Built on a new 150-hectare artificial island reclaimed from the open waters to the north-east of Hong Kong International Airport (HKIA), the building acts as an “architectural front door” to the city from the recently completed Hong Kong–Zhuhai–Macau Bridge.
“The Passenger Clearance Building (PCB) will be constantly filled with movement; buses arriving and leaving the public transport interchange, and visitors and residents waiting to gain immigration clearance completed,” said Rogers Stirk Harbour + Partners (RSH+P).
“Careful thought has therefore been put into how users will move around the site.”
The building has an undulating standing seam roof, designed to reflect the surrounding landscape, which is made from aluminium with painted extrusions and prefabricated off site.
Inside the building, which opened last month, RSH+P has created a simple, clear circulation enhanced by full height atriums that allow natural daylight to penetrate to the lower level and ensures there is a visual connection to the curved roof form.
The architect said that the 90,000-square-metre building was conceived as an “architectural front door” and a “celebration of travel” surrounded by water with views to a natural skyline of evergreen mountains and hills.
The transport interchange and immigration control building is close to the Hong Kong International Airport and other transport links, including the SkyPier Ferry Terminal, the MTR’s Airport Express and Tung Chung line.
“I am delighted to have worked on such an innovative project which brings beauty and elegance to the everyday activity of travel,” said RSH+P partner Richard Paul who led the architectural team.
“The new crossing will benefit those living and working in the region greatly with enhanced connectivity as well as highlighting the contextualised sensitive roof form which responds to the undulating mountainous backdrop of such a beautiful local environment.”
Opened last month, the 55-kilometre Hong Kong–Zhuhai–Macau Bridge was built to improve the overall connectivity of the Greater Bay Area improving transport connectivity and greatly reducing travelling time between Hong Kong, Zhuhai and Macau.
Originally the HKZM Bridge was due to open in October 2016, but the mega infrastructure project was plagued with delays, design and safety concerns, and reports of worker deaths and injuries.
In April of this year Hong Kong’s Highways Department rebuffed claims that the concrete blocks protecting an artificial island connecting the Hong Kong side of the bridge to the tunnel under Mainland China’s waters have been damaged by waves.
South African design studio Dokter and Misses have created a series of lights reminiscent of surrealist artworks.
Made of blown glass bubbles that balance on graphic steel structures, the Moonjelly series is the Johannesburg-based studio’s first attempt at making products that incorporate glass.
“They’re like deflated balloons or suspended drips,” explained Dokter and Misses co-founder and head designer Katy Taplin.
“Some look quite a bit like boxing gloves and have a cartoon-like quality while others are more surrealist melting forms,” she told Dezeen.
The lights were born out of a visit to the Ngwenya glass factory, where Dokter and Misses were invited to work alongside international and local glassblowers to experiment with the traditional craft and come up with new suggestions for shapes.
“We had an idea of what we wanted to do but we had no idea if it would technically work,” said Taplin. “So this really is the result of our play. And they are playful and weird.”
The studio worked with the team of blowers to bend recycled glass orbs over steel structures to produce a melting effect that recalls the paintings of Salvador Dalí.
The glass shapes bring a sculptural quality to the pieces, as no two shapes are alike. The white glass diffuses the light, offering a softened glow.
“We departed from a point that we knew well, steelwork, and experimented with how the glass in its molten state would interact with it, in order to create a new production process,” added Taplin.
Dokter and Misses was founded in 2007 by industrial designer Adriaan Hugo and graphic designer Katy Taplin. The duo develops furniture, lighting and interior design solutions that are inspired by the chaotic city that surrounds them.
Their bold, colourful, hand-painted pieces form part of a growing catalogue of limited-edition collectible work that has been exhibited in Basel, Dubai, London, New York and Miami.
Boqueria currently has five spots that serve Spanish cuisine in New York, as well as one other in Washington DC. All are based on the casual dining style of kiosks in Barcelona’s Mercat de Sant Josep de la Boqueria – a market off La Rambla that dates back to the 13th century.
