Caruso St John reveals designs for university laboratory in Basel

Caruso St John Architects has unveiled plans for a new £160 million biomedical laboratory at University of Basel, Switzerland, which features a gridded glass facade and a concrete base with arch-shaped notches.
The firm saw off competition from studios including David Chipperfield Architects with its proposal for the 35,000-square-metre building, which contains six floors of laboratories.

Related story: Caruso St John's Gagosian Grosvenor Hill art gallery opens in LondonHollows in the concrete base of the Department of Biomedicine will form entrances and make sure the building clears a footpath. The upper storeys will be covered in a panes of glass measuring 80 by 80 centimetres, providing views into the laboratories.
"The large volume of the new building for biomedicine is uniformly covered with a skin of cast glass," said a statement issued by the studio. "The glass is transparent and clear and it allows all workstations an unobstructed view. But the glass is also thick, which corresponds to the curved details and its rounded corners."

The building will be attached to the university's pharmaceutical centre in the St Johann district of the city.
It will replace the institution's existing laboratory and teaching building, and stand on a site near other medical science departments and university hospitals.

Related story: Rippling aluminium fronts Bristol university laboratories by Sheppard RobsonAside from testing laboratories, areas of the building will be dedicated as offices, conference rooms, and for keeping rats and mice.
It will host 70 research groups specialising in oncology, immunology, neuroscience, stem cells and regenerative medicine.

An inner layer of pigmented glass will sit behind the building's gridded facade, designed to cast subtly coloured reflections.
Curving glass walls will enclose stairwells, while corrugated glazing will surround offices and laboratories. The project is due to complete in 2022.
Caruso St John Architects recently converted a row of theatre warehouses into a gallery for British artist Damien Hirst, and completed the third and largest of the Gagosian's outposts in London. Previously, the firm undertook a £45 million renovation of the Tate Britain.
Renderings are by Caruso St John Architects.
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Moooi refreshes Container Table collection by wrapping the base with wooden slats

Extra Moooi: in this movie filmed in Amsterdam, Moooi co-founder Marcel Wanders explains why the Dutch brand launched a new version of his Container Table featuring a base covered with wooden slats.
Container Table by Marcel Wanders for MoooiMarcel Wanders' Container Table for Moooi, which was first launched in 2002, features a hollow tapered base, which can be filled with water or sand to provide stability for the screw-on top.
"It's light when you transport it and heavy and stable when you use it," Wanders says in the movie.
Container Table Bodhi by Marcel Wanders for MoooiThe original table features a plastic base, but Moooi launched an updated version at the Salone del Mobile furniture fair in Milan this year called Container Table Bodhi, where the tapered base is wrapped with vertical wooden slats.

"The container table has been an important icon for the brand," Wanders says. "More and more we've seen that other companies have 'similar inspiration', which is a bit complicated for us, of course. So we try to further develop the concept."

The table features a linoleum top, while the slats and trim around the edge of the table top are made from oak. Wanders says the table's more natural look expands the range of settings the Container Table collection can be used in.

Related story: Moooi unveils 2015 furniture and homeware collection"It still contains the water for the stability and all that, but has a completely different look," he says. "It's a stylistic difference which allows the table to go into different projects, which is very important for us."

Container Table Bodhi is the latest addition to Moooi's Container Table collection, which is available in a variety different colour, size and shape combinations.
Container Table New Antiques by Marcel Wanders for MoooiIn 2011, the brand launched a version of the table called Container Table New Antiques, which features a curved ornamental base.
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"The original Container Table is still today a unique table in the world I think," Wanders says. "It's a wonderful collection that allows you to have all the tables you need in one beautiful typology."
Moooi co-founder Marcel WandersThis movie was filmed at Moooi's Amsterdam showroom. The music featured is a track called Aglow by US artist RyIm.
The movie is part of our year-long Extra Moooi collaboration, which sees us working with Moooi in Milan, New York, London and Amsterdam to get under the skin of the brand, its products and designers. Read all the stories at
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Aesop’s first store in São Paulo features pastel-toned flooring and raw concrete plinths

Paulo Mendes da Rocha and Metro Associated Architects teamed up to design Aesop's first outpost in Latin America store, pairing exposed concrete with handmade tiles (+ slideshow).

The interior of the Aesop store in São Paulo was designed in a collaborative effort between Brazilian architect and winner of both the Pritzker and Mies van der Rohe prizes Paulo Mendes da Rocha and local studio Metro Associated Architects.

