Should you be so lucky as to be asked to design a Film Museum, how would you feel? Most likely, overwhelmed. The many juicy aspects of the dream factory of film business make one’s head spin! The technology – from the first scratchy silent films to today’s 4D experiences. The genres – from drama and documentaries, to sci-fi and animated movies. And the intrigue and mystery of film as propaganda tool and promotional vehicle. The stars and the drama of their lives online and off. The various awards, the gowns and the glitter. Even the people behind the movie cameras – the directors, the movie moguls and the critics – all seem to carry an extra aura of glamour and fascination. Add to that the sets, the locations, the props, the car chases, cliff-hangers, fantasy worlds and the historical epics created and recreated through film. Indeed, no lack of material.
When Tilman Thürmer the German-born architect and founder of Coordination Asia (that we have covered before), was selected as the Art Director of the Shanghai Film Museum, he had “film” and “Shanghai” as his directives. No more, no less.
The Shanghai Film Museum, opened on June 17 and currently hosting screenings for the nine-day 16th International Shanghai Film Festival, is therefore a highly commendable feat in its minimalist yet immersive approach.
It’s goal is to celebrate and introduce to visitors the past and future of Shanghai’s involvement as the centre of Chinese film. The 15,000 square-meter, four-storey building is located in a former film studio in downtown Xujiahui.
The new museum involves more than 70 interactive installations and 3,000 historic exhibits. The visitors can ad-lib for famous Chinese films in a real sound studio, walk the red carpet, or Carpet of Light, or learn about animation, post-production, sound and live broadcasting in fully equipped studios.
Thürmer chose light and shadow, black and white, as the main themes, with grays and metallic accents referring to the silver screen, the film equipment and the glittering awards.
We especially love Thürmer’s involvement in the other aspects of the customer experience as well, not just the design of the actual space and exhibits. Too often this is all left to the last minute and not considered important. Yet the visitor interacts with people and with the entire experience, not just the walls and “props.”
Thürmer’s role as consultant and art director was extended to the communication design and operations of the museum. He created a visual identity and a graphic design concept, and consulted the museum on selecting and training the right team.
“The opening of the new museum is the start of a longer development process,” Thürmer says. “The coming year will be about professionalizing operations, visitor services and management. To me, this museum can be considered a success when it stimulates a new generation to identify with Shanghai Film. I will be satisfied when I see young people leaving the museum inspired, thinking: ‘The Shanghai film industry, that’s what I want to dedicate my future to.’”
We love this kind of thinking! -Tuija Seipell.
Billboards are meant to distract and annoy, to draw attention and to not fit in. In its recent on-street ad campaign, IBM promotes its People for Smart Cities Program with billboards that are even more invasive.
Ogilvy & Mather France took the concept of the board and bent it into shapes that could – with some effort – be seen as solutions for a somewhat smarter city, London and Paris in this case. A board bends to become a bench, a rain shelter or a ramp over stairs.
It is still visual clutter, it is still preaching something, but at least it is doing it with a bit more imagination than just pushing a loud message. How many citizens actually paid attention to IBM’s message on the street while perusing the practical benefits of the boards, we don’t know, but the social media attention this campaign is achieving has certainly worked its magic. We certainly found ourselves deep in the depths of IBM’s Smarter Planet, Smarter Cities site, reading white papers and studies about retail and merchandising. - Tuija Seipell
If you attended our Xmas pop up events in Melbourne & Sydney last year and missed out on some goods, we've now launched our online store exclusively for Australian & New Zealand readers only. We'll be updating the store weekly. (click on the images below)
Gilbert and Thierry Costes’s Parisian hospitality empire, Beaumarly, has produced yet another entry: Café Français at 1, Place de la Bastille.
Facing the Opéra, the Café Français includes a brasserie, a bar, a veranda and a terrace, and takes up almost an entire block, form Boulevard Henri IV to Rue Saint Antoine, making it one of the largest establishments of its kind in Paris.
We love the juicy leather seating, seemingly bursting out of its form and showing off the French national colours. Counter-balancing the roundness of the seating are the classic hard and reflective materials: marble, mirrors, terrazzo, brass and copper leaf with the black-and-white colour scheme bringing out a contemporary feel.
