Just in time for the most important tradeshow of 2012, Schlüter-Systems KG is pleased to introduce a number of innovative additions to its product assortment.At the Cersaie show, to be held in Bologna from September 25 to 29, the Iserlohn-based company will exhibit a number of new and intelligent profile solutions for interior and exterior applications at Stand 10 in Area 45 of the outdoor fairgrounds.
The new Schlüter®-DECO-DEis a high-quality stainless steel finishing profile for outside wall corners with a 135° angle.It offers excellent protection for the edges of tile coverings and is available in the varieties stainless steel and brushed stainless steel.The high-quality finishing profile Schlüter®-DIADEC was also developed for exterior wall corners and the edges of tile coverings.It is made of anodized aluminum and has a visible area that forms a 45° beveled edge at the exterior corner.Its joint spacer defines a joint chamber with the tile and the profile name makes reference to the diamond-shaped contour of the profile.The newly introduced Schlüter®-INDEC profile of anodized aluminum is also designed for outside wall corners and the edges of tile coverings.The visible area of the profile forms a recessed decorative groove at the outside corner.
The elegant stainless profile families Schlüter®-QUADEC and DESIGNLINE have been expanded by two attractive finishes.The square and leather-like structures match many modern tile designs and also reflect the trend toward three-dimensional tile surfaces.
New profiles for exterior applications
The new profiles Schlüter®-BARA-RKK and BARA-RKKE offer additional options for finishing tile and natural stone coverings on balconies.BARA-RKK is a T-shaped finishing profile with drip lip for installation over finished sloped screeds.It is particularly well suited for use in bonded waterproofing and uncoupling assemblies with Schlüter®-DITRA 25 and its closed outer edge gives the exterior perimeter of tiled areas a neat appearance.BARA-RKKE also is T-shaped and has a perforated edge.This profile is designed for use in bonded drainage and uncoupling assemblies with Schlüter®-DITRA-DRAIN 4.Both profiles are perfectly suited for balconies with railings or the renovation of existing balconies with railings, since they feature a drip lip that is close to the balcony assembly.
The 110 m2 stand of Schlüter-Systems will of course also feature a wide range of other intelligent solutions and products for the professional audience at the show.These include the KERDI-LINE and KERDI-SHOWER systems for floor-level showers as well as innovative assemblies and drainage solutions for balconies and terraces. At the same time, the topic of “saving energy with ceramic tiles” has lost none of its importance and the ceramic thermal-comfort floor Schlüter®-BEKOTEC-THERM will again be a core part of the show presentation.
Caleido presents four new additions to its collection of Fire Design bio-fireplaces – Duet, Axis, Camelot and Nerone. Flame, design and combined materials become the true protagonists of the settings, creating special, evocative atmospheres. Caleido bio-fireplaces do not require the installation of a chimney or any system for supplying fuel. They do not produce toxic substances and run on bio-ethanol, a modern source of renewable energy. Caleido bio-fireplaces are modern designer furnishing accessories that suit any room in the house.
In the photo of the news we can see the model Axis and in the gallery of photos for order the models Duet, Camelot and Nerone
Axis-Designed by Daniele Lo Scalzo Moscheri
The dual functions of a tray and source of heat combine ideally in the Axis bio-fireplace. The sides are panelled with solid wood, featuring a milled decorative design. Stone and steel on the top reflect the original spirit of this multi-purpose furnishing accessory.
Duet-Designed by Daniele Lo Scalzo Moscheri
Duet is shaped like a goblet, where the flame is accompanied upwards through a dynamic, lightweight structure. When Duet is not in use, the concrete top can be covered with a thin sheet of metal to create a table.
Camelot-Designed by James di Marco
Sheet metal takes shape in this particular bio-fireplace of pure essential design, which adorns the room like a painting. The curved outer edges highlight the character and personality of this evocative and functional accessory. The flame is enclosed in a scenic compartment that enhances its features.
Nerone-Designed by James di Marco
Caleido technology combines with design to give a simple yet highly effective result. Nerone features a rigorous graphic skyline, associated with an all-round open fire. This small-scale architectural project is linked to a private, emotional desire, to have a live element ever-present to be enjoyed.
