in the galley, and an oval dining table covered in riveted alpaca nickel silver are just a few examples.
Exterior design of the vessel was completed by Design Studio Spadolini of Florence.
Numptia features lavish rooms for up to 12 guests and includes an impressive master suite, a VIP suite, three queen-size double cabins and one twin stateroom. The owner’s suite includes a bedroom, TV area, reading room, his and hers dressing rooms and a bathroom with the solid-marble bath. Numerous common areas, sundecks, a spa deck plus crew accommodations and all behind-the-scenes space complete the spacious picture.
Numptia is available for charter through Burgess for about $646,000 per week, and for sale for an undisclosed price, rumored to be around $85 million. - Tuija Seipell
Last year, we covered Macquarie Group's massive Sydney headquarters designed by West Hollywood-based Clive Wilkinson Architects. Earlier this year, the same two players completed another spectacular office project, this time in London.
Macquarie, a global provider of banking and investment services, gathered up its various divisions from several buildings under one roof in the brand-new Ropemaker Place. Macquarie occupies 217,500 square feet (20,207 square meters) on six floors in the 20-storey, LEED Platinum building designed by Arup Associates.
Wilkinson's team took its cues from the new trend of transparency in financial services and balanced that with the more traditional and practical needs of prestige and privacy.
The beautiful, open space is a triumph of simplicity. A skillful and meaningful use of bright colour, combined with the all-white inner structure gives the open plan a sense of delight and order.
The centerpiece is the open atrium where the bright red steel staircase and upper-level steel catwalks link the various floors in a visually stunning way. The sculpture-like staircase, with its underside also painted red, is the focal point of the entire space and symbolizes not just openness but connectedness as well.
Privacy and prestige are evident in the more secluded client areas, where the traditional pinstripe lines appear in several iterations in ceilings, partitions, environmental graphics and other visual cues.
Exquisite furnishings, such as the purple Tom Dixon seating in the upper-level guest relations and reception area, exude prestige with modern sensibilities.
The traditional boardroom is furnished by existing furniture from previous offices, including Eames chairs and walnut-veneer table.
Environmental graphics, by Los Angeles-based Egg Office, continue on the theme of transparency and privacy with vertical pinstripes the key visual element. - Tuija Seipell.