A wavy concrete countertop used as a product-testing area wraps around a structural column in the centre of the shop, which is largely open plan aside from a small storeroom to the rear.

Related story: Dezeen's top 10 Aesop store designsThe polished concrete counter and three small concrete plinths contrast with the pale pastel-toned floor, which is made from encaustic tiles, produced by hand using different colours of clay. The tiles are more common in domestic spaces and are especially popular in Barcelona residences.

"The robust materials used in the store's construction are contrasted and complemented by handmade patterned cement tiles traditionally used for domestic flooring," said the architects.
"The materials chosen such as concrete, steel, glass and paint are common and frequently used in civil construction, but are given a unique and differentiated characteristic due to careful detailing and consequent demand for impeccable finishing in order to reach the desired results," they added.

The store sits on the corner of a block on Oscar Freire Street, a high-end shopping street named after the doctor responsible for developing the Brazilian city's first mortuary.
"The architectural concept was based on the desire to create an ample but simple setting, free of partitioning and offering total transparency to the street through large glass panes," said the team.

The brand's medicinal-style bottles are displayed on the three short cylindrical plinths in the front. The cast-concrete podiums are speckled by the air bubbles trapped during the casting process, giving them a rugged appearance.
Further products are lined up on shelving against a mirrored wall that helps to create the illusion of greater space.

Each of Aesop's stores feature individual interiors – Dennis Paphitis, founder of the skincare brand, told Dezeen "there's a direct correlation between interesting, captivating store spaces and customer traffic within a store."
Materials used are often indigenous to the region such as Kerstin Thompson Architects' perforated gum wood details for a store in Melbourne or make cultural references specific to the country as in the case of a branch in Stockholm inspired by the work of Danish filmmaker Lars von Trier.

Others have referred to the laboratory processes involved in the making of the products, like Ciguë's Nottingham store above a record shop featuring distillation apparatus.
The brand's UK headquarters recently moved into new premises in London – a former warehouse in Bloomsbury with a pared-back aesthetic. The work was carried out by Post-Office, the British studio who converted a doctors surgery into Dezeen's former offices in Stoke Newington, London.
Project credits:
Architects: Paulo Mendes da Rocha, Metro Associated ArchitectsProject team: Martin Corullon, Gustavo Cedroni, Helena Cavalheiro, Marina Ioshii, Rafael de Sousa, Marina Pereira, Isadora Schneider and Marina Cecchi
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Eternal bonfire on the River Thames wins satirical contest to rival Heatherwick’s Garden Bridge

A vision of a blazing bridge has won a tongue-in-cheek competition seeking "alternative but equally ridiculous" design proposals that could replace Thomas Heatherwick's much maligned Garden Bridge for London.
Over 50 alternative proposals were submitted to the open-call competition named A Folly for London, which sought to parody designer Thomas Heatherwick's controversial River Thames crossing – currently under judicial review.
Green Fire Of London by Ben WeirLed by political artist Will Jennings, the contest called for proposals that use environmentally damaging materials for a site on the South Bank. Applicants were also asked to obscure as many of the views as they could, to a budget of £60 million.
This figure is in line with the public funding element pledged by London's mayor Boris Johnson towards the construction of the £175 million Garden Bridge, which has been touted by Westminster council as the "most expensive footbridge in the world".