AGROB BUCHTAL first of all has been intensively watching and analyzing the market and the practical experience of the last years and now offers a range of tile series with a thickness of only 5mm, which are subsumed under the generic term of FLATILE, that offers the following specific characteristics which are advantageous not only in the bathroom but also in kitchens, halls, bedrooms or living-rooms:
· usable for the wall and the floor (as mentioned, for reasons of professionalism only for residential
buildings and the like)
· extensive range of series, colours, decorations and formats: from the mosaic up to 40x80cm;
in this way, stylistic variety is ensured, and design compromises are avoided
· large formats make small rooms or surfaces appear bigger
· floor tiles with slip resistance R9
· the “HT“ coating applied in-plant lends AGROB-BUCHTAL tiles special characteristics: they are
extremely easy to clean, have an antibacterial effect and eliminate unwelcome odours or air
pollutants
· Dry-pressed porcelain stoneware intentionally was not chosen as material type, as this sort of tiles
is unusually hard and brittle and therefore – especially in a thin version – is difficult to process.
Instead of it, extruded stoneware is used, which combines high breaking strengths (1,100 N = almost
twice as high as required according to the relevant standard) and easy processability. This is
achieved by special mass compositions and an exactly adjusted firing process.
Fassa Bortolo was at MADE expo 2012 (Milan, 17-20 October 2012), a prominent international architecture and building exhibition. Historic company and industry leader, Fassa Bortolo presented a vast range of innovative and mutually complementary solutions: a truly Integrated System that represents the reference point for all types of building work, applying a global approach to site requirements.
At the stand, special focus was on the new FASSATHERM External Thermal Insulation Composite System, a convincing response to the issues of building insulation and energy saving.
Other products that the company presented were the new Skin 432, a decorative, protective paint for exteriors, the poduct RisanaFacile®, the 2-in-1 product for damp masonry, the first bio porous plaster made from pure natural lime for interiors and exteriors and finally between others the New Flooring and Covering System also was on show, a system comprising base coats, waterproofing, adhesives and joint fillers for tiles.
"Green Home Design, living the present" in the context of MADEexpo, the exhibition dedicated to the entire world of building and of design, international point of reference for the construction sector in the program that took place from 17 to 20 October in Rho Pero.
An area that was literally stormed by the public decreed the success of the second edition of Green home design, living the present, the exhibition on architecture, sustainable building and energy efficiency organized by My Exhibition in collaboration withMADE expo and patronized by the Green Building Council.
An overall number of 13,238 visitors, of whom 10,976 registered as trade operators, with an increase of 20% over the 2011 edition. Of these, 1,985 were foreign operators representing 15% of the total number of presences.
Within its surface area of 1600 sq m, Green home design offered hospitality to three houses, one playschool, a congress hall and a lounge area with Bio bar, all of which were proper prefabricated 1:1 scale structures. The designers of the project, Aldo Cibic, Marco Piva and Massimiliano Mandarini presented their own interpretation of contemporary architecture with projects that combine aesthetic research, functionality and energy-efficient solutions.
It is a hybrid method for the construction of blocks of floors, in which the humid parts, baths and kitchens are realized by three-dimensional modules, whereas the bedrooms, lounge … it concludes in work. This system has been designed by the study Artefacto Arquitectos, placed in Madrid, allows to pile up in work the modules constructed before being accessible and extendable at any time. With this system the costs get cheaper in 10 % and 30 % diminishes the period.
