Guardian, Rapha, Omega, Tilsor, Nobrow press and The New York Times.
Henry McCausland is an illustrator based in London. Since graduated from Central St Martins school of art and design, he has worked for clients including The
Guardian, Rapha, Omega, Tilsor, Nobrow press and The New York Times.
↑ Big tree
↑ Boring scape
↑ Cornershop incident
↑ Desk tidy
↑ Don’t touch the floor!
↑ Left: Escapist Right: Roof party
↑ Secret base
↑ Sunshine Blvd
↑ Yellow tennis court
A panoramic drawing with inspiration from Colin Rowe’s phenomenal transparency theory.
”As a contrast to their failure in the United States, Modernist slab apartments have shown great urban dynamics in Beijing. Tuan Jie Hu is an epitome of old residential area located by the East 3rd Ring Road in Beijing. Good location and relatively reasonable rent make it a primary destination for people who work in the CBD area and want to find a place to live nearby. Despite of its poor planning and outdated architectural design, this area has self-generated a diverse urban ecological system. Here the positive relationship between the design quality and urban dynamics has been challenged.“
”Tuan Jie Hu Panorama is the latest piece by DAS for its Urbanized Landscape Series. As a long-term working plan, this Series is a project in which DAS aims to explore the architect’s traditional technique – drawing and to free and strengthen the city’s desire for self-expression in the form of drawing.“
↑ Crowded underground entrance in Beijing
”Consistent with the exceptionally detailed signature style of DAS’ urban panoramic drawings, Tuan Jie Hu Panorama vividly depicts the views from the daily life in this local community. At the same time, the piece also shows some new exploration in architectural drawing techniques. Some 45-degree axes from different directions allow the viewers to constantly change their viewpoints, which is like a Cubism painting. Here it involves DAS’ subjective understanding on Colin Rowe’s transparency theory. Rowe extracted his concept of “phenomenal transparency” from Cubism paintings and built it into the understanding of architecture. It is briefly about tensions resulted from conflicts among different spatial systems. While in axonometric projection, the coexistence of orthogonal system and 45-degree axial system naturally presents interesting conflicts, both two- and three-dimensional. If using this unique feature from architectural drawing to depict cities, a Cubism artwork with “phenomenal transparency” will naturally come into being. In Tuan Jie Hu Panorama, opposite to Rowe, DAS uses axonometric drawing techniques from architectural practice to reinterpret Cubism art.
DAS’ indulgence in cities has nothing to do with the goodness or badness of design, but is because of some crazy or even absurd status of contemporary metropolises. The aim of DAS’ work is to represent such a status in the form of architectural drawing.“
↑ Parents before the gate waiting for their children.
↑ Shopping mall on the groud floor of the Residential building.
↑ Windows with metal guardrails for the security considering.
“Tuan Jie Hu Panorama is a creation resulted from DAS’ participation in an urban research workshop in 2014 hosted by Chinese architect Wang Hui from URBANUS Beijing whose tutors include Professor Zhang Lufeng from University of Chinese Academy of Sciences, Professor Zhou Yufang and He Keren from Central Academy of Fine Arts, and architect Li Han from DAS. The workshop was a summer research program for graduate students from UCAS. With Tuan Jie Hu area as the study case, the task of the workshop was to explore urban environmental renovation strategies for old districts in the current social context.”
1.Casa das Histórias Paula Rego - Eduardo Souto de Moura
Location: Cascais, Portugal
"The Casa das Histórias Paula Rego was designed by the architect Eduardo Souto de Moura. The building makes use of certain aspects of the region's historical architecture, which is here reinterpreted in a contemporary way. It can be immediately recognised thanks to its two pyramid-shaped towers and the red-coloured concrete used in its construction.
The land and trees which previously existed at the site are incorporated as fundamental elements, while four wings, of varying heights and sizes, make up the building. The building itself is subdivided into rooms which lead into one another and are laid out around the higher central room which houses the temporary exhibition. The building's interior has 750m2 of exhibition space, on top of the technical and service areas, and is decorated in neutral shades and paved with the blue-grey marble of Cascais. The building also houses a shop, a café which opens onto a verdant garden and an auditorium with 200 seats.
The building's design is fully in keeping with the artist's wishes, and it was Paul Rego herself who was responsible for the choice of architect. It meets all the requirements for a museum and its various functions, without forgetting the need to give visitors a warm welcome."
