An architectural objective for the hotel was to incorporate large windows into the facade to make relatively small rooms more spacious, bright and improve views of the old City. The external facade is very simple and repetitive in terms of the rhythm of the windows and solid wall. The site was developed as two buildings divided by a garden and connected by a glass link. The ground and basement accommodate public spaces and the rest devoted to 110 bedrooms. The entrance foyer creates a calm space using a monochromatic scheme with flowers and selected objects displayed. Some bedrooms have glass bathrooms to give the internal space an extra dimension. Other rooms have stone clad bathrooms with bath or shower for a more private experience.
The new building of the University Center with its inner atrium accommodates the Rectorate administrative quarters and University Library of Tomas Bata University in Zlin. This scheme is a signature project for Eva, Zlin being her birthplace. The Library, formerly situated in old warehouses, formed part of a new development plan with a multi-purpose auditorium financed by the City of Zlin. The Library consists of two distinct volumes with 500 study spaces for students, and offices for the Rector and University administration, these being connected by a spacious top-lit atrium, used as a relaxation area and meeting point. The building was built on a relatively low budget and uses a passive energy system, clad in ceramic tiles complemented by efficient shading.
The Center was developed as a multi-functional performance complex and permanent residence for the Bohuslav Martinu Philharmonic Orchestra. As the building is situated on a major intersection, the auditorium had to be isolated from all external noise, vibration etc. and for operational reasons, a circulation zone around the auditorium was a strict requirement. The oval central space is surrounded by offices, rehearsal rooms which all require natural ventilation and daylight. The versatile nature of the central halls, with retractable seats, creates flexible spaces used for staging operas, concerts, balls and conferences. These functions are served by adjacent hospitality areas situated on different levels.
1998, Designed by Eva Jiricna Architects Limited
The new 100 m long glass Orangery maintains the historic function of the 15thcentury site whilst creating an enclosure built to the architectural specifications of the 20thcentury. The construction is designed as a shell formed by a semi circular diagonal stainless steel mesh glazed with toughened laminated glass. The mesh is stabilised by glass and metal cross walls and supported at the back by a triangular truss which is to transfer both the horizontal and vertical forces of the enclosure. The internal spaces are column free yet function in three individual zones for differing climatic conditions. Automated roller blinds provide shade in the summer and insulation in the winter.
Vítězný projekt mezinárodní architektonické soutěže na komplex rezidenčních staveb na místě dosluhující telekomunikační budovy na Praze 3
Ve třech výškově gradujících věžích nepřeshujících 100 metrů jsou navrženy nadstandardní byty, zatímco ve vedlejším moderním městském bloku jsou cenově dostupnější byty. Součástí projektu je také mateřská školka s velkou zahradou a dětským hřištěm.
“Design se vivinul v souladu s technologií tak, aby byl výsledek nejenom esteticky zajímavý, ale také odpovídající nevyšším technickým možnostem,” vysvětluje architektka Eva Jiiřičná důvody, proč volila pomětně nákladné řešení rozvlněných balkonů s ohýbaným sklem. Spojení prostoru uvnitř s okolím díky volnému pohledu z oken a venkovnímu prostoru se zelení je pro autorku velmi důležité. Inspiraci k celému řešení našla v přírodě. “Snažím se vždy inspirovat tím, jak staví příroda,“ vysvětlila použití organických tvarů fasády.
V dolních patrech bytových domů jsou rozsáhlé komerční prostory pro služby, obchody, restaurace a kavárny. V návrhu je kladen mimořádný důraz na velký veřejný prostor se zelení, fontánou a uměleckými díly. Celkem se tak zde veřejnosti otevře téměř 70 procent z celkové velikosti tohoto pozemku, tedy plocha asi 27 000 čtverečních metrů. To odpovídá rozloze tří Staroměstských náměstí.
Při přípravě návrhu jsem se spojili s architektonicko-inženýrským ateliérem ARUP z Londýna, který navrhoval a kalkuloval řadu z těch nejunikátnějších a nejsložitějších techhnických řešení staveb po celém světě, včetně dostavby Gaudího chrámu Sagrada Familia v Barceloně, opery v Sydney nebo mnoha světových mrakodrapů. Výsledek pracovního spojení našeho ateliéru s londýnským ARUP je unikátní a může do Prahy příinést světové inženýrství a nejmodernější technologie.