We like the virtue of architecture which makes possible constructing a house on air, walking on water…An abrupt plot of land overlooking the sea, where what is best is to do nothing. It invites to stay. A piece that respects the land's natural contour is set in it. Above, a shadow, the house itself, looking calmly at the Mediterranean. Under the sun, the swimming-pool brings us closer to the sea, it becomes a quiet cove. In the inflection point, the stairway proposes a evocative path, a garden in the basement…
Due to the steepness of the plot and the desire to contain the house in just one level, a three-dimensional structure of reinforced concrete slabs and screens adapting to the plot's topography was chosen, thus minimizing the earthwork. This monolithic, stone-anchored structure generates a horizontal platform from the accessing level, where the house itself is located. The swimming-pool is placed on a lower level, on an already flat area of the site. The concrete structure is insulated from the outside and then covered by a flexible and smooth white lime stucco. The rest of materials, walls, pavements, the gravel on the roof… all maintain the same colour, respecting the traditional architecture of the area, emphasizing it and simultaneously underlining the unity of the house. Architecture: Fran Silvestre Arquitectos Project team: Fran Silvestre/Principal in charge; María José Sáez/Principal in charge Maria Masià/ Collaborator Architect; Adrián Mora/Collaborator Architect; Jordi Martínez/Collaborator Architect; José V. Miguel. Structural engineer: David Gallardo/UPV Buliding engineer: Vicente Ramos, Esperanza Corrales, Javier Delgado. Interior design: Alfaro Hofmann
The company Decra Roofing Systems is a world leader in the manufacture of tiles of steel, and thanks to the continuous investigation that it realizes, Decra can offer a great variety of roofs and colors and an excellent resistance to wear and tear and varying weather conditions. In this case we show them the range Decra Shake, it is a recreation in steel of the aesthetics and natural appearance of the shake of wood, incorporating advantages for his easy and rapid installation. The term "shake" is applied to the tile roofs that the former European settlers introduced in America during the XVIIth and XVIIIth century.
These roofs were coming from the traditional English, Dutch, French and German styles, being recreated in America across the use of the wood, which provision was abundant.
It´s already available the first number of Renovation Today, a technical magazine for the professional world of property renovation and remodelling. Among the numerous points treated the most important topics in this issue are the architecture influenced by the mediterranean, the great "Cliff House", from Fran Silvestre´s architec firm, Porcelanosa launches "Mood", new bath collection and the innovation, trends and sustainability in Cevisama 2013.
The Fair Cevisama 2013 together with UNEX (Habita Business Association, internationalization and tha Contract) have launched the Business Contract Area, a professional space contract and international requeriment, where practically share information, knowledge, experience, keys to access markets, bisiness opportunities… All referenced both international contract market as high decoration of residencial projects.
In this Area we speak with Sean Compton, architect from Santa Lucia.
It has been three months since the completion of the restora- tion of Palau dels Ossets, a 16th- century palace located in El Forcall – a town near to Morella in the area of Els Ports in Castellón – which has been made into a charming, 4-star hotel, a job which has been completed by architects Jaime Sanahuja and Mar Nadal and building engineer Ja- vier García Martín-Romo. In this issue, we take an in-depth look at this interesting restoration, refurbishment and development of Palau dels Ossets, looking at the restoration step-by-step and analysing the different construction methods and materials used. First of all, this Aragonese Renaissance palace is divided into four floors: the ground floor used to be partially underground and held the stables, the storage area and the servants’ quarters. It also has a large hallway, main and secondary staircases. This floor, which is accessible from the plaza, holds the summer bedchambers and service areas. The main floor consists of the entrance hall, the chapel, a room with windows and window seats, a chamber, bedrooms and the kitchen. The floor under the roof finishes the façade with a gallery of roof bows.
THE FAÇADE The ashlar façade is divided into the third and fourth floors. The first floor includes the arched access door; the second contains lintelled arches; and the third is completed by a gallery of traditional Aragonese roof bows. The result is that the stand-out elements of the façade are the arched entrance door and the large voussoirs; the windows with their stone jambs, lintels and sills and their carvings; the framed gates located in a ground-floor window on the Plaza façade and another on the first floor on the Dolores Street façade. The entire building is finished with large double-channel wooden eaves, 1.45 metres across, over a se- ries of 36 arches with various different forms. The palace, built at the end of the 16th and beginning of the 17th centuries, had already been prac- tically completely refurbished in 1993 with the aim converting it into a hotel establishment; with the re- cent intervention in 2008, they have decided to create a ‘charming hotel’ which is already a top-quality tourist attraction. As the Jaime Sanahuja Asociados studio explained to us,
the architectural project tried to “maximise the potential of this palace and make the building a destination in itself”. To achieve this, the rooms have been made bigger, reducing the total number from 20 down to 16, three of which are ‘junior suites’. All of them are different and are decorated according to the season of the year. The hotel has also had a spa with sauna, contrast showers, a hydro- massage area and a relaxation area, all of which are located in the floor underneath the roof. Among the most important changes made in the refurbished hotel, “the project has changed the main entrance to the hotel which now comes directly from the plaza.