2.The Leimond Nursery School - Archivision Hirotani Studio
This nursery school for children, from years zero to five years, stands on the outskirts of Nagahama city in Shiga prefecture. The school has been planned as a single-storey structure with a feeling of transparency between each of the spaces as well as the exterior landscape and, the “House of Light”,as we call it, has been placed in the main nursery area.
What we mean by the “House of Light” are conical, square light-wells of different shapes, different color and facing different directions in the high ceiling bringing in various “lights” into the interior space, changing with the time and the seasons.
The children may be able to feel the changes of these “lights”, even chase them and play with them, and to enjoy this gift of “light” in their daily activities.
Furthermore, the shape of the “House of Light” may be seen from the outside as its unique silhouettes are outlined against the almost unchanging rural scenery, providing it with a little more character.
g at different directions.
3.Casa Parr - Pezo von Ellrichshausen
Location: Galvarino st 1983, Chiguayante, Chile
“This is both a huge and a small house. It doesn’t have extended rooms but instead a series of rooms that repeat themselves and some functions that are doubled according to the traditional Chilean country life. The house is located in a small farm where, until not long ago, stood the owner’s old house where his childhood was spent. It’s a setting filled with memories.
The witnesses of those moments are different kinds of fruit trees (from cherry tress to walnut trees) and native tress (from palm trees to araucarias). Beyond this suburban site there isn’t much; at least nothing visually attractive. Hence, the program extends horizontally in order to, besides occupying the depth of these gardens, conquering a sort of interior introspection and invisibility of its external presence.
The irregular structure, somewhat labyrinthic, together with establishing a series of variations responding to the size and proximity among rooms, contains nine patios open to the sky. Something similar to nine openings that control the density of the plan. The floor has no variation of levels. If the roominess of some spaces was made possible by elevating the ceilings to the equivalent of two floors, this decision couldn’t affect the patios by casting a shade over them. We therefore established two inclinations: that of the roofs, that always descends towards the patios (allowing only the shade casted by the vertical walls); and that of the ceilings, whose vertex sliced by natural light openings is located depending on the furniture of each room.
The weight of a tile mantle (that in some aspect resembles that of the old wooden house) hangs from these fourteen truncated prisms. Having small metal pieces is the only way of eliminating the seams at the edge (as if it were one of Burri′s collages) and through them of noticing the industrial yet crafted nature embodied in its surfaces.”
Pyramid-shaped Skylight in my project2.
The exterior wooden decked surface consists of untreated oak wood and white enamel coated steel benches, also designed by BIG. The only light sources at night are the benches and BIG designed seating which are outfitted with tiny LED lights beneath lighting up the entire courtyard.The edge of the roof is designed as a long social bench, its lattice design ensures the penetration of daylight below. Solar panels placed strategically around the existing buildings provide heat for the hall.”
Gammel Hellerup Gymnasium --- BIG
Location: 2900 Hellerup, Denmark
Area: 1100.0 sqm
“During the construction of the sports hall, BIG was further commissioned in a second phase to design anotherbuilding on the campus that sits adjacent to the multi-purpose hall. The next phase will connect the courtyard and hall with the sports fields and parking areas located on the west side of the school. With a gross floor area of 1.400m2 (15.000 ft2), the future building consists of two levels of education facilities and classrooms for art and cultural activities – arts, music, drama, and student counseling. The design places the classrooms next to the facade to ensure abundant natural light and views out, while the secondary functions are all located to the rear and partially below ground level. The building will be constructed with a supporting column / beam system and stabilizing concrete walls. The selection of materials seeks to create a new visual unity for the school, taking its cues from the sports hall entrance by incorporating glass facades, a single sided sloped green roof and concrete paving. The next phase will be completed in Summer 2014.”
"Nottingham Contemporary was designed by the award winning architects Caruso St John, based in London’s East End. One inspiration was the surrounding Lace Market, specifically the bold, elegant design of the warehouses that serviced the city’s world famous trade in the 19th century. Artists’ uses of raw former warehouses spaces (e.g. In New York in the 70s and Berlin in the 90s) were also an inspiration for some of its internal spaces. Its irregular structure was created by maximising the use of the available land. The site is said to be oldest in the city – it was the site of a Saxon fort, a medieval Town Hall, and finally a late Victorian railway cutting. The steps at the side of the building have recreated a historic right of way.