Návrh respektuje pravidlo připravovaného pražského Metropolitního plánu, kdy nové stavby nemají přesahovat stometrovou hranici. Naše tři kruhové rozvlněné věže postupně výškově gradují a jsou odstupňované každá o tři patra. Nejnižší věž má 80,7 metrů, prostřední 90,3 metrů a ta nejvyšší nepřesahuje metrů 100. V pražském kontextu je důležité vnímání vyšších staveb z dálkových pohledů. A v tom je návrh pozitivně hodnocen. Z hlavních směrů od centra vytváří postupně se gradující “kupu”, což je výrazně vhodnější než jen výškový solitér bez okolních vyšších staveb.
In June 2018 we presented to the public the new extension of the New Cultural Center in Frydek Mistek. There will be 2 multifunctional auditoriums, the main auditorium for 440 people and the small auditorium for 80 people.
The old building from the 70s will be demolished and the new extension will be connected to the historic Cultural Centre with existing auditorium for 360 people.
Café B.Braun is situated in famous functionalistic building ( Lekarsky dum ) in Prague. We re-opened the original two storey interior and added glass spiral staircase as a main feature. All historical elements were renovated and black and white colour scheme was chosen with respect of functionalistic style of the building. Medical products of company B.Braun, owner of the cafe, are displayed on walls.
1988, Designed by Eva Jiricna Architects Limited
For their temporary headquarters within existing premises, Vitra required a revised car park layout, a new entrance for directors and visitors, and the replanning and refurbishment of offices.
The design provides a concentric parking layout within the overall landscape scheme, centred around a new covered entrance ‘bridge’ and a gently rising staircase. This gives access to the building at first-floor level, where new reception facilities are located.
The main bridge structure consists of a tubular steel triangulated truss frame bearing on a single central support. Lateral restraint is provided at each end of the bridge through pinned connections. The deck consists of 20mm annealed glass treads supported off the main frame trusses on lightweight steel trestles. The balustrade is stainless steel. Its covering canopy takes the form of a pvc ‘tent’, designed as a double, curved membrane supported on a central spine space-truss. It is stabilised by cables anchored to a concrete foundation set in the ground.
In the car park, white and grey pebbles define the parking patterns, and low-level lighting is directed to landscaped areas planted with evergreens (juniper and thuja).
The first-floor reception area has a circular desk made of two types of wood – a black-stained veneer and a dark-stained cherry veneer. Fax facilities and storage are sited under the window sill. Reconstituted granite tiles are used for the floor. Two glass panels incorporate the sandblasted Vitra logo, and a lead cast features the Vitra philosophy. Furniture is by George Nelson and comprises coffee tables, ‘coconut’ chairs and a long ‘Marshmallow’ sofa.
A glass ‘fence’ acts as a dividing element between offices and factory, its suspended glass panels stabilised and tensioned by stainless-steel wires.
1999, Designed by Eva Jiricna Architects Limited
In a 17th century residential palace in central Prague, which has been in the same family for over three hundred years, the owner decided to convert the large loft space into a pied-a-terre.
The difficulties of getting an approval from historic building department for any alterations
to the roof (necessary for a sufficient amount of daylight) were not simplified by the fact that there was no access to the space except a 600 x 600 mm hatch, originally intended for chimney sweeps !
The original timber trusses were in a reasonable condition and provided a sympathetic feature to the final aesthetics of the reconstructed space, which, in spite of the installation of thermal insulation, did not lose its original historic character.
The total floor area is approx. 250 sq.m., comprising a large living space into which two bedrooms with en suite bathrooms have been inserted, almost as free standing 'cubes', leaving the main height of the space to run through without interruption.
The main reception floor is covered withlimestone tiles continuing way throughto the sleeping area and bathrooms. The bedrooms also have natural timber boards in a centralzone of the floor. Access to the apartment was eventually achieved via the empty lift shaft above the service staircase - originally designed for serving staff to bring food and firewood in to the first floor, without causing any interruptions. As the sandstone walls were not capable of taking any significant loading, the entire glass stair had to be suspended from the trusses from the loft level all the way down to the first floor. The principle of using a glass stair was initiated by the necessity of bringing daylight as deep as possible into the buildingand as a lightweight, translucent structure in a space that could easily feel confined. The articulation of the main space, with its natural geometry and large timber trusses, needed very little in terms of finishing and internal features.
St. Anne’s Church housed the monastery of Dominican Sisters in Prague’s Old Town. It’s origins lie in the C11th, firstly a Templar Lodge, built on and embellished during the 1320’s to become one of the most beautiful examples of Gothic religious architecture in Prague. In the late C17th the monastery was liquidated, the church deconsecrated, and many of the original Gothic features demolished. Wooden floors were installed, which have been preserved to date, and it functioned as a paper warehouse.
