The Hive Apartment was designed by architect Zvi Belling of ITN Architects. This site was specifically selected for a graffiti/architecture project. The ideas in the building have been refined over time by the designer in prior competitions, publications and collaborations with street artists. The architect developed the project with his neighbour (aka Prowla), a respected old school Melbourne graffiti ‘writer’ who contributed the design of the graffiti letters. The external precast concrete walls of the apartments are inscribed with these letters and other hip hop iconography. The graffiti relief panel spells HIVE written in ‘wild style’ with some initiation into the cultural codification of letters being required to decipher the words. These external geometries directly determine the interiors and have been extruded into living spaces in bulkheads and wall shapes. There are inherent tensions in the building where graffiti complete with spray drip effect has been created without any paint and an anti-establishment art form has been situated in an exclusive inner city residential suburb. These tensions are resolving over time as respect for the building spreads within the graffiti community and the local residents begin to claim ownership of their new street art. The outward presentation of robust public art fortifies the internal spaces into a calm refuge that is adorned with street art frames and canvasses. The notion of hive as home has been extracted from the facade and reappears through the fitout in various guises.
‘The Graz-based design collective SPLITTERWERK was commissioned to design this headquarters building for PRISMA Engineering, a machine and motor technology company also located in Graz. The objective was to design a structure which could house the company’s various research and development programs, and selectively showcase the work to a varied range of often competing clientele. Thus the building design needed to accommodate both high- end testing and presentation without jeopardizing the security and secrecy with which the work is developed. The building form approximates a cube, measuring 18.125 x 18.125 x 17m, wrapped on all four elevations with a pixilated pattern of square panels. From a distance, these panels appear to be painted in a range of ten values of grey tone, together dematerializing the volume of the building against both the trees of the surrounding site and the clouds and sky. Thus the cubic building is at once monumental in its objecthood in the open landscape – scale-less and immaterial – and yet utterly non-iconographic in its overall form.’ Link here.
Swiss artist Nicolas Feldmeyer’s Untitled (Woven Portico), which raps the portico of University College London’s main building (Spring 2011).
‘Located in the Cidade Jardim shopping center in the Brazilian city, this tea shop doesn’t go unnoticed; even when it’s folded down into it’s hidden state.’ Click here for the link.
AME-LOT by Stephane Malka Architecture: “In reality, ecological strategies often generate an over-production of materials, becoming energy-vores and clients of factories, the polluters of the world. The real ecological combat is within the re-appropriation of materials and experimentations with ready-made objects, far from the so-called benevolence of subsidized agencies. The student housing on rue Amelot is a project that inserts itself into an urban interstice: the thickness of a blind wall. It’s within the thickness of these walls that this thin building is constructed. The urban form is a strict extension of the blind walls, which houses using the existing. No building is destroyed, and no pollution generated. The skin consists of an existing module: the wooden pallet. Held using horizontal hinges, the pallets contract towards the top, allowing privacy or large openings. The modularity of the various palettes creates varied geometries, which are based on use and constantly regenerated. The re-appropriation of materials recycles the existing without additional processing, which would cost energy in terms of production and create byproduct pollution. The real environmental approach consists not in destruction, but in superimposing interventions upon our built heritage. It consists of a new land strategy, unreferenced on a parcel, constructed in a de facto “ecology” of means.”
The AquaDom in Berlin, Germany, is a 25 metre tall cylindrical acrylic glass aquarium with built-in transparent elevator. It is located at the Radisson Blu Hotel in Berlin-Mitte. The DomAquarée complex also contains a hotel, offices, a restaurant, and the aquarium Sea Life Centre.
‘The Coca-Cola Beatbox, a multi-sensory, interactive pavillon was recently completed in London in time of the Olympics. Designed by architects Pernilla & Asif, the structure is comprised of two hundred red and white rectangular air cushions that provide the shell for a space intended to combine elements of music, technology, and sports.’ (via Hypebeast)
The Centre for Sustainable Energy Technologies building in China is an environmentally friendly building which uses all nature’s resources like the rain water or low energy materials. It is designed by Italian firm Mario Cucinella Architects.