As a result, the hall has become the heart of the hotel in which we find the reception, the café and a small living area”, according to the studio. We also point out that, from this access space, there is also a light metalic and wooden staircase which leads to
the restored arch, the restaurant area, a private salon and a storage area. They have also refur bished the old
bished the old chapel which was on the main floor and transformed it into the lift lobby, which now shows off all of its new architectural qualities.
The layout of the main staircase of the first floor has also been alte- red, providing this area with much more space and a way of communi- cating between the two main floors. In terms of the materials used, they wanted to conserve the palace’s renaissance aesthetic qualities, using materials such as iroko wood on the outside, oak on the floors of the rooms and some common areas, travertine marble in the restaurant and access area, oak on the panelling and other carpentry inside.
THE NEW STAIRCASES The new staircases have been created from metal and solid oak wood on the steps, and the existing oak wood has been coated. Without a doubt, both the staircases and the arches are essential elements in the global concept of this hotel, as they provide an attractive appearance which did not exist before refurbishment. At the architecture studio, they have chosen to innovate in those areas in which they could develop using imagination in the spaces available, but they have been entirely respectful with the renaissance aesthetics in this Aragonese palace. The result is an elegant combination which gives the establishment its own category and essence, working together to create harmony, achieving the objective of transforming the hotel into a top destination. The refurbishment, remodelling and development of Palau dels Ossets did not stop there however. All of the rooms are new and larger with their own bathrooms with crystal surfaces. These generate a sense of size inside the room as a whole, using stone as the main coating material, combining travertine and slate. Finally, for the fixed furniture, consisting of a builtin wardrobe and a TV stand, they have turned to a sober continuous wooden design which provides a suitable neutral background to the strong textile decora- tions, drapery, headboards and bed sheets, etc. which provide an atmosphere rich in different colours and textures in each area.
THE ENTIRE REFURBISHMENT The entire refurbishment project, as we have already mentioned, has respected the aesthetic and historical value of this place which was built at the end of 16th and beginnig of the 17th centuries, and the result has been
torical value of this palace which was built at the end of the 16th and beginning of the 17th centuries, and the result has been hugely satisfactory. All of this is backed up by the pictures you can see in this issue of renovationtoday.com.
In this issue, we focus on the impressive work by Joaquín Torres’ y Rafael Llamazares’ studio A-Cero in creating a Camper shop located in the street Mesones in Granada. There, on one of the best-known, commercial and important streets, this small shop, barely 50 square metres, is found, refurbished by the studio as a gallery space while selling shoes by the famous Spanish firm, Camper. Each shop it opens is an event for the designer in charge of the project because each one has its own individual style. The A-Cero studio has left its own particular, suggestive mark which delights those who have been convinced to visit the shop.
Following this shop’s concept, Camper continues innovating and creating different, special spaces. Camper has collaborated with various others to complete their projects, such as Olé Armengol, Fernando Amat, Óscar Mariné, Javier Mariscal, Carlos Rolando, Jordi Nogués, Martí Guixé, Shiro Miura and more recently, in the Toðer project, Jaime Hayón, Alfredo Häberli, Konstantin Grcic, the Campana brothers, Memphis group, the Bouroullec brothers, Benedetta Tagliabue, Tokujin Yoshioka, Doshi and Levien, Juli Capella and Tomás Alonso. On this occasion, the premises in Granada which A-Cero has been made responsible for, has a privileged location in the street Mesones, the most celebrated commercial and pedestrian street in the Andalusian capital. At number 51, measuring under 48 m2, this premises had previously held a clothes shop and was semi-abandoned.