Vaclav Havel and his wife undertook to fund the rehabilitation and preservation of the building to serve as the base for their charitable foundation, VIZE 97, a multi-purpose venue seating up to 300 persons suitable for concerts, conferences, exhibitions, performances.
The brief was to upgrade and refresh the hotel for a relatively small investment. The main feature of the reception is the backlit yellow onyx wall, with desks in walnut and black lacquer, a tribute to the ambience of the ‘20’s. The theme continues throughout two guest salons, library and smoker’s room, and breakfast room with glass extension overlooking the landscaped courtyard. The furniture also reflects the period of the building’s origin, eg Eileen Gray chairs from La Maison de Verre by Pierre Chareau, in Paris. Graphics by Czech artists of the era are exhibited throughout the hotel, on loan from the Museum of Decorative Arts in Prague.
University Complex, TBU (Tomas Bata University)
The educational complex of Tomas Bata University (TBU) is composed of two identical wings with six floors connected by a single-story entrance building where the lobby with reception and auditorium for 240 people are located. The complex of two dominant buildings is linked by two underground floors with garages and service and technical facilities. The compound is located in the center of Zlín near other university buildings and a congress center. It respects the urbanistic system of the given location and smoothly connects to the existing development with its orientation and architectural design. The new Faculty of Humanities of the complex has been open to public for the summer semester this year.
Vzdelávací komplex UTB, Zlín
Slavnostne otevreno v prosinci roku 2017, pro studenty k dispozici od letního semestru 2018.
Nový vdelávací objekt univerzity vyrostl behem let 2015 - 2017 v ulici Štefánikove ve Zlíne. Komplex bude slouzit zejména studentum a pedagogum Fakulty humanitních studií, ale nejen jim.
Novostavba Vzdelávacího komplexu UTB se skládá ze dvou identických budov (krídel) o sesti nadzemních podlazích, vzájemne propojených prízemním vstupním objektem. V prízemí se nachází foyer s recepcí, velká posluchárna pro 240 osob a tri mensí posluchárny pro 98, 70, a 72 osob. Zbývající plocha prvního nadzemního podlazí obsahuje ucebny, pracovny, výstavní galerii, komunikacní a technické místnosti. V dalsích nadzemních podlazích jsou umístneny ucebny, kabinety pedagogu, kanceláre a zasedací místnosti. Soubor dvou dominantních budov je provázán dvema podzemními podlazími, v nichz se nacházejí garáze a provozne technické zázemí komplexu. Objekt je dostupný osobními auty, prostredky mestské hromadné dopravy, ale i pesky. Nachází se v centru Zlína v bezprostrední blízkosti dalsích univerzitních budov.
Svou orientací s architektonickým resením objekt respektuje urbanistický systém v dané lokalite a plynule navazuje na stávající zástavbu. Vzdelávací komplex je tretí budovou, kterou AI - DESIGN pro mesto Zlín a Univerzitu Tomáse Bati navrhlo. Prvními dvema bylo Univerzitní a Kongresové centrum Zlín.
1995, Designed by Eva Jiricna Architects Limited
This particular scheme for Joan & David was to be their flagship London store, in the high-profile location of New Bond Street. A large corner shop window not only provided magnificent display potential but also allowed daylight to penetrate into the interior of the site. The two levels of the retail unit are connected by a sculptural glass stair, whose treads are supported off the structural spiral core. The floor is clad in a light limestone tile, which is complemented by the warm stained-maple furniture and the vertical, pivoted louvred window panels. The shoe display is arranged on illuminated glass shelves, whilst the clothes are arranged in a group of niches. These allow each element of the collection to be displayed independently. Purpose-designed sofas are covered in a natural shade of leather. A long display counter doubles as the cash desk, and a matching display cabinet is used for accessories and costume jewellery.
The five-star hotel and the famous Waldstein Restaurant are situated in the historical centre of Prague with bellow the Prague Castle.
During the reconstruction all the historical elements such as the plastering, painted ceilings, floors, valuable baroque roof construction were preserved and restored to their original condition. The hotel is furnished with fitted modern furniture and the design seating. Brazilian Nero Marinace illuminated stone highlights the bar and hotel reception desk. The courtyard is covered with a special light glass roof construction.
Three floors are connected with a glass elevator. Each room is original and some have glass bathrooms and some are fitted with a special cube unit containing a bathroom.