At over 3,000 square metres, Nottingham Contemporary is one of the largest contemporary art centres in the UK. It has four galleries - lit by 132 skylights – a performance and film Space, a Learning room, The Study, The Shop and Café.Bar.Contemporary. The building appears larger on the inside than outside, since much of its north end is sunk into the sandstone cliff that runs the length of the city centre. At the same time it is a remarkably open building: large windows offer direct views from the street into the galleries, shop, café and offices."
“London practice Caruso St John Architects have completed an art centre in Nottingham, UK.
Called Nottingham Contemporary, the project is inspired by artists' spaces in down-town New York during the 1960s. Located in the Lace Market area of the city, the design aimed to recreate the feeling of found spaces in a new building.”
The facade is clad in lace-patterned, pre-cast concrete, inspired by the regular and repeated surfaces of the surrounding warehouses.
Two blocks on the roof are covered in fluted gold anodised aluminium.
The main entrance to the building is from Upper Yard. A large canopy, like a cinema marquee marks the point of entry, and even before entering, one can see art within the depth of the building. Passing through glazed entrance doors one enters into the first in a network of five rooms. The ground floor galleries have a 4.5 metre clear height and even top lighting that is moderated by a grid of lightweight coffers that are suspended within the steel roof structure.
The centre opened to the public on Saturday.
The galleries are defined by thin, non load bearing walls, and are connected by large glazed openings that afford views across the width and length of the floor and which lend flexibility to how this suite of rooms can be used. The northern most gallery is 10 metres high and has a single large roof light and a 9 metre wide window facing Weekday Cross and beyond towards the centre of Nottingham.
The lower exhibition space is a large, lozenge shaped room, 7.5 metres high and formed in concrete. One can feel that this room is built deep into the sandstone cliff. The 1.5 metre depth of the concrete beams that span the space accommodate a fully flexible theatrical rig. Retractable bleacher seating enables the space to be used for cinema and performance as well as for visual art. To the south is the café and bar that can be independently entered from Lower Yard. In the middle of the building a mezzanine level accommodates education and office spaces.
----- Contemporary Japanese Dwellings
1.House with Gardens
The lot slopes, hence the split-level arrangement of the rooms.The designer deliberately placed the bedrooms on the lower stories and moved the living rooms upward, from which there are views over Yokohama. In doing so he followed no strict scheme, dispensing with any continuous vertical connection and almost hiding some of the rooms. For example, a tiny study on the lower floor is accessed through the parents’ bedroom and the adjoining garden space.
The house is wrapped in a bright metal facade that makes it seem compact. The garden spaces are integrated into the house like loggias, causing the interior and exterior spaces to fuse visually into a unity.
A residential and commercial building whose narrow facade faced the street but whose floor plan extended far back in keeping with the shape of the lot. In large Japanese cities, this form of building was not sustained in the modern era, as the completely freestanding single-family home with a garden had become the new ideal.
It is a compact house for a family of four.The stairwell is a crucial element: it does not simply provide access to the living spaces but also, at least between the living room and the kitchen, functions as space for playing, sitting, reading, or working. This area is even visible to passersby and neighbors, since, unlike the surrounding houses, Tread Machiya is open to the street and permits views into its living space. A terrace on the upper story, which can be reached from the kitchen via an exterior stairwell, provides another linking element between the surroundings and the living space.
----- Privacy and Publicness
1.House in Komae
The living area and entry are on the ground floor; the sleeping areas and bathroom are in the semibasement. So the roof of the lower level could be designed as a terrace, expanding the living space.
The terrace, of all places, can be interpreted as the central part of the house. It is located about half a meter about the street level, which demarcates it from the public space and protects the living areas from direct views inward. It can be accessed from the ground via a French window or via a staircase from the semibasement. The lower floor receives natural light from skylights placed above the beds of the parents and the child, the bathroom, and the workspace.This house shows one possibility for creating exterior space in the densely populated city.
----- Steps and Layers
This house is a simple geometric form: the cube.The strict grid determined by the walls and ceiling is partially broken down by the perforations, causing the spaces to enter into new relationships with one another and creating an enthralling structure. The cubic hollow spaces are placed at the same distance from one another but rotated fifteen degrees.
