I never thought that a house with red and orange in excess could appeal that much. This futuristic pod home was designed by Judd Lysenko Architects in Melbourne, Australia. With simple lines and an amazing way of using steel, laminated glass and plywood cocoon, the house manages to blend really well with the striking natural scenery by adding to its beauty. Designed by Judd Lysenko Architects, draws its inspiration from American-German architect Mies van der Rohe – considered a pioneer of modern architecture. We think this home would make him proud. The bright orange stain on the curved plywood interior wall makes the house glow like a giant ember in the night. Looks like a warm place in the heart of the woods if you ask me, and a great holiday retreat at the same time. Magical futuristic pod home! Do you like it?
A rigid structure compromised by the existing services of a surrounding carpark, this site became an exercise in floorplan optimisation. Educated in its allocation of space and arrangement of furnishings, Plus have demonstrated intuitive spatial awareness and restraint.
The design composition is resolute and effortless. The end-user has been brought to the fore and as a result the space flows organically, with the open-plan office space, three private offices, boardroom and kitchen a natural progression from the reception and banquette area. Thus, a fine balance between private and functional work spaces is achieved.
Polished in its presentation, the office exudes industrial sophistication with a refined, monochromatic palette featuring Dulux’s powder coat and acrylic paint ranges.
The retro neon sign has been placed on a hot red wall at the entrance. Then, entering to the first floor area has been design to be a reception hall and cafe for whether officer or guest. There are chairs and long desk along the wall beneath a loft steel cabinet. Red is the most powerful warm tone color so, it has been use to energized, and stimulated a guest to be excite and staff to express their enthusiasm at the first step.
The second floor has been designed for working area called “Aposer Room”, marked by a blue, to make this space is calm, tranquility and stable. It is a open plan office, all working desk have been placed facing each others to allow them to have some discuss. A huge typographic phase “There is no “I” in TEAM but there is in WIN” have been place on the wall dominantly to remind all staff to cut down their self-esteem, then collaborated or have discussion to solve the problem or any conflict.
The third floor is the last level but is not the last of work, this floor has been realized for “Brain Storming Room” and executive room. It marked by a bright yellow to light up the space and may be spark the creative thinking as well as the typographic phase about working development to inform both beginner staff and executive officers.
Keeping the living room monolithically grey, the designers mixed dark tones with white elements in the kitchen/dining area. They also kept bedroom, bath, and home office white.
There is some serenity in all this greyness. And thanks to high-end furnishings, the interior looks complete. Contrast in textures, again, plays a big role in setting the dynamic for the minimal interior. Polished concrete and grey-painted wooden slats play well with leather and wool of the furnishings.
In the kitchen the dynamic comes from difference in dark tones as well as an impressive black textured countertop. To really make a statement with lighting Wei Yi went with a yellow built-in light that runs through the ceiling in the living room like a lightning flash.
The rest of space is simple and distraction-free. Bedroom is only for sleeping, while home office’s sole purpose is to provide perfect conditions for work.
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The Zebar was first conceived in 2006 by a Singaporean movie director and an ex musician from southern China.
Designed by Francesco Gatti of the 3Gatti Architecture Studio, the bar is one hypnotic space after another, with white plasterboard fins stacked along walls to create a mesmerizing effect that draws visitors in.
The design, says the architect, is “a caved space formed from of a digital Boolean subtraction of hundreds of slices from an amorphic blob.” A byproudct of the age of 3-D computer modeling programs, the Zebar is a “digital design created in an analogic world,” Gatti said.
Each plasterboard wall section was cut by hand. Aside from the plasterboard, the only materials used were plywood and black cement, making the project low-cost, and quick to assemble.
The Zebar opened for business this past November, having sat empty for three years after its construction completion. As Gatti tells it, the owners commissioned the bar’s construction without a business plan, so time was needed after the Zebar’s construction to determine how, exactly, it would operate. In addition to drinks, the social gathering spot also features live music.
Though Ferris would vehemently deny having any signature style, the bright red house shares a number of qualities with his other residential projects, including the veneration of clean geometric forms, a monochromatic facade, and the use of horizontally-slatted screen.
Containing an artist studio and wood shop on the ground floor with a bedroom, bathroom, living room and dining room above, this building is clad entirely in a slatted composite rain screen that extends the to roof. The front of the structure boasts an entire wall of windows—still screened by those red slats—framing views of Long Island Sound.
The simply shaped modern building stands in stark contrast to the other, more traditional structures on the estate. But because it was inspired by the shape and color of the classic New England barn, it still manages to feel of-a-piece with the other buildings.