Topping the two dining rooms is yet another of our favourites: the blue sky mural on the dome. It adds whimsy and colour and makes the large rooms appear even larger. Dramatic arches and alcoves create separate seating areas without breaking the overall flow of the space.
Artistic design of the space is by veteran Thierry collaborators, India Mahdavi, and Mathias Augustyniak and Michaël Amzalag of M/M (Paris) Studio. Chef Pascal Lognon-Duval presides in the kitchen. - Tuija Seipell
Finally, an ideal case for your new iPhone 5. Not just stylish, but cool and practical as well! These cases are meticulously finished and made of durable leather look-alike material in crisp, solid colours.
The unbeatable practicality comes from the solid clip that locks the phone onto the case safely, the removable strap that keeps your hands free when not using the phone yet assures the phone is immediately handy at all times, the card slots for credit or hotel key cards, and the best part: you can take pictures and talk on the phone while the case is closed!
Just this case, your credit cards and you are ready for shopping and sight-seeing, theatre or movies.
The passport, credit-card, boarding pass and pen case in the same materials and styles is the perfect, cool accompaniment of the iPhone case. In fact, this will be your favourite globetrotting set from here on!
Happy travels from TCH! Buy here
A rear of a small inner city Melbourne pub has been transformed from a tiny add-on back extension into a voyeuristic playground by Techné Architects. The clever rethinking of the space has effectively turned the 130m2 back area of The Prahran Hotel into 300m2 over three levels.
The star of the design is a series of 17 ½ concrete waterpipes. These concrete culverts dominate the striking street façade.
For architect Justin Northrop, the pipes add a lot more than drama to the hotel’s exterior. “Inside you are climbing over the pipes, sitting in them, or on them at various levels. They have a lasting impact on the space.”
Guests can sit in booths inside the pipes. “We were looking for a sense of drama and theatricality,” says Northrop.
Booths can be seen from the street, and throughout the interior of the hotel. Each booth, that seats up to 12, features leather upholstered banquettes and is lined with recycled spotted gum slats and acoustic absorption mats. “The voyeuristic nature of these pubs is very important, the way the space is connected visually,” says Northrop.
The project is the fifth pub collaboration between Techné and hotel group Sand Hill Road (SHR has pubs around Melbourne and moonlight as successful film producers). Pub Group’s Matt Mullins was not trying to create a gastro pub. “I want it to be accessible, for locals, for neighbours,” he says. At the same time, the close collaboration with Techné in the past meant Mullins was more than open to left-field design ideas. The main bar features salvaged pipes, concrete cast lamps and plantings by Ayus Botanical.
Guests can choose between three levels; the ground floor mixes polychromatic textured tiles and spotted gum floorboards, with a light-filled courtyard and street views. The courtyard features a striking nine-metre trapezoidal concrete wall, that has a corrugated effect and porthole motifs.
The natural materials and soft upholstery take the edge of the concrete, steel and glass used in the interior. (Even the banisters are covered in leather for a luxe, surprise element.)
The 12-seat VIP area sits atop a giant water pipe, feeling suspended over the space. A key criteria of the design was to ensure that patrons always have a vantage point from wherever they are in the space. “It’s great for voyeurs,” says Mullins. An exception to the open-plan approach is a sunken seating area, known as ‘the lair’, below stairs for patrons who want to stay under wraps.
At its core, design “is about conviviality” says Northrop. “It’s providing people with opportunities to interact in non-standard ways, a whole variety of seating and gathering.” To make sure there is space for serious partying, one long table on the ground floor can be dismantled to make way for an impromptu dance floor. Northrop made sure the redesign featured a serious DJ deck. “Afterall pubs are not meant to be places of calm and reflection,” he says. Indeed. - Emily Ross
Photography: Peter Clarke
If we at TCH were to establish a new office, this is what it could look like. A clean, minimalist space, with a touch of history and elegance.
The 150 square meter office is located in Kortrijk, Belgium, in a historically important, restored textile weaving factory from the early part of 1900.
Vincent Van Duysen Architects handled not only the restoration of the space but also the interior design, and the design of much of the furniture.
