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Rather than the more anticipated glazed building structures, this new, ground-breaking annex reinterprets the traditional row home expansion and celebrates and lifts the modest masonry. It maximizes the brick's intrinsic stackability in order to provide a structural impression of the work. The expansion uses the right of the lighting chart to produce a graded, extrusion that seems to fade from the current one.
The rhythmical step movement created by the tile can be found throughout the entire inner room and is incorporated both in the outline and in the cut. Inside, the home environment is dramatized by a well thought-out sequence of rooms that transforms the spacious basement level into a voyage through meticulously crafted rooms. Turning the default design, the galley takes its new place at the front of the building - an often unused, wasted area.
Here the pristine characteristics of the building remain, accentuated by the use of deep colors and shades of materials. The middle of the hall is characterised by a different type of ground treatment: small wooden boards with oriented joint transitions between the plain cement of the galley and the coarse-grained cement of the annex.
An illuminated shaft provides for the full detail of the layout and a brief stub. Here, where facetted pane hits step tiles, the geometrical design of the design is emphasized. In close cooperation with the statics experts, a completely column-free room was provided in the expansion, which carries the first level by laser-cut steplasts running in two directions.
From the outset, the annex layout is incorporated into the overall layout - together to give the upper storey the look and feel of the annex. Celebrations are held on the interior and exterior bricks in such a way that they respect the building and clearly distance themselves from the historical architecture's historical use.
The Bureau de Change fenestration for Charles Tyrwhitt, a UK retail company, gives the appearance of tradition. This three-story terraced home in the north of London overlooks the adjacent Parkland Walk nature reserve. At the centre of the design is a folded back of the building, which seems to be made up of a plane area which, when pressed against the outer walls, has to fold into a facetted texture.
The folds are selectively countersunk from the backyard, giving the appearance of a plain shallow-roofed structure that emphasises the personality of the old school. Its position provides for the positioning of large fanlights that bring lighting to the home and satisfy the owners' wish to see the forest while indoors.
There is a wide range of colors, fabrics and texture to choose from, creating a different atmosphere in each room. The large terrazo panels, encaustics panels and clay flooring complete the appearance of the old structure and enhance the graphical effect of the splay. This single-family home in South London begins with a ceremony celebrating the prototype shape of the gabled rooftop dwelling, whose shape is deformed and unexpectedly redesigned.
The three new books, apparently extrusion from the old building, become smaller over time and have been distorted and compressed to produce a rhythmical, intertwining metaphyse. In this way, the styling prevents monotonic or flat surfaces and thus produces clear volume, which is reflected both inside and in the tiered outdoors.
Inside, the doorway is designed as a deliberately narrower, more darkly designed hallway that pushes the occupant into the light and spacious dual dwelling - a tragic crossroad. This step is repeating itself in the backyard, so that a separate exterior area is created for each of the interiors. An upstairs room hovers above the middle part of the room, a theatre-like appearance reinforced by its finish in sooty yet colourful sound plaster - a tangible counterpoint to the light room below.
Seen from the rear, three offset sloping rooftops give a pleasant yet daring impression of the roofscape of the terrace road that follows the building. We have repainted the old building with eggplant and changed the window, creating a simple, almost silent space that emphasizes the name.
The Bureau de chance was contracted to develop the first series for the British Efasma Group. At the heart of the refurbishment will be a waffle-shaped reinforced slab overlooking the new area. The prefabricated tips and hollows form ditches for green roofs, reduce the size, connect to the green environment and provide a pleasant view from the upper levels.
The ditches cannot be seen from the backyard, giving the immediate effect of a plain prefabricated panel that stands out from the structure of the old one. Underneath the new rooftop is uncovered to form the ceilings of the lounge, whose distinctive "beams" are produced by the recessed green roofs above.
Even though the residential and culinary areas are open, a selected range of material was used to visualize these rooms and provide an atmosphere of sophistication. The material of the floor is reflected in a floor of cement in the residential area, which extends to the sill of the canteen.
There he crawls up the face of the culinary isle and turns back on himself to make a sculptured supplement in the shape of a breakfastbar. A graphic mark on the border of the room is a transitions into deep monochrome blues, flooding the room's surface, which includes its pitched underfloor.
It seems to push itself into the footprints of the galley and forms a path around which the base of the resins winds. In this way, the room's mono-chrome qualities can take the leading role. The doors are cut back to make geometrical inserts that make grips and their oblong shapes are repeating on the ceilings to provide integrated backlight.
Somesuch, an independant, award-winning motion picture producer, commissioned Bureau de Change to create its new Shoreditch site. An area on the groundfloor of an old storage hall with a view of the channel was selected as the new home for the company's expanding group. Restricting the window to just one side of the room and with a brief look at the corporate philosophy and corporate citizenship, Bureau de Change creates a distinctive look that has enriched the company's corporate identity ever since.