Studio Razavi also used the architecture of the popular food hall to inform its design of the slatted wooden ceiling over the 440-square-metre space.
“A restaurant concept derived from the famous Barcelona market housed under a single great roof structure, inspired us to create an all-encompassing atmosphere, not dissimilar to the market,” said the studio in a project description.
The ribbed wooden installation follows the shape of the existing ceiling, creating a low cover over a portion of the central bar, and then angling steeply up over the dining area.
“Using only wood, our design intent was to mitigate the changing ceiling heights – some in excess of 20 foot (six metres) – with one varying surface made up of wood slats,” said Studio Razavi.
Wood slats then extend down to cover walls and form partitions between seating areas “to create a warm texture”.
Additional strips of the wood wrap around seating booths in the main dining areas – which has views into the kitchen on one side – and on the underside of the curved central bar at the other end.
A thick slab of white marble covers the feature bar, where customers are invited to enjoy casual drinks, with a second frame set on top for displaying bottles.
“A centrally located bar becomes the prominent spatial element and stands out as a vital organ along with the open kitchen, opposite the main seating area, therefore surrounding clients with the two main features of what a tapas restaurant is all about,” said the firm.
Tables and benches are made from matching wood, while other decor in the restaurant is executed in a complementary monochrome palette. This includes white leathery seat covers, black hexagonal floor tiles, and white subway tiles on the walls.
Additional details include a graffiti-style mural covering one wall, and specked white lampshades adorning the pendant lamps and sconces.
A massive curving slab of concrete covers the new school of architecture building at the University of Miami, by local firm Arquitectonica.
The Thomas P Murphy Design Studio Building is the latest addition to the University of Miami campus in Coral Gables, Florida – southeast of Downtown Miami.
Arquitectonica designed the 20,000-square-foot (1,858-square-metre) building for the institution’s architecture school. It is dedicated to Thomas P Murphy Senior, the father of the founder of Coastal Construction – the local construction firm that built the project.
The project was also personal for Arquitectonica: the partner in charge of the project, Raymond Fort, served as faculty at the University of Miami, as did his parents – the firm’s founding principals – Bernardo Fort-Brescia and Laurinda Spear.
The Thomas P Murphy building is toped with a bowed roof that swoops across the project in a wave-like manner, and extends far out to form a covered patio alongside floor-to-ceiling windows.
“The building is, in essence, a single, oversized shed, featuring a vaulted roof suspended 18 feet (5.5 metres) over the floor by narrow steel columns and a few fixed walls,” said a project description.
“The exposed structure of glass and concrete serves as a teaching tool by illustrating some of the basic tenets of modern architecture, construction and sustainability.”
Situated on a grass plot, the building creates a plaza at a prominent intersection on the campus, with a pathway that connects to the Miami Metrorail.
Inside, a concrete envelope forms a lobby, with a spacious open-plan area for students taking up most of the floor plan. Red fabric curtains can close off a portion to create a more intimate area.
A studio space is formed by a 25-foot (7.6-metre) square module, which can accommodate a variety of desk configurations, ranging from 90 to 130 workstations.
“It complements the school’s constellation of buildings that constitute a campus-within-the-campus,” said Rodolphe el-Khoury, dean of architecture at the University of Miami.
The east and west walls are lined in felt, so students can pin up their projects, while a nave features movable boards for exhibitions and reviews.
In addition to its durable concrete shell, the Thomas P Murphy building is also designed for Miami’s hot and wet climate, and its glass facade includes hurricane-resistant panels.
The undulating roof warps over the southernmost point of the building, to shade the interior from direct sunlight. No artificial light is needed inside during the day.