Related story: "The Garden Bridge is a magic bullet for a certain idea of the contemporary British city""In celebration of great British satire, this competition is an opportunity to propose an alternative but equally ridiculous project for the public space being lost to the proposed Garden Bridge on London's South Bank," reads the text on the competition website.
Green Fire Of London by Ben WeirThe winning entry, Green Fire Of London by Ben Weir, imagines an eternal bonfire on the River Thames.
Designed to be fuelled by trees felled from London's parks, the scheme is described as "an eternal flame dedicated to 21st-century planning departments and developers".
Bulb Anthropophagic by Architecture AnonymousThe newly razed parks would be freed up as invaluable land for private development, while the burning fire would create a smokescreen to obscure views of the Thames.
"The project is fuelled in a completely sustainable green manner however, as timber is a renewable energy source," said Weir.
Weir has been awarded a framed image by Martin Rowson, the political cartoonist for the Guardian, who was one of the three judges of A Folly For London, alongside Green Party leader Natalie Bennett, and architecture critic and Dezeen columnist Owen Hatherley.
Floating Tidal Exploded Bus Maze by Chris Doray StudioRunners up in the competition are a pair of projects named Bulb Anthropophagic by Architecture Anonymous and Floating Tidal Exploded Bus Maze by Chris Doray Studio, while honourable mentions were given to several others.
Hatherley praised the entrants for the "scorn, humour and imagination" present in their designs. "The Garden Bridge is the sort of whimsical, thoughtless project you'd expect a slightly dim architecture student to reject," he said.
Arseholes by Roly Tee"The three winners all responded with projects that combined satirical silliness with warnings for the future London is making for itself – destroying real public space and replacing it with tourist tat, decimating its social infrastructure for photo opportunities and property development," added Hatherley. "May they shame the Garden Bridge out of existence."
Arseholes by Roly Tee and Scrotopolis – a toll bridge modelled on a "pallid pink erection" – by Huren Marsh were acknowledged by the judges for its priapic humour.
Scrotopolis by Huren MarshJesus Square & Bridge by Andrius Daujotas and Tautvilė Džiugytė – an invisible bridge allowing commuters to walk on water – and Devil's Bridges by Valentina Kholoshenko and Valeriia Potashko were commended for their efforts at absurd transport infrastructure.
Jesus Square & Bridge by Andrius Daujotas and Tautvilė DžiugytėFor feigning environmentally friendly design, the Greenwash award was presented to three joint winners: Huge Cake by Shimokawa Shohei, The Fairy Mushroom by Anna Pro & Kira Olkhovsky and the rainbow-hued Bifrost Bridge by Charlie Plumley.
The Fairy Mushroom by Anna Pro and Kira Olkhovsky"They had fully grasped the need to highlight the absurdity of the Garden Bridge project, which is cutting down trees and destroying a public green area to create a privatised artificial, view-blocking structure, funded with transport money when cycles won't be allowed and pedestrians barred from it overnight," said Bennett.
The proposals will be exhibited at St John's Church in Waterloo from 24 September until 4 October 2015.
Huge Cake by Shimokawa ShoheiThe 366-metre-long Garden Bridge won planning permission from the London boroughs of Westminster and Lambeth at the end of 2014. But the project cannot currently move forward, as Lambeth resident Michael Ball – the former director of charity and community planning organisation Waterloo Community Development Group – has lodged a legal challenge, claiming that planning permission was obtained unlawfully, ignoring issues regarding funding.
Helsinki's contentious Guggenheim museum competition attracted similar scepticism. Earlier this year, architect and writer Michael Sorkin teamed up with Finnish architects and artists to launch a rival competition called The Next Helsinki.
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David Chipperfield presents cabinets referencing Greek architecture at David Gill Gallery

Architect David Chipperfield has designed a series of bronze, steel and glass bookshelves and cabinets for his first gallery collaboration with David Gill.

On display at the David Gill Gallery in London's Mayfair, the pieces contain elements that reference the architecture of Ancient Greece. They also give the collection its name, Ionic – one of the three orders of Classical Architecture, along with Doric and Corinthian.

The blackened steel shelves of the cabinets and bookcases rest on a bronze framework that uses slender supporting poles.

Related story: Barber and Osgerby design glass cabinets to showcase their own "quantities of junk"The cylindrical rods are fluted to represent the Ionic columns, and are capped with flat sections on either end so they can be fixed to the horizontal sections of the frame.

The cabinets have sliding doors made of strengthened rippled glass – with both transparent and opaque versions on display – which is repeated in the sides and back of the bookshelves.

Chipperfield – who recently unveiled plans for the renovation of the Royal Academy of Art – told Dezeen the exhibition was a chance to create furniture that was free from the usual restrictions dictated by the marketplace.

"With David Gill, we were able to operate outside the conventional commercial furniture system – it was strange and yet very interesting," he said. "I still wanted to make a utilitarian object but didn't see utility as its primary concern – or the economy of means."

Related story: Driade appoints David Chipperfield as artistic director"I didn't have to worry about how it was made, just to make something beautiful out of beautiful materials such as casting and bronze, things that normally lie beyond the possibilities of the commercial process and invest the object with a strong physical presence," he added.

The architect has designed several other furniture pieces this year, including a table, bench and stool from wooden planks for German furniture brand e15.

