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Here’s a very interesting idea that could mess with one’s mind. Imeüble  shelving system comes from designer Bjørn Jørund Blikstad and at the first glance it appears to be just another picture on the wall. Its creator says that the concept behind the idea works with your mind the way associating words with their meaning works. He says that when you read the word “cornfield,” you imagine a field full of corn, not the word “cornfield”. In this particular case, the shelving system looks 2D, but as you get closer you will see storing is possible so the logical thing is that it is actually 3D. On Freshome we treat optical illusions and mind games with a high amount of fascination, so we hope you enjoy this one as well.

SOURCE Freshome

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We know you are used to seeing articles about interior design & architecture on Freshome, but today we decided to spice up our posts and present something different, but intriguing nevertheless ( tell us if you like to see this kind of stuff from time to time ). British designer Thomas Heatherwick has created a design alternative for London’s iconic Routemaster bus together with The Wright Group. The famous double-decker will be out on the London streets by 2012. We also know that it uses the latest in green technology and lightweight materials. Here is a statement from London’s mayor, Boris Johnson: “This iconic new part of our transport system will cut emissions, and give Londoners a bus they can be proud of, complete with cutting edge design, and the freedom of an open platform.”  This project is very much related to design- just not in the way you guys got used to- which is why we are very interested in finding out your opinions on this new type of approach.

SOURCE Freshome

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Iron Man 2 continues the adventures of billionaire Tony Stark and his superhero alter ego Iron Man. The main character is played by Robert Downey Jr. and the whole movie features amazing effects and state-of-the-art technology. But the home of the character is by far the most interesting aspect of the movie- from our point of view at least. This may come as a huge disappointment to some of our readers, but what you see in the photos below is digitized fiction. Jon Favreau, the director of the film explains that the home was falsely positioned on a site in Malibu. It is forbidden to build an architecture project there, so they came up with a different solution: computer graphics. The interiors were built on a sound-stage area in Los Angeles and everything was synchronized with the computer plans. When I’ve saw the movie the house was so real but it seems that movies can trick us very easily ..like this one did.

SOURCE Freshome

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Banksy proceeds with his US Tour as the mysterious artist’s film, Exit Through the Gift Shop, continues its popularity in select theaters. This time around, Banksy makes his way to the Big Apple as we see new pieces done in New York City, a compliment to his recent work in San Francisco.

SOURCE Thecoolhunter.net

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A 25 years old artist from Copenhagen, Denmark. That loves to draw with pencil on paper, but also do great paintings and installations.
check his website.

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Architects: Jensen & Skodvin Arkitektkontor
Location: Gudbrandsjuvet, Norway
Design Period: 2004-2007
Construction period: 2007-2008
Client: Knut Slinning
Project Architects: Jan Olav Jensen (pl), Børre Skodvin, Torunn Golberg Helge Lunder, Torstein Koch; Thomas Knigge
Budget: 1.000.000 EURO (US $1.28 millions)

Constructed Area: 800 sqm
Photographs: JSA
One of the local residents at Gudbrandsjuvet, Knut Slinning, is building a landscape hotel. The idea emerged at another site, Aurland, but was not realized there.

Basically each room is a detached small independent house with one, or sometimes two of the walls constructed in glass. The landscape in which these rooms are placed is by most people considered spectacularly beautiful and varied and the topography allows a layout where no room looks at another. In this way every room gets its own surprising view of a dramatic piece of landscape, always changing with the weather and the time of the day and the season.

SOURCE Archdaily

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Vitra Haus, the new home of Vitra’s Home Collection, has been covered widely by design media, and not in vain. It is a beautiful example of Jacques Herzog’s and Pierre de Meuron’s ability to take the ubiquitous stacked-houses concept and still make it look new, interesting and inviting.

Reaching five storeys in height and containing 12 separate houses, Vitra House is geared toward the general public, design-aware consumers who will appreciate the building as well as the Vitra products inside. The entire contraption appears both grandiose and intimate at the same time, with the gray exterior disguising the disheveled heap within the site, while the open glass-walled ends and stark, white interiors facilitate the presentation of residential-scale displays.

Vitra House is the latest addition to the ever-expanding Vitra Campus that started as an industrial park with the manufacturing facilities. Now the Vitra Design Museum–Frank Gehry’s first European building opened in 1989 — the Conference Pavilion by Tadao Ando (1993) and the Fire Station by Zaha Hadid (1993) already provide magnificent visual attraction. Vitra Haus and a new circular manufacturing facility by Kazuyo Sejima/SANAA are this year’s entrants to the site.

Weil am Rhein is a German town and a community that is a suburb of the Swiss city of Basel in Switzerland. Weil am Rhein is located by the River Rhine, close to the meeting point of the Swiss, German and French borders. The Vitra Design Museum is the town’s biggest draw.

The Basel-based architecture firm Herzog and Meuron was established in 1978 by Jacques Herzog (born 19 April 1950), and Pierre de Meuron (born 8 May 1950). It is known for many prominent international commissions, including the Beijing Olympics’ “Bird’s Nest.” – Tuija Seipell

SOURCE Thecoolhunter

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Kusus + Kusus architekten’s BBI-Info Tower at the Capital Airport in Berlin is designed to be a recognizable element for the airport that will “serve the whole region and far beyond the boundaries of the construction site beyond.”   Rising 31 meters, the tower is a welcoming sight for visitors approaching by land or passengers on plane.  Programmatically, the building is a observation tower that provides views of the “growing” new airport complex which is currently being developed.  By ascending to the top, the visitor is then roughly at the level of the surrounding construction cranes and gains new insight into the construction activities.

Inside, a massive reinforced concrete elevator core carries the weight of the entire structure, allowing the exterior envelope to portray a feeling of delicacy and lightness.   Steel spiral stairs cantilever off the core with intermediate landings that provide areas of rest during ascent and descent, as well as views of the site through the semi-transparent envelope. Upon reaching the top, there are two observation decks, an encased platform and an open deck.

On the exterior, the tower is a series of isosceles triangles that, on each level, are rotated six degrees counter-clockwise.  This results in an unusual and striking form that creates different perspectives from each angled viewed.  The idea of dynamic twisting can be rationalized as an architectural interpretation of wind or motion, as associated with the airport.

The exterior, a white ETFE membrane, allows a certain degree of visual transparency during the day and creates a light tower at night, as different colors burst through the translucent skin.  The tower’s spatial impression is the effect of the membrane stretched between the triangular steel frame.

As a parti, the tower is the simple relationship between a round core and spiral stair rotated within the triangular frame of the facade.

SOURCE Archdaily

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