The office consists of a large main space and smaller offices for the four staff members. Most interesting about this elegant project is the fact that the office is not for a design studio or architectural firm, but for Belgo-Seeds, a business involved in global importing and exporting of agricultural products, especially seeds. A shelving unit with beautifully lit glass containers of seeds is the only direct reference to this.
The brick ceiling and cast-iron columns are restored nods to the industrial past of the building, while the dark timber wall paneling, light oak floors and soft hues of fabrics and furnishings add a comfortable feel.
Most of the furniture was custom-designed by Vincent Van Duysen including the desks, all storage units and the pendant lighting. The office chair used in this project is the brown leather version Van Duysen’s design for Bulo. The coffee table is a custom version of Van Duysen’s Surface for B&B Italia:.
We love the lack of visual noise; the spaciousness, openness and sophistication achieved with the intelligent use of glass, screens and lighting. - Tuija Seipell
It helps to have a strong understanding of dramatic interiors when tackling the potentially intimidating task of restoring a massive, 17th century Amsterdam canal residence AND re-imagining it as a functioning modern residence for a busy, fun- and art-loving four-member family.
Interior architects Sigrid van Kleef (38) and René van der Leest (40) of Amsterdam’s Studio R U I M had what it took to strike that seemingly impossible balance: Their background in theatre and opera set and costume design, as well as in restoration and interior design of contemporary homes.
Their priority was to respect and celebrate the heritage and character of the Herengracht canal house built originally in 1666 for a successful Amsterdam merchant, Abraham Muyssart.
Equally important was to not make the residence feel like a museum but instead, allow it to express the current residents’ own lifestyle and interests, of which photography was a significant one.
The resulting 400 square-meter home includes three living rooms, five bedrooms, two kitchens, two bathrooms and a 200 square meter garden.
One of our favourite features is the massive, black ornamental steel frame in the living room ceiling. It speaks the visual language of centuries-old mouldings yet makes a bold contemporary statement and creates a lovely contrast to the daintier visual elements in the space.
We love the use of wood: panelling, staircases, exposed in ceilings and in framing. The kitchen is a particularly cool combination of traditional and modern. The walls are dominated by vast restored paintings depicting views of the river Vecht and framed in their original wood frames.
Countering this are the super-modern counters, bench and especially the custom-designed (by Studio RUIM) industrial-scale copper light fixtures.
All this juxtaposing is a demanding balancing act but RUIM has managed to tie it all together with a bold sense of drama, yet they have also induced a feeling of fun, lightness, serenity and comfort avoiding the trying-too-hard, melodramatic solutions that would have been easier and predictable. - Tuija Seipell.
Photography: Daniel Nicolas
The era of romantic letter mail is all but over, yet all of us still need a letterbox, a mail box, a mail slot... a something where our daily hard- copy mail, and even an occasional long-distance post card from our globe-trotting friends, can be delivered.
But what if we don’t want just “something”? What if we want a stylish, cool, fun, “look-at-me!” mail box that matches our stylistic tastes? Try to find a mail box that is anything other than supremely ugly and you will come up with nothing.
The concept of Koo Koo was developed by Bill Playso who saw the glaring need for a stylish and cool letterbox. he invited industrial designerJustin Hutchinson to help bring the concept to life. the result of Koo Koo letterbox by Playso. Designed and manufactured in Melbourne, Australia
Koo Koo is a stylized bird-shaped letterbox that does not take itself too seriously, yet it has serious curb appeal. It is a conversation piece outdoors and in. Expect to see Koo Koo indoors as often as outdoors. Maybe for internal mail in the office? A suggestion box for your customers? And even the box in which Koo Koo is shipped and displayed is a designer creation in itself. Expect the shipping box to live a long life as well, as a storage box that does not have to hide.
Great design moves people, conveys feelings, evokes a reaction, triggers memories, delights, goes against convention, breaks new ground and surprises in a positive sense.
Zinc powder-coated metal body, compact laminate magnetic side panels.
Base model is $330 and $420 for the optional compact wood laminate side magnetic panels. They can be purchased from our brand new online store here. (free delivery)