The well-known restaurant Waldstejnska hospoda has been also reconstructed with a new fresh look.
2015, Designed by Eva Jiricna Architects Limited
Boodles wanted to use this opportunity to create an impressive flag ship store on Bond Street which reflected their brand identity in every detail. The plans, material choices and details were developed in close collaboration with Boodles and the contractor and various manufacturers and suppliers. Some of the materials and details had been developed in previous stores but the majority of the design is bespoke for the Bond Street store.
1994, Designed by Eva Jiricna Architects Limited
The house was designed and built by Ove Arup in 1957, therefore it was essential to maintain the integrity of the original whilst modernising and extending it to suit the new owners. The interior refit retained the existing structure and heating system. The extension included a day room, sauna, shower, gym and pool. The new areas of accommodation wrap around the end of the pool opening and the pool itself sits parallel to the house.
The client bought the site with a planning permission stating that the mass and plan size of any future development could be no more than a square of 13 x 13 m with a height restriction of no more than two full floors above the ground, with ‘a room in the roof’.
The southern aspect, a beautiful view and garden orientation lead to a fully glazed southern elevation- this in its own right giving rise to solar gain which was controlled by substantial curved terraces derived from the movement of the sun
The internal plan is centered around a structural core that contains a feature glass staircase and lift with a roof oculus allowing light to be channeled to the lower levels.
The structure spans from the core to a perimeter column grid, creating a free flexible volume both vertically and horizontally. This is essential as the layout is likely to change as the family grows and their needs change.
The living space is extended to the south by a walkway and terrace with views of the sunken water garden seen from both the terrace and swimming pool, an area of secluded open bathing
The house is designed to achieve environmental sustainability by maximising passive energy (sun, heat, building mass etc.) with natural ventilation. Underfloor heating is used throughout the building with it’s winter heating cycle reversed in summer allowing the addition of chilled water for cooling in summer.
The apartment is located in a house situated in a beautiful mountain surroundings.
SNOW, SUN, ICE and SNOWFLAKE are the winter motives that drew our attention throughout the interior. The SUN in combination with a SNOWFLAKE motive are used as the two original ceiling fitted lightings in the living area. The bar evoking an ICE cube is clad with a backlit glass of a sand blasted ICE texture. Similar motive is used for the cladding of the sauna blue illuminated in the relaxation area. The blue colour evoking a clear sky is used also in the light fixtures on the staircase leading to the second floor. The individual and various surface textures are used throughout the interior in a wood flooring and wood furniture. The fireplace cladding with the lime stone strips and also in the cladding of walls leading to the living area. Additional textile textures are applied in the warm bed covers and on seating at the fireplace area. In the sense of the original concept, two tables - dining table and conference table - were designed and inspired by the spatial structure of a SNOWFLAKE motive. These two tables were the first step toward the final concept of the four tables designed by Petr Vágner displayed and offered now for sale in our http://www.aidesign.cz/tables/
2008, Designed by Eva Jiricna Architects Limited
The concept of the new Gallery comprises of a two level arrangement. The upper level is situated in the middle of the space and it is connected to the lower level via a circular glass staircase. The internal envelope is designed as a continuous ‘tube’ inserted freely into the fabric of the existing building envelope. The zone between the two elements - the internal skin and the masonry – is used to accommodate all the services and built-in display cabinets. The jewellery is exhibited in a continuous chronological display.
2003, Designed by Eva Jiricna Architects Limited
All four penthouse apartments have spectacular views over the Thames. There are three two-storey flats of three bedrooms with en suite bathrooms, study, kitchen, dining and living areas, and one single-storey flat of two bedrooms with en suite bathrooms, kitchen, dining and living areas. The spaces are as open plan as the building’s structure and building regulations would allow. Linear enhanced lighting in changing colours is provided in perimeter ceiling recesses within the living and master bedroom areas.
All stairs are positioned within the space linking the main entrance to the living room. In order to avoid a ‘corridor’ effect, glass was chosen to form the flight of steps leading to the upper level. In two of the apartments a combination of stainless-steel mesh and large glass balustrade panels creates a symbolic barrier between the stairs and a circulation area, maintaining the openness of a relatively tight part of the apartments.In another flat a series of hanging glass panels (supported by the vertical stainless-steel hangers forming the balustrade), together with the cantilevered glass treads, provides an even more dramatic openness to the staircase enclosure.