David Gill – who established his central London gallery in 1987 – is no stranger to collaborations with architects, having previously shown Zaha Hadid's Liquid Glacial furniture collection.
Work from Fredrikson Stallard and Mattia Bonetti has also been shown at the gallery. The Ionic exhibition is on display until 3 October 2015.

Glass has been a popular choice for furniture this year, with designs by Patricia Urquiola, Tokujin Yoshioka and Nendo all revealed during Milan design week in April.
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Foster, Rogers and UNStudio compete to design major new Taiwan airport terminal

Foster + Partners, Rogers Stirk Harbour + Partners and UNStudio are battling to win the tender for a new £1 billion terminal at Taiwan's largest airport, Taoyuan International.
The architecture firms are among the three teams shortlisted to design the 640,000-square-metre Terminal 3 building at Taoyuan International Airport, set to accommodate an additional 45 million passengers each year.
Norman Foster's London firm is working independently, while Richard Rogers' office has teamed up with local firm Fei & Cheng Associates and engineer Arup, and Ben van Berkel's Amsterdam studio is partnering with local studio Bio-Architecture Formosana and US-based April Yang Design Studio.

Related story: Foster teams up with Fernando Romero on new Mexico City airportDue for completion in 2020, the new complex will be located between the airport's Terminal 2 and the China Airlines Headquarters, and will share some facilities with the existing terminal.
The project will encompass new concourses and a series of multi-functional buildings, as well as infrastructure including taxiways, service routes, access roads, and other transit systems.
The existing Terminal 1 buildingTaoyuan International Airport, formerly known as Chiang Kai-shek International, is located 40 kilometres west of the Taiwanese capital, Taipei. In 2014 it was the 11th busiest passenger airport in the world.
All three architecture firms involved have airport experience. Rogers Stirk Harbour was responsible for Terminal 4 at Madrid Barajas Airport and Terminal 5 at London's Heathrow, while Foster + Partners designed Beijing Capital Airport and London's Stansted. UNStudio recently completed Kutaisi International Airport in Georgia.

Related story: Zaha Hadid unveils designs for "world's largest airport passenger terminal" in BeijingThe three teams will all receive £126,000 to participate in the second phase of the competition, and are expected to submit designs by 26 October.
The winner will be selected by a jury including Bartlett School of Architecture director Marcos Cruz, 2011-12 Hong Kong & Shenzhen Bi-city Biennale curator Kwang-Yu King, and Michael Speaks, dean of Syracuse University's school of architecture and the University of Kentucky's college of design.
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Day House by Paul Archer Design is a zinc-clad home slotted into an existing London terrace

This zinc-clad mews house in London by Paul Archer Design looks like a two-storey home from the front, but actually contains four storeys inside (+ slideshow).
Day House by Paul Archer Design was built for a couple who previously lived in an apartment and wanted more space. It replaces a 1970s house in Islington, London, and sits within a terrace of mews homes that feature a mixture of architectural styles.

"The owners bought the house knowing they were going to do some work, but it was only when we realised the extent of the work needed that it became clear we should replace it," architect Richard Gill told Dezeen.
"It was built to 1970s standards, with thin insulation, and the roof was leaking. The stair was also poorly located and dark, going from the back of the house to the front," he added.

Planning rules required the house to keep the same shape at the front, so the architects raised the roof height at the back and added a new basement to create more space.

"It looks like a small building from the front, but inside it opens up. It is a bit of a tardis," said Gill.
The new basement houses a guest bedroom and utility room, and the ground floor has a studio at the front and an open-plan kitchen and dining room at the back, which leads to a patio. The first floor has a living room, library and study, and the loft level has a master bedroom suite.

The floors in the house have split levels, with rooms at the back set a few steps lower than those at the front in order to give them additional height.

Related story: Paul Archer Design pairs glass with marble for extension to a remodelled London townhouse"The living room is about 3.4 metres tall, which is quite lofty," said Gill. "In a standard developer flat, you would expect a height closer to 2.5 metres, so the spaces in this house feel quite generous."

To create a more logical route through the house, the staircase was repositioned to lead from the entrance to the back. Previously occupants had to walk down a hall on the ground floor, then turn back to ascend stairs in the opposite direction.
"Now, when you enter, you have a view through to the kitchen and patio on the ground floor, and a view up the stairs to the living space on the first floor, which lets in lots of light. It makes the house feel much more open," said Gill.