On the back of the room, a "ribbon" of wire netted conference rooms and common rooms was designed that extends from end to end. A 3.5 m long cement platform was built, which provides for the common cookery and the convivial get-together in the offices, which is the core of the business world.
Recessed ceilings light reduces the volume of glazing and an ecological range of furnishings adds value to the room while leaving the surrounding cement and tile wall in its pristine condition and connecting it to the pristine build. Bureau de Change's mission was to open the groundfloor and link it to the gardens, create a spacious back area for the whole house and clearly defined the rooms and their use.
In order to maximize the room, important partitioning between and within the two objects was taken off and the old staircase was substituted by cantilever, open steps made of alder. That brought a feeling of lighting, spaciousness and a look from the front doors to the gardens. A wooden cabinet with stowage room, partitioning and a new wardrobe is the" heart" of the room and constitutes the barrier between old and new, formally and informally.
Its back façade is encased in 11 meters of glazing and forms a new area for kitchens and homes. It is a screen for the home, its residents and their possessions. Made from a basic range of wood, epoxy and glas, it was selected to be next to old planks, cladding and London masonry.
The" heart" of the house - the oak-clad loudspeaker - is viewable from every point on the groundfloor. Metalwork that could give a "heavy" feel is minimized by using thin window frameworks and a small bar to provide additional stability to the window ceilings. For Sto Werkstatt, Bureau de Change has designed an art gallery that, with its smart facade colours, creates an everlasting exhibit that continues to evolve over time.
Instead of "informing" the visitors by presenting the products in a rough and elevated setting, the room is taken over by a sensory interference that fascinates them. At the centre of the room is a three-dimensional area of 100 petal-like shapes embedded in crunchy pieces of blank paper.
The other half contains small drops of grass, whose layer determines the color depth during the show. The Bureau de Change was entrusted with the shop windows for the flagship showroom of made.com in Soho / London. To achieve a visible effect, the study concludes that the 24 meters of the floor-to-ceiling glass is indispensable.
Instead of presenting the products behind the glasses, the vitrification itself becomes a scaled presentation of the products in an elaborate fixedstallation. Nearly 40,000 clear sticks pierce the 10 shop doors to produce three-dimensional "pinprints" (similar to the PinArt toys of the 80s) of some of MADE's most iconic items of work.
The slanting view and feathery textures attract the customers' interest and almost animate them as they walk by. MADE' s mission for the new shop is to re-evaluate the idea of a "showroom" and to integrate the technologies in such a way that real added value is created for the client.
Situated in one of Europe's liveliest retail areas, the new retail environment begins with the exterior sashes. Instead of presenting the products behind the glasses, the vitrification itself becomes a scaled presentation of the products in an elaborate fixedstallation. Nearly 40,000 empty, clear wooden poles pierce the 10 shop doors to make three-dimensional "pinprints" (similar to the PinArt toys of the 80s) of some of MADE's most famous items of work.
As a result, the customer has the option of experiencing the entire catalog without the need for a hall type show room or expensive main warehouse. In addition to the virtual world, a large library of tangible patterns offers the ability to move and sense materials and research color patterns to facilitate decisions. Rather, the designer researched this unobstructed look into the room in a different way - as if it were a small scenery and the projekt should be more of an art form than an indoor architecture work.
An area of 50m2 is divided between the ground level (stage) and a middle level (back of the house). Bundling the seating in this way ensures a common, convivial saloon atmosphere and promotes interactions between the stylist and the customer. Easy illumination above the plumbing means that the frame throws drama outlines onto the room below.
This silhouette changes and distorts according to the moment of sunrise and the orientation of the solarium. Via the client, three spots guide the view back to the hair-cutting event and create a stream of sunlight over the client's top of his head, which draws him into a dramatic feeling and improves in practice the hairstylist's profile.
There are 520 wire holding the frames, creating a foggy appearance that floats just below the roof. As a reaction to movements in the room and entry to the saloon, the wire swings smoothly. An empty groundfloor in Chelsea with three-sided glassing offered a graphic design that was optically convincing on both sides of the window.
A elliptic "chamber", whose wall consists of a bundle of turned 1 mm thick strips of copper, intersects an inner centre room into the case. Sliding over the roof, the bands stretch and slide, forming a porous finish that creases strongly before it lands at the bottom of the extreme pane, where it is fixed to the ground with custom-made metallic panels poured into the bed.
These 332 custom-made boards obscure the previously structural nature of the room. Tossing drama onto the shiny floors, they create a rythm of reflections, shade and lighting that animates the visitor as they move through the room. It is subdivided into two different rooms: the reflecting event room and hot, monochromatic offices, workshops and conference rooms.
Each plate consists of 20 single sections, which are joined and reflected to a radiant geometrical design. Twitter's exhibition'Powered by Tweets' at the London Design Festival 2015 was created and directed by Bureau de Change Architects. The rooms were created through a sensual narration and held together by integrating the installation into the texture and personality of Somerset House in order to provide an impressive, consistent and catchy event and a flowing stream of visitors.