WHITE AND RED Two colours: White and red. They are also found in many of A-Cero’s interior design projects since it began 16 years ago and are also important to Camper’s image. The project is an open space, adding organic elements such as the gallery furniture which are made of matte lacquered wood with white shelves and red surfaces. They are indirectly LED illuminated. The floor is also covered with red and white winding shapes. Bringing greater sculptural value to the building, from the back of the shop and the central area, another curvaceous module emerges in the form of a bench to try on shoes. To give a sense of depth, the back wall is a mirror. Even so, there is space for a storage area at the back. The façade is a panel of composite red aluminium and the shop window has red vinyl as per the shop’s design. In conclusion, there is an interesting fusion of corporate resources and Camper’s design with that of the A-Cero studio. A special place which helps modernise commerce in the area. You can also experience first-hand the Camper and A-Cero universes.
Anjasora made its products, featuring new backlighting in a compact plate, known at the fair, while those who attended could also enjoy the infinite possibilities of Flextone (the company’s natural flexible stone) in large sizes (2.44×1.22 and 2.44×3.05). It also demonstrated its new Anjasoratile por- celain lines of products, focusing on ceramics.
Anjasora made its products, featuring new backlighting in a compact plate, known at the fair, while those who attended could also enjoy the infinite possibilities of Flextone (the company’s natural flexible stone) in large sizes (2.44×1.22 and 2.44×3.05). It also demonstrated its new Anjasoratile por- celain lines of products, focusing on ceramics.
1-Packaging and mixing.
In this first step, we can see clear agreement in our fitters’ appreciation of the information shown on the bag which they considered plentiful and clear and which received a final score of ‘very useful’. Risk and safety warnings can also be seen. In addition, there are also high-quality icons or pictures which provide a lot of information in a precise and immediate manner. To our understanding, they don’t stand out very well from the rest of the image and the colour of the sack. A shame because we believe that they will be under-used in many cases since they can be easily mistaken for extra decoration unless the packaging is studied more carefully or its use is known in advance. »All information provided is precise and unambiguous with two exceptions. On one hand, there is confusion between the time in the open and the useful lifetime in the first warning or note, perhaps due to translation errors from the original language. On the other hand, and more importantly to our understanding, the allowable range of deviation for water in the mixture is vague (“approx. 7.5 litres”). It is very common in the sector but is quite shocking on a package which contains so much careful information. »The bag itself is well-appreciated and easily-manipulated. The opening is easy in one case and difficult in another, perhaps due to expecting a weaker bag while actually being of very high quality and resistance, making it difficult to open by hand and advising the use of a tool for the sake of speed and comfort. »A large amount of dust is released upon opening the bag, like most of the adhesives tested, but without any noticeable problems for the users. Little mixing effort and good consistency of the mixture achieved in little time.
2-Aplication,workability and humidity test.
In the combing, workability and moisture tests, it should be mentioned that the combing is really easy, even in the tests run in which the fitter, due to preference, used a lower quantity of water than that indicated by the manufacturer. On the other hand, with the amount of water marked on the package, one significant comment was: “great to use”. It covers the piece even when very porous. The furrow stayed exactly straight without any breakages. “Perfect”, noted another fitter. No trace of loosening in the adhesive when applied vertically. The ratings were consistently positive, indicating great effectiveness and ease of use in all cases.
The time in the open is within the generally observed limits: we were able to correctly fit a porous piece up to 5 minutes after the combing had been completed. After 10 minutes, the chances of safely fitting the piece start to become excessive (although for simple fitting without any problems it could be considered a maximum limit in our work conditions). This result was obtained in air which was generally almost absolutely calm without any reductions in quality due to any fairly strong, sporadic, though very short, winds (1-3 seconds of wind of up to 0.9±0.2 m/s, approximately every 1.5-2 minutes), with ambient temperature of 24-25°C and a relative humidity of around 65%. Adjustment of the porous piece in the conditions mentioned could be carried out without any difficulties until 2.5 minutes and then with more difficulty until 5 minutes, after which it is better not to try to move it so as not to seriously affect the final result. These latest results seem really short to us, taking into account the good results obtained in other sections and that the test conditions were not the most extreme.