The exterior of the house has been clad in green-coated zinc to distinguish it as a new addition on the street. Other houses in the terrace are clad in a range of materials, including timber, brick and aluminium.
"The street originally formed part of the gardens of the grand Georgian terraced houses behind it," explained Gill. "The land was sold off, and in the 1970s people started doing self-build houses. Now there is a fantastic collection of individual homes there."

The lightweight and malleable qualities of zinc make it a popular material for cladding. Other recent examples include an artist's studio with a diamond-embossed exterior and a terraced house in Edinburgh with a modern zinc-clad roof extension.
Day House, which is 178 square metres, cost £524,000 to build, excluding fees. Tax rules to encourage the building of new homes meant it was exempt from VAT, which would have otherwise added 20 per cent to the cost. Money was also saved by retaining the existing brick party walls that separate it from its neighbours.

To maximise energy efficiency, the home was designed to Passivhaus principles, which involved wrapping it from bottom to top in insulation. Acoustic insulation was also added between the house and the party walls on either side.

"The owners like watching films and listening to music, so the acoustic insulation separates the house from the side walls, like a box within a box, so they can enjoy their home without upsetting their neighbours," said Gill.
"One of the owners originally studied architecture, so she had an appreciation for detailing," he added. "She says the house feels open, but still quiet and secure – like a building that hugs you."

Other homes by Paul Archer Design include a brick extension to a London house with a large circular window, and a house in Gloucestershire clad in polished aluminium so that it reflects its surroundings.
Photography is by Andy Stagg.
Project credits:
Architect: Paul Archer DesignM&E Engineer: BBS Building ControlStructural Engineer: Hardman Structural EngineersQuantity Surveyor: 
D.A Hammond & CoContractor: B&A Woodworking Ltd
Site plan – click for larger imageBasement plan – click for larger imageGround floor plan – click for larger imageFirst floor plan – click for larger imageSecond floor plan – click for larger imageRoof plan – click for larger imageSection – click for larger imageThe post Day House by Paul Archer Design is a zinc-clad home slotted into an existing London terrace appeared first on Dezeen.

MoreySmith designs new Primark international HQ in Dublin

Recycled shopping bags and clothing labels adorn the walls at budget fashion retailer Primark's international headquarters in Dublin by British studio MoreySmith (+ slideshow).

To create Primark's new headquarters, MoreySmith connected a 20th-century listed building to an adjacent property constructed in the 1990s, with a 13-metre-long timber and steel bridge that crosses a central atrium.
The atrium – which had originally been an external courtyard – includes cafes, a bar, and informal working areas. The space is topped by a glazed roof that brings natural light into the four-floor office, which houses 600 members of Primark's staff.

The office also houses photographic and design studios, a reading room stocked retail-focused reading matter, and a gym with exercise equipment.

Related story: Coca-Cola headquarters by MoreySmith is decorated with vintage memorabilia"We took the best of the vintage and contemporary of both buildings to create a unique central social space, complete with creative studios, meeting rooms vertically stacked, balconies and stairways which form the common architectural language," principal director at MoreySmith, Linda Morey-Burrows, told Dezeen.

A key part of MoreySmith's brief was to create an office that would reflect the values of the brand, and the history and heritage of the site. To this end the building's original brickwork has been exposed by the removal of partitions and suspended ceilings.
"Working with such a fantastic listed building, we really wanted to restore and expose as much of this as possible. The area has such an interesting industrial heritage so we wanted to draw on this," said Morey-Burrows, whose studio has also designed the headquarters for drinks brand Coca-Cola, online fashion brand ASOS and energy drink company Red Bull in London.

"We have really tried to open up the whole space," she added. "So now you can see all the way across from Parnell Street through to the courtyard with views into Mary Street."
Reclaimed scaffolding boards and cast-concrete tiles are used to create flooring, and the office is lit by reclaimed factory lights – all chosen to reference Dublin's industrial heritage.

Large light boxes and felt-covered walls also run throughout the office – intended for fashion buyers to pin new campaigns and textiles – and feature walls have been covered in bespoke wallpaper, as well as recycled shopping bags and Primark labels.
"There is a common architectural language but with unique interior details celebrating Primark's heritage such as bespoke signage and graphics, which were an integral part of the design," said Morey-Burrows. "We have tried to ensure every part of the business looks as vibrant and interesting as the fashion buying and merchandise teams."

Other offices for clothing brands include the OMA-designed Amsterdam offices for G-Star Raw and the west London headquarters of Net-A-Porter by Studiofibre.
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