1998, Designed by Eva Jiricna Architects Limited
The bus station at Canada Water is situated above the new Jubilee Line Extension tube station, currently under construction. After arriving here by bus from neighbouring areas, people will be able to proceed by train to central London, and vice versa. Consequently, it was important that the bus station should relate to the exits from the tube station. The brief also called for bus shelters, a small block of offices, a services zone, public toilets, a bus control office and a kiosk serving refreshments. Due to the proximity of two high-rise blocks of flats, it was necessary to consider the potential effects of noise and pollution and the residents’ view of the various parts of the bus station.
The alignment of bus routes and waiting islands – together with the existing road system, the limitations of the boundary lines and the position of the tube station’s main exit ‘drum’ – in turn determined the siting of the bus station building, pedestrian circulation, and the extent of the ‘cover’. The relatively large roof is the main element of the scheme. Although its primary function is to provide acoustic protection for the nearby flats, by virtue of its sound-absorbing qualities it also improves conditions for passengers waiting within the station. The roof – in the form of wings connected by a glass ‘crystal’ – brings light into the central waiting area and provides ventilation during the summer.
The accommodation block in the centre, housing services for both the underground and bus station, is clad in reconstituted stone, with doors covered in rigidified metal to match the column cladding. Waiting areas are glass enclosures, situated under a low-level glass canopy which provides cover for passengers circulating between the drum and other waiting areas in the complex.
The northern boundary of the station is framed by a glass wall, with a view to a garden, and on the west side a block housing the Canada Water underground services incorporates a vertical glass clerestorey which was necessary to complete the acoustic performance of the enclosure. A section of this side is also glazed, giving a view of a landscaped garden.
To improve the environmental quality for passengers, the roof frames have glass ends to maximise daylight. At night the station is lit by uplighting from luminaires on the central column supports. The east side is formed by a mesh screen, a safety measure to prevent people from taking a hazardous short cut to the nearby residential development.
Materials were selected to achieve an overall impression of calm and comfort. The London stocks specified for the west wall by the Jubilee Line Extension team determined the choice and colour of all other materials, with added sparkle provided by the glass elements and stainless steel fixtures.
This apartment was formed from two attic flats on two floors joined together by opening up the space to create a double height living room. The impression of openness and light is enhanced by use of glass and stainless steel, not only for windows, doors and specially designed furniture, but also upper floor walls and a glass connecting bridge.
1994, Designed by Eva Jiricna Architects Limited
The apartment is located in the very heart of Mayfair, in a building of no particular interest which faces a noisy road on one side and a quiet but visually indifferent courtyard on the other. The client purchased the apartment in a very run-down condition with the intention of converting it into a pied-à-terre suitable for comfortable living and frequent entertaining.
The main feature of the apartment is a two-storey circulation space with a glass staircase and tall, fabric-covered aerofoil-shaped blinds which allow diffused light to penetrate without revealing the view onto an unattractive adjacent party wall. The reflective glass wall and glass floor give the impression that the space runs indefinitely into the distance as well as down into a reflected, mirrored vision.
2016, Designed by Eva Jiricna Architects Limited
Somerset House, a Grade I listed Palladian complex is considered as of the finest examples of English Heritage in London. As part of a long overdue refurbishment, EJAL was commissioned to do some studies to replace the existing north entrance, including a new feature staircase, lift & entrance lobby befitting of the Trustees’ future vision.
The solution provides a vertical, compact shaft with an ambitious cantilevered scissor stair that avoids contact with the historic building fabric. The natural desire for lightness & transparency in a restricted space with limited headroom meant the structure had to be limited with slim profiled edges, distributing loads to the central spine with a stainless steel mesh newel stabilising the stair and transferring loads to the basement.
The only material with the capability to achieve this was Ductal by Lafarge, an ultra-high performance fibre-reinforced concrete, allowing beautiful cast 3D shapes.
„Jan Kaplicky – His Own Way” was intended to present the personality, life and work of the artist, who spent most of his professional life in Great Britain, in the broadest context, from architectural models to jewelry and fashion. The exhibition took over 700m2 and contained 60 architectural models displayed on custom made tables as well as projections.
2004, Designed by Eva Jiricna Architects Limited
The brief was to create a ‘contemporary light space’, enabling views to the garden from both the reception area and lower ground study. This was achieved by introducing a series of glazed rooflights over the courtyard kitchen (then open space), lounge, swimming pool with large glass sliding doors to the garden and terrace- the sense of quality natural light breathes a sense off freshness into the spaces. This is achieved over the courtyard kitchen by using a special diffusing glass that diffuses direct light in summer, whilst acting as insulation in winter
The main characteristic of the house is the focus on contemporary family life style- with the main living spaces (courtyard Kitchen and lounge) developed to allow congregations with family and for entertainment with both friends and guests. The materials in the project were chosen with one objective – the lightness of internal living spaces. The use of glass and natural light brings out the quality of materials such as the stone and lacquered furniture. The historic colour scheme dates to the 18thCentury and is extended into the contemporary spaces creating continuity between old and new. The richness of details in the historic is emphasised by the simplicity of the new which takes on its own inherent character.