In our work conditions (with the described piece and environmental conditions mentioned in the previous point), the adhesive showed a slight tendency to slide, being found in the intermediate group.
5-Lifetime or duration mixture.
The mixture remained in optimal conditions for over 4 and a half hours with temperatures in the range of 23-27°C and an environmental humidity of 60-70%.
A high-quality, balanced, easy product which is comfortable to use and which provides effective fitting of pieces, both on the ground and walls with any technique we’d like to use. The very limited adjustment time surprised us but the adhesi- ve fully deserves its price. In any event, it is clear – even when testing this product – that attention must be given to time in the open, especially when
At the feet of the Laojunshan mountain in the Chinese province of Sichuan is the Xinjin Zhi Museum. Projected by the Japanese studio Kengo Kuma and Associates, it is an example of a building manages to transfer the very essence of Taoism through its own spaces. Situated in a natural environment in which various Budd- hist and Taoist temples are found, this museum, measuring 2353 square metres, has been projected as a space dedicated to holding exhibitions relating to the Taoist religion.
LIGHTS AND SHADOWS
Inside the building, a harmonious mixture of lights and shadows; outside, their explanation – a curtain of glazed tiles on the eastern façade. It is formed by suspended, weightless ceramic pieces, floating in the air through the use of cables, a link which frees these pieces of their weight, in this case, not referring only to the material. The glazed tiles used for this job have been created using materials from the region and worked using traditional methods, all with the objective of achieving balance and a fusion of architecture.
A pool located at the bottom of the eastern façade services as a mirror for the building, multiplying the winding and drawn effect of its silhouette. In the northern area of the construction, we find a pedestrian square from which the museum can be accessed. According to architect, Kego Kuma, the concrete pavilion, with its angled edges, emphasises the fundamental aspects of Taoism: nature and balance. The northern façade, located in front of the square, stands out as being plain and static, while the eastern side provides the dynamism through the use of its interwoven glazed tiles. The southern façade is divided into upper and lower parts and is staggered at different angles. This responds to the idea of not directly confronting a building to the south and the two levels, one pool in front and a street beyond. Inside, we can observe a gallery which rises throughout the three levels of the building. The interior moves in the form of a spiral, illuminated by diffused light thanks to the filter which the glazed tile mosaic makes in the eastern wall, creating a dichotomy of lights and shadows. This is an example of adapting to the natural environment and using elements sustainably.
Grout joints are the physical separation between tiles in a ceramic covering. Tiles cannot be laid with their edges touching as they require these joints to absorb any compression and traction tensions which may be produced in the environment, to remove any vapour from the lower levels, and to absorb any changes in size of the tiles due to changes in humidity or temperature.
GROUT JOINTS.
The first step is to select the grout. Once the grouting material has been defined in terms of its type and characteristics, it is time to set the criteria for selecting the best material in terms of the requirements. Grouting is the final stage of modular coating and how the coating looks finally and how it will last over time will be determined by its being done correctly. For CG cement-based grouting materials, there are a series of preparation, application and cleaning requirements to bear in mind. In the preparation stage, check that the material used has not surpassed its conservation time as set by the manufacturer, carry out the various mixing operations and respect the proportion of water in the mixture indicated in the instruction, amongst others.
APPLICATION STAGE With respect to the application stage, other considerations must be taken into account. For example, the grout joints must be uniformly free of any broken-up materials and adhesives to the approximate depth
of the tile. Suitable tools should be used: sharp, hard rubber grout float for manual grouting and on large surface paving, extruder guns or rotary disc machines in order to achie- ve good performance. In addition, special sponges, stiff enough to avoid sweeping material from the surface of the join for the first cleaning operation.
CORRECT CLEANING The first cleaning stage is carried out using a good-quality, rigid
sponge, always diagonally compared to the joint’s direction. The sponge must be rinsed and squeezed out as often as possible, renewing the rinsing water regularly. The second cleaning stage is done using a dry cloth or chamois. If there are still materials encrusted on the surface, they should be removed with a plastic brush and a scale remover compatible with the tile’s chemical resistance. The preparation, application and cleaning of the reactive resingrouting mortars are, generally, similar to those of cement-based grouting mortars although there are some differences.