By contrast, the architect's placement of the uses is relatively rigorous: both the living spaces on the ground floor and the bedrooms on the upper floor occupy a quarter of the square floor plan,respectively. One exception is the bathroom, which could not be designed as an open space and hence is pushed, somewhat ashamed, into one of the corners of the upper floor. All the other rooms of the house-whether the entry, the kitchen, or the bedrooms-occupy more or less the same area. The floor covering on the ground floor is oak parquet; the architect chose a bright carpet for the upper floor. The white surfaces reflect the light and ensure the living spaces are pleasantly bright, despite relatively small windows.
2.Rectangle of Light
The building stands on a plot measuring a hundred square meters, though in accordance with Japanese buildings codes only part of that can be built on. On forty square meters with two floors, the architect created room for a family of four. The maximum building height was stipulated by the code; in order to make the most of it, the architect placed the level of the ground floor and its live-in kitchen sixty centimeters below the level of the lot.
A suspended gallery provides the two children with a place to play in the living room; it can be reached by ladders or via the north-facing stairwell, which also provides access to the upper floor and its bedroom. The architect put the limited space to optimal use; for example, in the area around the stairs, the bathroom is located below them in the semibasement, and the landing as well as the small gallery that terminates the stair area above serve as workspaces. The architect placed the stairs slightly away from the wall, so that its users can sit on its treads and let their feet hang down as they work at the desks mounted in front of them. The natural light enters through a kind of addition the architect placed in front of the building on the south side. Light enters the interior through two vertical rectangular windows on the addition's short side. White surfaces reflect the brightness and immerse the rooms, which open generously toward this area, in a gentle light.
The conscious experience of bright and dark areas should be the focus for the occupants of the house. Designer does not therefore see the space, which extends the full vertical height of the building, as a substitute for a garden; he even hopes that it will be left unused, and thus remains solely a light catcher.
----- Beauty and Ephemerality
Because the site closely adjoined buildings on three sides, the designer proposed an alternative to the young family: rather than reducing the area for the building to the absolute minimum in order to create an open-air garden that would scarcely be usable in this dispersed environment, he wanted to bring green spaces inside.
The house is accessed via a front yard facing the street to the north.
The designer opened the building upward; two large skylights, placed above the stairwell and a two-story patio, respectively, allow light vertically into the interior and provide an open view of the sky. Another light source is a provided by a slight shift in the two levels of the building. The upper story recedes on the east side slightly, so that the semibasement also receives light from above on one long side. Tanijiri placed the indoor garden directly under the skylights. At a slight slope it extends from the entrance to the live-in kitchen in the semibasement, and forms a two-story garden between the living space and the bathroom. The plants that have since grown there ensure that the family does not have to face a view of the toilet while eating lunch. To get from one room to the other, the residents generally cross one of the garden areas, so that life there is intensely permeated with greenery, forming a house in which the view into the garden is no longer a view outward.
The family's sleeping areas are reached via the stairs in the entrance. A separate nursery is planned as merely temporary, since the beds of the parents and the child are separated only by a curtain. The most private of all the rooms is located beyond the bedroom, directly above the bathroom. It can only be reached by a footbridge, and thus functions for the family-in part because of its generous opening onto the green space-as something like a garden pavilion, where they can enjoy a cup of tea or read a book.
This is one of my favorite Japanese TV programs called 大改造!!剧的ビフォーアフター(That's a Dramatic Change!) [JA Wikipedia]. Basically, they try to fix people's living situations by completely gutting their houses, saving and recycling a few bits, getting rid of truckloads of accumulated junk, and then creating a nicely designed, airy space to live in.
This episode was to transform a crowded house which covered 19㎡ but sharing with 6 people(grandma,parents and 3 children) into a space with less space but more functions.
The designer considered all the demands of family members especially the elder and the children. They custom-built for the family and make the furniture more multifunctional and humanized.
This episode was broadcast in 08/04/2010.
The owner lost everything in an earthquake ten years ago and rented the shrine office to make this house. Because he is not an architect , this house just barely able to live with the leaked windows and collapsed site. They worked for 11 years and saved for about 3 million yen to transform it. Because of the limited economic, the architect and owner went to pick up the scraped wood and iron. Finally, they used 3 million yen to solve the problems and make a nice garden and a beautiful wooden balcony.
“The project is made for« COTTAGE SOLUTION »(" NTV Broadcasting Company ")