Partners-in-charge of design: Bernardo Fort Brescia, Laurinda Spear Architect of record and project director: Sherri Gutierrez Project manager: Rafael Guissarri Project designer: Raymond Fort Landscape architect: Arquitectonica Geo Interior designers: Arquitectonica Interiors, University of Miami Interior Design, Office of the University Architect Structural engineering: GMG Acoustics: Shen Milsom & Wilke Mechanical engineering: Stantec Civil engineering: VSN Geotechnical engineering: NV5 Surveying: Atkins Sustainability: SUMAC General contractor and construction manager: Coastal Construction Group
Named The Lookout, the two-level installation comprises of a sequence of muted rooms with subtly patterned surfaces, and was praised by the awards judging panel for its “clever detailing and beautiful aesthetics”.
Note Design Studio created it for this year’s Stockholm Furniture Fair, after they were approached by Tarkett to redesign a typical fair stand in a way that would encourage visitors to “experience how floor materials can be used in new and unexpected ways”.
“Tarkett is a monumentally large company and Note is a very small design studio. When we started working with the project it was like trying to turn an ocean liner with a rowing boat,” Cristiano Pigazzini, design manager at the studio, told Dezeen.
“Together we did not only find a fresh and relevant way to show the potential of an overlooked material, but we’d also like to believe that we injected some energy and inspiration within Tarkett.”
Note Design Studio had free reign over Tarkett’s extensive catalogue of materials, but they decided to make use of flecked homogeneous vinyl – the brand’s most unpopular flooring finish. This has been used to cover the installation’s six-metre-high walls, display counters and chunky rust-red staircase where visitors were invited to sit and relax.
A secondary set of black stairs leads to a viewpoint where visitors could observe the crowds of the fair from above.
“We operated on two levels – one catches interest from afar, the other attracts visitors from a close perspective,” explained Kerstin Lagerlöf, marketing manager at Tarkett.
The majority of surfaces are completed in shades of moss-green, pale grey, and terracotta brown, with a bold splash of colour provided by four coral pink armchairs that were used to dress the space.
Some of the vinyl walls also feature a checkerboard motif, circular cutouts, or have been folded to create a concertina effect.
Amsterdam-based design platform What Design Can Do has unveiled 13 campaigns against the sexual exploitation of underage children, as part of a design competition called No Minor Thing.
Developed in cooperation with the Dutch Public Prosecutor’s Office and the Ministry of Justice and Security, the No Minor Thing project saw 13 Dutch design agencies come up with solutions on how to raise awareness and tackle the issue of sexual violence against minors.
The 13 strategies and campaigns include an interactive online platform that teaches people how to spot signs of sex trafficking, a peer-to-peer check-up system for minors, and an app extension for messaging services that detects nudity in photos and digitally watermarks the images.
“Sexual exploitation of children is common, but it generally remains under the radar, out of sight,” said the organisation. “It is estimated that only one in nine girls who have been sexually exploited are known to police and the justice department.”
“There are even fewer records for the exploitation of boys, which makes it even more difficult to estimate the actual number of victims,” it continued.
Each of the participating designers chose one of five questions to offer a solution to, including “How can we teach every child that they are in charge of their own body?”, “How can we help victims to report sexual exploitation earlier?” and “How can we enhance the protection of young people online?”.
Rotterdam-based foundation Design for Humanity devised an Instagram series aimed at young people aged between 10 and 14, which encourages its followers to think about “the role played by intimacy and sexuality” in their lives.
Called Schaamstreken (Private Parts), the campaign sets out to include sex education in everyday interactions via social media – every week there is a new mystery surrounding sexuality that followers can “solve”.
Fabrique’s SHOOW app detects nudity in photos and digitally watermarks the images
The Fabrique team focused on “sexting” in their efforts to combat sexual exploitation of minors. They designed an app extension for popular messaging applications like Whatsapp and Snapchat that detects nudity in photos and provides these images with a digital watermark.
The SHOOW app also offers users the opportunity to provide the photo with a watermark on the front, in a bid to encourage young people to treat nude photos responsibly.