MANIPULATION & APPLICATION In preparation, there is a reduced range of manipulation and application temperatures in order to ensure consistency when grouting and achieve acceptable performance. Outside of this interval, grouting must be suspended. When applying, the sides and bottom of the joint must be dry; the presence of water will neutralise the setting reaction or compromise adhesion. The essential tool here is the flexible stainless steel grout float in order to correctly squeeze and scrape the RG materials of medium/high consistency when fresh. And in terms of cleaning, the joints must be dry to ensure the humidity will not affect the setting process. Once the joints are filled and have the correct curvature, the coating surface is dampened with water (a few minutes after application) to neutralise setting on the tile and to clean it with a damp sponge. These are only some of the con- siderations.
Complete renovation. A new housing concept through a development created by Freixanet Saunasport to achieve a residence in which design and relaxation come first in the heart of the island of Mallorca. To complete this, the technicians at Freixanet Saunasport have created the wellness area of the ‘Waterfall House’, a particular house of high standing, located in the exclusive area of Son Vida on the island of Mallorca.
IMAGINE D-SIGN The IMAGINE D-SIGN sauna stands out thanks to its exclusively designed exterior, its contrasting materials and the perfect combination of functionality and look. The Imagine D-SIGN’s external equipment includes various customisable options. After such a wonderful exterior, the interior does not disappoint. Anatomical finishes on benches, back and head rests. All of these elements and other details emphasise the elegance of the cabin. As a result, the user can enjoy an unforgettable experience in an unimaginable environment.
GENUINE REVOLUTION As a conclusion, there is no doubt that this sauna, exclusive to the Freixanet Saunasport, is a genuine revolution in the world of wellness, both as a result of its innovative design and for the advantages which it provides, allowing the user to experience wellness in every sense.
Located in the street Schönhauser in Berlin, we find a building which stands out from the rest, The Kunsthalle.
This building was created to bring cultural events and art to the Mitte district in the city. Its construction lasted a few days which involved eight lorries, two cranes and 34 cargo containers. The containers were piled up to form an open hall inside, divided into four floors with a plaza and an adjacent outdoor space. The first floor holds the functions of a perfect main enclosure, such as dinners, round table conferences and presentations. The solid walls of the cargo containers also create the perfect place to show films and live music. One of the cargo containers serves as a bar and restaurant, serving food and drink for each of the programmed events. Finally, it is worth stating that, in some sections of the building, the cargo containers have been cut and replaced by glass windows, allowing light to enter through the front. This is a clear example of how art adapts to the needs which the activities in the building require.
Architects Javier García and Héctor Ruiz are the creators of the recognised ‘Colección Valzuela’, an art gallery in the heart of Madrid for which the architects designed a suggestive space ‘dressed up’ with the elegance and infinite possibilities of ‘Techlam®’, Levantina’s porcelain product.
This new art gallery was conceived from a geometrically functional point of view, creating separate spaces defined by lines and volumes. The volumetric wall stands out from
this group, visible from the outside and works as a display stand for the pieces and antiques which are shown there. It’s an environment which finds neutrality in the use of white both on the walls and floors.
‘
Techlam®’ has therefore been applied directly onto the antique stand to cover it without the need for further work. These incredible dimensions and its lightness have meant that its installation was easy and clean, saving time and money when it came to completing this refurbishment.
The architect Héctor Ruiz doesn’t hesitate in praising the characteristics of this material, underlining that “it has such a beautiful finish which can be adapted to any surface, and it is also very light material. I love working with this products as it offers some incredible possibilities”.
The ‘
Colección Valzuela’ is composed of pieces which cover a period of history from the 16th to the 21st centuries. Freedom in the integration of the style, techniques and eras has increased the enjoyment and desire to live the art and with the art. The work developed by Héctor Ruiz’s architectural studio to surround this art gallery with well-defined personality and style manages to generate an ideal atmosphere for the exposition of works
of art in a cosy space, artistic in itself.
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