This years Geneva Auto Show stunned audiences with a car which teeters on the edge of an optical illusion. Exasis, is a transparent Rinspeed creation has an insect like body, transparent high tech plastic and yellow trim. At first glance it looks like a large scale Meccano set, upon closer inspection the image is literally transparent! Perfect for someone with a Wonder Woman fetish who wants to re-enact the invisible plane routine. How did that poor woman ever find where she parked that damn thing? We suggest adorning it with beaded seat covers ala Taxi Drvier style to help it stand out in the crowd. by Andy G
A new week, a hot new bar: Melbourne.
Some cities put their drinking holes on bold display. All glass frontage and brazen invitation. Some don't. Melbourne is certainly in the latter camp and, so not surprisingly, its latest bar offering, New Gold Mountain - is a hole-in-the-wall affair found down a cobble-stoned laneway and somewhat reminiscent of a womb. Or the inside of I Dream of Jeannie's bottle.
New Gold Mountain, is brought to us by a team of four locals who've worked in leading bars in Melbourne and London. They've teamed with young Australian architect Cassandra Fahey, who for those who follow such things, designed the controversial house for Australian football sensationalist Sam Newman back in 2000... the one with the two story glass frontage imbedded with Pamela Anderson's face. For this project, Fayey took the old tailor's studio on the outskirts of the city's Chinatown district and created a space that works to a distinct opium den theme. Downstairs speaks of colonial-era Shanghai, with two fireplaces decorated with the Chinese zodiac. Upstairs is the Poppy Room featuring plush pink fabrics suspended from the ceiling. And nana-esque furniture. Pretty and comforting. Just as Jeannie would like it.
And the drinks? They specialize in sours. The music? Something described as "nouvelle-vague-Joy Division revisions". Which certainly pegs the clientele into a certain age bracket. A space you might have to track down yourself, but will certainly envelope you once you're in. Sarah W
Do not let the IKEA-yellow exterior fool you — the multifunctional Agora Theatre, is not displaying home furnishings, but bustling with performances and new media works. It is located in Lelystad, the capital of the province of Flevoland in the Netherlands. The city, established as recently as 1967 and known for its controversial and forward-thinking city planning, is boldly building its center, the Centrale Zone, according to a master plan by West 8. In turn, West 8 is known for planning a vast array of exciting 'cityscapes', including a luxury village near Moscow and the waterfront revitalization project in Toronto.
The Agora Theatre building is the work of UN Studio, a group with theater, museum and art establishment expertise. The building itself is worth a visit, even if no performances were taking place (previews are already taking place). The tranquil cafe, open during the day, offers beautiful views of the square outside. The startling pink curving walls of the staircases resemble magnificent silk ribbons. And the deliciously red concert hall with its unusual wall surfaces will give you something to look at, even in the rare case that the performance doesn’t interest you. This is one building that will change the vibe of the city, both day and night. By Tuija Seipell.
Isbank in Turkey have created this billboard ad which has passers-by literally stopping in their tracks. From a distance one sees what appears to be a cop car hiding behind a billboard, which automatically makes the passer by slow down enough to read the small text on the board. "Pay your traffic tickets on time without waiting in line - isbank.com.tr". To ad insult to injury, it then becomes apparent that the cop car is a fake cut out. Advertising bastardry at its best. By Andy G
The holiday home or summer-house by definition, is a building constructed with a strictly defined personality. For the temporary inhabitant, it is to provide a sense of escape without abandonment, and leisure without effort. It’s very existence is to promote feelings and moods not experienced in our everyday lives. A temporary euphoria squeezed between four walls for a period of the users choosing. It is a social engineer’s architectural dream.
This idea of temporary elation has existed for centuries. But the concept exploded with the onset of modernism and the twentieth century. A newly emerging middle class sought escapism from the polluted cities while still enjoying the comforts of their newly industrialized homes. A Modernist belief that experience was shaped through design spearheaded the mass-production of seasonal dwelling. Le Corbusier described buildings as “machines for living” and architecture was bent to supply the petit bourgeoisie’s need for leisure and relaxation. Buildings were simplified, historical references and ornament were removed in favor of promoting the beauty of modern materials and construction. Concrete and its featureless character became the material of choice in the construction of buildings throughout Europe and North America. Their homogenous appearance celebrated by Brutalist architects but condemned by post-modernists for their flagrant disregard towards the social, historic, and architectural environment of its surroundings.
Today, this form of design is considered to be archaic in its principles. Concrete is seen to be aesthetically vacuous, and is used structurally rather than visually. Instead, glass facades and organic materials are a building’s ornaments. But a team of architects in Austria have resurrected the ideological trappings of modernist thinkers to create a unique and eerily beautiful interpretation of the holiday villa. Set on lake Millstatter See in Austria, this four-story villa is an ode to the idealism of the holiday homes of old, but simultaneously sits in the avant-garde.
Much of the design was adapted from the hotel that stood previously on the original plot, and can be seen in the bold and unrelenting expanses of concrete. But rather than mask the commanding stretches of grey matter, the team have embraced and adorned the blank walls to become a key part of the building’s persona. The vast expanses complemented by materials that not only enhance the concrete’s authority, but also mimic it in character. Pale, smooth furniture occupy the inside, while white decking and exposed brick-work dominate the outside. The effect of which, can feel arresting at first, but develops a strange allure when looked at up close.
The building is a prime example of the brutal, unrelenting style of design from the 1950s, but the overhaul of ideas has transformed it into a testament to the contemporary. The fluid transition between interior and exterior, coupled with the large openings throughout the build, allow nature to flow through the cold interior, giving it a warm and organic feel. While the geometric shapes of the building draw imposing silhouettes on the lake and the surrounding countryside.
The minimal material concept; structural concrete in combination with white painted wood and metal surfaces, lends the building a monolithic character. But the upper floors of the building have an intimate, personal feel that doesn’t compromise the need for personal space.
It’s a building that screams arrogance and in places can feel a little soulless. But the sheer audacity of its form juxtaposed with its purpose as a leisure facility, offers an intriguing concept that hasn’t been seen since Modernism dared to challenge the purpose of design and the human condition. By Matthew Hussey