It begins with the echo of the sound of a typing machine moving around the caves and monumental volume of the geometric shape of the underfloor. For' Pigeon Ambulance' sudden volume rises in the center of the room, which serve as stands for information collected from doves that monitor the contamination as they travel through four major cities of the planet and monitor ambient conditions.
A vivid tone, volume and animated picture creates a direct link between the visitors and the contents of the exhibit, brings a corporeality to the electronic media and creates a courageous first appearance. In the second room, a tranquil and comfortable passage is created, in which waves of mellow color are thrown across the room.
Somerset House window is full of colored fluid reservoirs that represent the color fulcrum. The crystal-covered room mirrors the calming shine of the tank and almost seems to vanish as it jumps back smoothly the symmetrical shape of the ambient interiors and its graceful traits. A canvas of hypnotic animated images crowns the cosy and texturally inside of this room, inviting the visitor to lay down on the upholstered upholstery.
Under the title "Social Mindscape", this room presents a therapeutical escapismus for cancer sufferers, in which calming images can be taken for each individual during the course of inhalation. Eventually, the cheerfulness of the second room will be enhanced by the optical punches and drama of the last room, in which dimly lit screens emphasize a riveting word watching screen that flashes in near instant with the words used in the tweet.
Garden " is an exhibition showing a premonition of how thermochrome ceramic can be used to produce an immersive pattern within Muslim service architectur. It is this sensory qualities on which the research is based that enhance his spiritual experiences through the pictorial theatrics of his tiled floor. While the room slowly gets filled with visitors to the prayers and the temperatures rise, vines of flower pictures begin to appear.
The Royal Academy of Arts short-listed Bureau de Chance to create an art work that would welcome the start of the Burlington project - a master plan by David Chipperfield that will be joined by Burlington House and Gardens. This fourth arch is a suggestion that will alter visitors' perceptions of the current architectural style.
Turquoise pottery's color scheme has inspired the range in the room. The Bureau de Change suggested developing the link between the Exhibition Road Shops and the museum's collection through a critical view of the retailer's presentation and presentation and inspiring the visitor within the store as well as in the gallery.
Connections to the arteries will also be established by familiarising the new sales areas with the museum's current housings and cupboards. The digital interface is incorporated into the cluster of products to contextualize and enhance the on-line environment and to enable easy acces to information on products.
The variation in the different floors underlines the store's appearance within the spacious room heights. Configurations of thin profile sections provide a sense of ease, clarity and translucency and offer outlooks. Nonlinear arrangement and arrangement of the showcases in the room offers an extra incentive and encouragement to browse.
It offers the consumer a "discovery-style" retail environment that strengthens their loyalty to the brands and brands. Long unit clustering can be aligned to facilitate transport flows, which is also enhanced by the sense of frankness of free-standing structure. Plain shapes and a classical range of colours complete the initial structure and the features of the new expansion, highlighting the exhibited wares.
At the same time, the graphical contrasts of clustered steels serve as a springboard between initial and new architectur. In collaboration with Bureau de Change, Kit Grover was hired by the Brooklyn Academy of Music to create the schematics for their Fulton Street work. With its mixture of early twentieth century pillars, tiles and facing brickwork, the Harvey Theatre comprises a duplex event room (on the groundfloor of an adjoining high-rise building) and a detached area.
Similar to the filter and gel used in the illumination of the stages, the stratification of the net produces a shadow of darkness and illumination in the room; the more strata, the more dramatically the shadow becomes. The Bureau de Change was asked to create a modern cabine in the depths of the Smoky Mountains in North Carolina.
The building was to have three double rooms and baths, provide room for the customer's ATV (quad) and allow the visitor to enjoy the view over the mountains. Nestled on the hillside, the building is based on the classic Dogrot building (a one-storey building consisting of two blockhouses with sloped ceilings linked together by an open corridor or "Dogrot"), but assumes a radially shaped form of four linked sloped-roofed constructions, each with a fully glassed-in façade.
The large open dwelling area is the cornerstone of the layout. A " Dogrot " separates the storeroom and car park to make use of the air. Rooms are offset along their axes, which creates room for hallways and ventilation in the back, enlivening the façade and providing a spacious front porch.
At the point where they come up against a sloping rooftop, they embrace each other with its square section and trace each other to the bottom at the connecting points with the wall in order to bed the edifice into the mountain. On the ninth storey of a Notting Hill high-rise the artwork was realized. com's first exhibition room. For the client, the adventure begins in the basement entrance hall, where the blanket has been designed with more than 500 scaled-down reproductions of some of com's most recognizable items of work.
In order to produce the textures, thumbnails were created in 3-D from which silicone forms were made. The old offices on the ninth storey were removed and cut back to give the work an empty screen while at the same time emphasizing the view over the London city skyline.
The room is subdivided into a row of roomets. On the back of the room is a large drawer cupboard with post cards of each item with measurements, materials, Pantone reference and pictures.