To listen to previous weekend playlists - click through to our music page
Devetashkata Cave - Bulgaria
Ben Bulben at County Sligo, Ireland
Shark Island - Sydney
Baatara Gorge Waterfall, Tannourine - Lebanon
Abel Tasman National Park - New Zealand
Myrtos Beach, Kefalonia - Greece
Sichuan - China
In The Gardens of Prague Castle
Neist Point, Isle of Skye - Scotland
Aiguill e du midi, Chamonix, France
The Hamilton Pool Nature Preserve in Texas, USA
4 Hands - Etretat, France
Río Tampaón in San Luis Potosí -México
Six Senses Evason Ma’In Hot Springs, Jordan
Méandre - En-Vau - Marseille (Bouches-du-Rhône)
Discovered a place we should include in Part 4 of Amazing Places? - get in contact
We'll be publishing Amazing Places as a book in late 2012
The incredibly beautiful "A Path in the Forest" by architect Tetsuo Kondo was a temporary installation in the Kadriorg Park near Tallinn, Estonia.
It was part of Tallinn's 2011 European Capital of Culture activities and in particular, part of LIFT11, a festival of 11 urban installations. All other installations in LIFT11 were selected through a design competition, but Kondo was invited to create the Path. It was realized in partnership with the EU-Japan Fest Japan Committee.
Kardiorg Park is an urban forest, only 15-minutes' walk from the Old City of Tallinn. While it has some intact treed areas, it is mostly an urban park of man-made structures and tended gardens.
With his light touch, Kondo created a 95-meter (311-foot) suspended walkway among some of the park's 300 year-old trees. The unobtrusive Path is similar to Kondo's 2010 work Cloudscapes for the Venice Architecture Biennale. Both works put humans on an uncommon level in relation to their surroundings, creating a new viewpoint and inviting further examination. - Tuija Seipell
Even those who are afraid of flying might enjoy the experience of piloting a Boeing 737 at the simmINN Flight Simulation Center in Stuttgart, Germany.
The reason for our confidence is two-fold. One: The aircraft does not leave the ground as the full-size replica of Boeing 737 with its Learjet 45x cockpit are firmly indoors. Two: The outside of the plane looks so cool that you will forget your phobias and just want to hop in and fly!
Frankfurt-based architect Boris Banozic is responsible for the concept, interior and graphic design of this center that is open to the general public. Yes, you, too can book a two-hour flight, piloted by Captain You and no crew! Now, if only an airline company picked up this concept as their head-office design, then we would be really impressed. - Tuija Seipell
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We return to the creative work of Supermachine Studio, the multidisciplinary design firm that architect Pitupong (Jack) Chaowakul established in 2009 in Bangkok.
Last year, we covered Supermachine's design of Bangkok University Creative Center.
This time, our attention was piqued immediately by the first images we saw of Supermachine's ideas for the rebirth of Saatchi & Saatchi Thailand's office.
Supermachine was the team of choice for Saatchi & Saatchi's regional creative director, Joel Clement, because he was looking for playful and unexpected design solutions. Clement wanted a space "that inspires, is genuinely fun to come to everyday, and that didn't take itself too seriously."
The agency's move to the Sindhorn Tower, on Wireless Road in Bangkok, was part of parent firm Publicis's goal to gather its affiliated companies in one building for shared resources.
The somewhat dated building, tight space (400 m2, about 4305 ft²) and the tight budget posed challenges that Chaowakul and team solved with bold ideas that leave much of the space open but accented by strong visual elements. This openness was also part of Clement's brief to Supermachine, as the previously scattered teams had to learn to work together and become one functioning family.
We love Supermachine's happy nods to motion and mobility. The reception desk is on wheels and resembles a big white bus. Bicycles work as the legs of a large glass-top conference table that is fully mobile. The meeting cabins that feel like train compartments. There is also the reoccurring visual theme in the shape of a racetrack, hockey rink or stadium.
A large outer wall is covered with small, white "wood pixels" that are made of wood recycled from the agency's previous office. With this wall, Supermachine achieved not just practical goals -- to cover the ugly red marble wall and to save costs by recycling materials from the existing office -- they also created a visual link to the organization's past.
Perhaps in a nod to even further into humanity's past, there is the "monster wall." Its main feature is a 20 meter-long (65 feet), lizard whose skin is constantly redecorated with current work and inspirational items. Its jaws work as a bookshelf. The monster has already become the agency's new mascot and will appear on a T-shirt soon.
In addition to Pitupong (Jack) Chaowakul, the Supermachine project team included Suchart Ouypornchaisakul, Peechaya Mekasuvanroj, Santi Sarasuphab, Kasidis Puaktes, Jetsada Phongwasin and Korthong Thongtham Na Ayutthaya. - Tuija Seipell
Ever since we posted our first idea featuring Mini Inflatables, other blogs immediately featured them
And we were immediately inundated with orders. Individuals, agencies, Mini dealers, other brands, retailers, hotels, art & design festivals are crazy about them.
We now have more than 13,000 orders but we have no product yet! So we are super excited that we are now negotiating with Mini Germany to make it all happen!
This is a perfect example of a win-win for all concerned. Mini gets its brand out there in an unexpected space and in a fun and active environment. It is interacting with consumers who love to show off their Mini inflatable on the beach because compared to other boring inflatables, this is just too much fun. It's big, it’s bouncy, it’s fun.