A feature circular glass staircase (a design trade mark of Eva Jiricna Architects) emphasises the transition between the historic and new. It acts as pivotal point between the buildings as they change direction from the reception area to the kitchen aligned to the swimming pool and garden.
1989, Designed by Eva Jiricna Architects Limited
This was a retail unit on three levels of a very limited size. The main element of the brief was to find a unifying element that would entice the clientele to move around the shop. The problem with any public space on different levels is twofold: on the one hand we have a simple unwillingness to overcome physical obstacles, and on the other, perhaps, a reluctance to discover what we cannot immediately see.
The search for a connecting feature resulted in the design of a glass staircase that was practically a light ‘sculpture’, channeling the light from the very top to the very bottom. For the sake of speedy construction the staircase was designed as a kit of components to be assembled on site. The treads were used as a structural element and were suspended off the balustrading. The walls were finished uniformly in grey plaster, and furniture and fittings were manufactured from stained maple.
Kdyz si po dlouhé dobe nekdo vzpomene na nerealizovaný pojekt, tvurce to potesí. Ale kdyz se poukáze na tak významný a dulezitý projekt, jakou je nástavba na Fakultní nemocnici v Plzni, která má slouzit pro provoz hematologicko - onkologického oddelení a registru dárcu kostní drene, tak to prímo zahreje. Ze by se pan primár Koza snad svého "Oblácku", jak ho sám nazval, na tom svém 'mrácku' nahore opravdu dockal? Budeme dál doufat.
1997, Designed by Eva Jiricna Architects Limited
Due to increasing student numbers and the changing face of information technology, the university became aware of a need to extend the existing library, which was originally built in 1976.
After a feasibility study had been carried out, planning approval was gained in June 1994 following the development of a scheme in consultation with the University, librarians and student bodies. The design attempts to provide clean, light, flexible space in terms of layout, and for the future incorporation of changing technology, and to re-define external public spaces within the library precinct.
The main body of the 4000 m2 extension is open plan study space, suitable for book or terminal based learning, divided over four floors. Book storage remains in the existing building for which it was initially designed. The two areas are linked via a new core in a centralised position. The width of the building maximises the use of daylight via both translucent and clear glass allowing for views out while controlling solar gain by the use of external shading.
The structure of the building is a steel frame on concrete pads with pre-cast concrete floor slabs. A torsion detail at the perimeter allows for a ‘slim floor’ construction. The regular grid and structural system allowed for fast and economic erection. Bracing is provided by concrete shear walls in the cores.
In accordance with the university's environmental policy, a mechanical fresh air system has been selected in association with the pre-cast floor planks as distribution which utilises the mass of the structure for passive cooling to reduce the daily 'flywheel' effect. The ‘Termodeck’ system, used extensively in Scandanavia for efficient heating, can produce a high fresh air input associated with air movement without the need for chiller plants. Background heating is provided by perimeter radiators. Early feed back from the installation indicates extremely efficient performance.
Lighting and data cabling has been integrated for a high degree of flexibility.
The new entry block forms a pavilion and focal point to the external landscape space between two existing buildings. A high degree of transparency gives a light airy space for control desk facilities and general circulation. A fabric canopy structure identifies the entrance and provides protection.
The external cladding to the building is a warm grey terracotta tile acting as a rain screen, giving a crisp modular appearance whilst being sensitive to its environment and context. This German product, while used widely in Europe, was first used in the U.K. on this project.
The landscaping scheme is an extension of the established design for the neighbouring engineering building, with additional soft landscaping around the base of the new extension including new trees on the adjoining street. Disabled provisions have been considered at all stages, both internally and externally, to allow easy use of all areas of the building.
The reconstruction of 1970´s town house. Original building has been enlarged by the winter garden and the inner space has been opened and delicately connected by the red stainless steel spiral staircase.
Organically shaped building with atypical rooms provide panoramic view over the town. On the top floor, there is a luxury apartment with roof terrace.
A Private villa located directly on the coast, viewing the Phi Phi island, forms a part of a complex of three buildings standing very close by the sea.