Saturday, August 17, 2013


Relax, relax: Vessel by Splinter Works.

Two words could hardly be more synonymous with relaxation than the bath and the hammock. British design studio Splinter Works have combined them with the “Vessel,” an interesting piece that reinterprets the idea of bathroom.
The Vessel is a hammock shaped bath that attaches to the walls of a bathroom. It is made of carbon fibre and is around 2.7m long, but can be custom built. The foam core helps the water stay warm for longer, an important feature when you are likely to fall asleep in the bliss.
It works best when there is a floor drain, and I would also add when the walls are strong enough to take the weight. It is manufactured on request in black, yellow, pink, bronze and silver.

by editorial office Detail Daily on 06.24.13

Carbon Fibre
2500-2900 L 800 W mm

Struck by the synergy between the shapes of two compelling symbols of relaxation, a hammock and a bath tub, Splinter Works were inspired to develop a piece that would provide the ultimate vehicle for total escapism.

The peaceful experience of kicking-back in a hammock has been further enhanced by combining it with the immersive comfort of soaking in a hot bath. By literally elevating the experience of bathing into a suspended sculpture the bathroom has been reinvented as a contemplative sanctuary for artful relaxation.

Designed for use in a wet room, Vessel is suspended from the walls and does not touch the floor. It is fixed with stainless steel brackets that can be covered over, or left revealed. The bath is filled using a floor standing tap and the waste water released through the base into a floor drain. A downpipe drain can also be installed if a wet room setting is not possible.

Vessel is made from carbon fibre which is utilised for its inherent strength and ability to be formed into complex curves, furthermore the weave of the fabric references the cloth of a typical hammock. Beneath the layers of carbon fibre lies a foam core, which insulates the tub, meaning the bath stays hot for considerably longer than normal.

At 2.7m long, Vessel is longer than a regular bathtub, leaving plenty of room to share the experience. Custom sizes are available but it is also designed so that it can be trimmed up to 20 cm to allow for flexible installation. Pictured here in black, it also available in red, blue, yellow, pink, bronze and pure silver.

Colour options:
Splinter Works

3D tape drawing

3D Tape Drawing by Monica Grzymala.

Photo credits: Gallery Crone.
Showing at the Gallery Crone in Berlin is the 3D Tape Drawing by Monica Grzymala. The Polish artist creates her installations using intuition, imagination and, in this case, 5km of tape.
One interesting thing about Grzymala’s work is the incredible energy with which she explores the gallery space. And although the installation seems anarchic almost , the control and discipline demonstrated is impressive.
The name of this piece is Raumzeichnung, which loosely translates as Drawing Room and is manifest in this piece as a horizontal eruption from a column.
The piece appears to question the solidity of the architecture and by implication other things whose appearance seems solid.

crescent house

Galaxy of stars in a Zen garden: The Crescent house by Andrew Burns Architects.

The Crescent House occupies a position verging on art. It also act as a mediator suggesting to others, ordinary things that might merit aesthetic consideration. It frames a hedge, transforms sunlight into a galaxy of stars, and calms the tumult of an outside world.
The Crescent House, designed by Australia’s Andrew Burns, is the first project of the Fugitive Structures program. The initiative aims to hold invited competitions for emerging and mid career architects to design a small scale temporary pavilion for SCAF’s Zen garden.
Inspired perhaps, by the annual Serpentine Gallery Pavilion, the Fugitive Structures programme has the capacity to discover new or unacknowledged talent, rather than just trumpeting architects who have already achieved global fame.
Presented in collaboration with BVN Donovan Hill, the Fugitive Structures concept references London’s Serpentine Gallery’s highly successful Architectural Pavilion series in Kensington Gardens.
Andrew Burns is principal of Andrew Burns Architect, the practice he founded in Sydney in 2008. In 2011 he won the international design competition for Australia House, a gallery and atelier that forms part of the Echigo-Tsumari Art Triennale in Japan, selected by a jury chaired by Tadao Ando from a field of 154 entries. Andrew is currently Co-director of the Super Sydney Project and member of the Sydney Architecture Festival Committee.
‘The pavilion has an ambiguous presence, between architecture and art object. Through framing, it transforms an ordinary rose apple hedge into a landscape of beauty. The structure responds to elemental themes: darkness and light, the wonder of the night sky, the arc of the sun and the presence of bushfire on this continent.’ Andrew Burns (2013)

A-frame extension

Front facade.
Adding 290 square feet to this already small (just 566 square feet) black A-frame in Brecht, Belgium, was all the local building ordinances allowed, but the architects at dmvA found that a single wing extended out to the side gave resident Rini van Beek all the storage and living space that she needs.

Photo credits: Frederik Vercruysse.

The “A” frame house has a long and arguably problematic tradition in timber construction. Whilst it is simple to design and build, the problem is that because the walls slope inwards, the usable area is greatly reduced, making the form fairly inefficient and the space oppressive to inhabit. Extending the house is however easy, as one can simply add another bay extruding the form lengthways.
But dmva did rather better than that when designing this tiny 29 meter square extension.
By extending to the side, the new space created has the inverse feeling of the “A” frame in that the wall of the extension leans outwards. This enables all the floor area to be used, and gives the impression that the new room is actually bigger than it is. The architects have reinforced this illusion by creating a white space with fully glazed side walls that give the feeling of sitting in the forest itself.

Van Beek’s extra space is home to her office. She works on a Tense table by Piergiorgio and Michele Cazzaniga and Flow chairs by Jean Marie Massaud, both for MDF Italia.

In the living area, a Tufty-Time sofa by Patricia Urquiola for B&B Italia, a Soft Grid blanket by Established & Sons, and a wood-burning stove by Stûv keep her comfortable.

The original building’s structural framework is a series of sloping studs; Verschueren left these intact on the side of the house to be enlarged, matching them to new vertical studs in the frame constructed for the extension.