People react to it with “I want one!” and “I want to try that!” Perfect reaction and brand atmosphere for an active, fun brand.
We even designed a fun Xmas installation using the Mini inflatables as reindeers.
Stay tuned for the announcement of the Mini Inflatables. We expect it to be all ready by Summer 2012!
Much architectural jargon has been lavished on this Tribeca warehouse loft renovation but we just like the look of the cool, dynamic, elongated space.
This is not exactly a cozy home but its brutalist strength fits an old Manhattan warehouse well.
The Inverted Warehouse Townhouse has received numerous U.S. awards. It is the creation of Dean-Wolf Architects of New York, where architect Charles Wolf and designer Eunjeong Seong were in charge of the project.
We like the visible stairs that create a sense of lift and movement upward. We like the large surfaces of brick, steel and glass. We like the visibility between floors and from space to space that solves the potential problem of dark boxy rooms inside a windowless warehouse.
It is an impressive conversion of a loft (of 10,500 square feet) within a vast warehouse that covers the entire lot, leaving no room for outside space, garden or patio.
The main achievements of Dean-Wolf's work are cutting the roof open to let the natural light in and then using glass panels to let it shine into the dark centre of the expansive structure.
By doing this, they also created "outdoor" space inside, making the residence feel like it has a courtyard. They also created a large garden deck off the main living room.
To open up the key areas of the residence to this natural light, the main entry, via an elevator, is now on the fifth floor where public spaces and the bedrooms, playrooms and study are located. In a more typical townhouse, this "parlor" floor would be accessed through the front steps of the building. - Tuija Seipell
Aaaahhhhhh… Relaxing and breathing deeply. It may not come as a surprise to anyone that this would be our reaction this exquisitely refurbished residence, located in one of Rio de Janeiro’s most exclusive neighborhoods.
It has so many of the features we love. The structure seems to belong to the site. The indoor spaces connect with the outdoors, and the subtle surface textures and materials showcase the art and the mid-century modernist vibe of the furnishings.
There is visual room to breathe, to see. There’s space to enjoy the art, distance to appreciate the gardens.
It lacks all of the typical design-magazine photo-session set-ups; the painfully over-staged vignettes, the overly sterile designer look. There is no ego or bravado, just ease and style. This is cool without trying to be cool; dramatic without all the drama.
This is that confident, mature style that is so difficult to achieve and impossible to fake.
The white, colonial-style house has good bones to start with: unobtrusive scale and proportions, spectacular site with access to views, natural building materials.
It is also surrounded by sublime mature gardens originally designed by the late Roberto Burle Marx, the designer of the Copacabana Beach Promenade with its distinctive, black-and-white Portuguese geometric wave pattern.
But the already great structure of this house was improved by a recent, complete overhaul by Brazilian architect Gisele Taranto.
The 1,500 square-meter (about 16145 square feet) house consists of two blocks. The larger block is the main family residence, the smaller one accommodates staff rooms, laundry, garage, home theater and the spa that is directly connected with the outside pool and patio area.
Taranto retained this division of functions, but rearranged most of the rooms and built two additional spaces on top of the existing ones: a home office with a roof-top garden on top of the residence, and an additional two-bedroom apartment for staff on top of the other block.
To provide better access to the outside, new, much larger windows and sliding glass doors were created. Wooden exterior slat screens and a wide canopy all around the house were built to provide protection from the extreme sunlight and heavy rains of the area.
High-quality natural materials, such as corten steel, limestone, marble and peroba do campo wood are used throughout, but they remain as a subtle background for the art and furnishings.
In this project, Taranto collaborated once again with Brazilian lighting designer Maneco Quinderé and landscape designer Gilberto Elkins. Tuija Seipell
After several months of construction, Red Bull’s Dutch subsidiary, Red Bull Netherlands, has settled into its new headquarters on the North side of Amsterdam’s Port area. The almost 1000 square-meter (about 10,763 square feet) office is part of the 7800 square-meter (83,958 square feet) Media Wharf complex at the NDSM Wharf, on the shores of the river IJ.
The office was designed by Sid Lee Architecture of Montreal and Amsterdam. The theme of the space is duality and polarity -- reason and intuition, light and dark, art and business, public and private.
Much of the space is undefined, seemingly unfinished, with a feel of street culture and the rough edges of the shipyard’s past echoed in the design.
Red Bull Netherlands’s director Jan Smilde was quoted as saying that the company wanted a location with an entrepreneurial spirit where they would have the freedom to develop innovative ideas and events.
Established before WWII, NDSM (Nederlandsche Dok en Scheepsbouw Maatschappij – Dutch Dock and Shipbuilding Company) was one of the world’s largest shipbuilders. It continued to operate until the mid-1980s, after which the shipyards were deserted except for squatters and artists who established a “breeding ground” of emerging artist there.
This area, the size of 10 football fields, has now been developed into an artistic and media hub, with studios and workshops, offices, open spaces, student housing, festival venues and restaurants. More here in English.
Perhaps we are overly practical here at TCH, but we could not help but wonder what Red Bull’s heating bill for this space is in the cold Dutch winter months. - Tuija Seipell