“The naive notion that this type of situation only occurs in distant countries was demolished on day one of the challenge,” said Fabrique.
“Designers have the ability to challenge the status quo,” the agency added. “Taking an outside, creative perspective to this type of complex problem allows us to reach new insights.”
After discovering that Dutch society is largely unaware of the sexual exploitation of minors, What The Studio came up with a certification program called No Place for Sex Trafficking, which rewards hospitality services that are committed to actively preventing sex trafficking.
The studio created an online platform where staff at hotels, bars and restaurants, as well as taxi drivers, can follow interactive training courses to learn how to spot signs of sex trafficking. Employees will then receive a certificate that they can display to show their awareness to customers, which may include potential sex traders.
“Designers don’t need to become the experts, but we are the dreamers, the ones who can help to think bigger, to communicate better and to make the findings of experts accessible for more people,” said What the Studio.
Other campaigns include a fake website hidden under the name of scholieren sekswerk (student sex work) used to reveal “the shocking truth” of sex trafficking, a system of fake adverts and landing pages that can track and gather data on “casual” sex offender behaviour, and a weekly calendar that helps parents and children communicate about relationships and sexuality.
What Design Can Do also recently launched another project called the Clean Energy Challenge, which tasks architects and designers with coming up with proposals that can help urban centres transition from fossil fuels to clean energy.
Dezeen has been named Digital Service of the Year at the International Building Press Awards, while editor-in-chief Marcus Fairs won the Multi-Media Journalist of the Year title.
Judges described Dezeen as “brilliant”. “The site has a real agenda and is brilliant at tapping into the zeitgeist and finding the architectural angle,” they said. “In a nutshell: it’s great journalism.”
This is the second year in a row that Dezeen has won the award. Last year judges praised Dezeen’s “global ambition and constant innovation”.
Fairs won the category for multi-media journalism, with judges particularly praising the short documentary Elevation.
Fairs co-directed the movie, which explores how drones will change cities.
“Marcus Fairs’ entry was overall highly professional, and the judges were ‘blown away’ by the film which was thought provoking and challenging for architects, encouraging them to think about how architecture may work in a world of drones,” the IBP judges said.
Dezeen editor Amy Frearson was shortlisted in the same category, while architecture reporter India Block was shortlisted in the News Reporter of the Year category.
Californian company Oru Kayak has designed a foldable kayak that can be carried on one’s back for easy transportation and use.
Haven is the latest product from Oru Kayak, a company based in the San Francisco Bay Area that makes various folding vessels.
Based on the Japanese paper folding technique of origami, the new design features a lightweight shell that folds down to the size of a large suitcase that weighs 40 pounds (18 kilograms).
Oru claims it is the first origami tandem kayak, and is manufacturer-rated for 20,000 fold cycles.
“When folded into a box, the Haven is the world’s only tandem kayak designed to be carried by one person,” said the company in a statement.
Made of five-millimetre polypropylene, the product has a translucent shell and orange plastic boards across the hull. When folded down, this double-layered, custom-extruded orange surface serves as a protective exterior for the pack.
Shaped similarly to a bean pod, the shell wraps at its two corners, leaving a hollow for users to sit in persons.
The design is suitable for one or two persons. To convert the kayak to tandem, a footrest can be repositioned to a seat back, and seats switched with a few buckles.
It takes approximately 10 minutes to turn the design from a box to a floatable boat. Intuitive folding patterns, and colour-coded stitching and loops, guide the assembly.
The coloured straps and loops show how to attach seats and footrests, and also serve as clips to fasten the kayak’s box when folded.
When fully open, the kayak measures 31 inches (79 centimetres) wide. When packaged together, the box measures 33 by 15 by 29 inches (83 by 38 by 73 centimetres).
Haven is also equipped with a patent-pending rail system for storing items like bottles, cameras and fishing rods, and which runs along the top of its sidewalls.