工作线:我们访问Thonik的Stripy Amsterdam总部

工作线:我们访问Thonik的Stripy Amsterdam总部

平面设计Studio Thonik在阿姆斯特丹推出了新的定制办公楼,在其设计中与MMX Architects合作

当阿姆斯特丹为基础时平面设计集体Thonik踏上了这个项目来建造一个新的总部,他们从未想过这个过程需要12年长而艰巨的岁月。'设计和建立自己的工作区在我们目前的经济系统中仍然是一个实验的替代方案,“练习的成立Duo,Thomas Widdershoven和Nikki Gonnissen说。‘Because the system is full of rules and regulations designed to prevent that sort of experimentation.’ The more challenging it became however, the more thonik pushed, managing to lease a plot of land from the city and learning how to operate within a tangled web of municipal and national rules, regulations and constraints and how to negotiate with multiple institutions and experts.

期待已久的结果是在市中心唯一的战后城市大道 - Wibautstraat的高度图形六层建筑 - 由广阔的轿车与阿姆斯特丹的MMX建筑师Arjan Van Ruyyven合作。三层楼的致力于练习,两个到高端omakase餐厅和缘故栏,在底层楼层,顶层(和屋顶)很快就成为活动和讨论空间。

The most striking thing about the building is the combination of floor-to-ceiling windows that bring the city in and the interiors out, and the façade’s stripes – the effect is dazzling and far from subtle, but it’s also radical in its simplicity and highly detailed and elegant in its execution. That the lines on the facade reference the tri-linear striped Mexcellent font designed for the 1968 Olympic Games in Mexico is an extra playful flourish that characterises the project and the people behind it.

Thonik办公室外观

对于粗体但精致的外部Thonik转向Trapa,这是一个高压紧凑的层压板,在荷兰东南部制作。实践经常使用它平面设计项目(它有一个黑暗的核心,可以在铣削顶层时创建迹象和刻字),并且它通常用于荷兰的社会住房和装修,因为它坚固,易于施加,非常耐用。在这里,他们使用了品牌的Metoon Lumen的板条系列,深色哑光灰色,略微灰白色,富有的纹理外观有助于创造建筑物的定义,有些卡通,诱人的美学。

在建筑物内,这种方法并不少传统。生混凝土天花板和地板和彩绘的混凝土墙与落地窗帘,大型图形地毯(由Thonik设计的大型图形,以及由过去项目的主题)和荷兰公司Vax-Corpy Vlisco裹在蜡印刷的面料中的声学墙。对于内饰Gonnissen和Widdershoven,旨在一流的荷兰设计师和品牌,如Hans Lensvelt,Bart Guldemond,Simone Post和Bas Van Tol;通过荷兰设计集体设想构思了内部楼梯上的混合几何线的图案。

Ultimately thonik hopes their new HQ can provide a blueprint for a new mode of production, a more flexible approach to zoning (Widdershoven went to the ‘highest court in the land’ to ensure the building could have multiple uses in the future, office and residential in the upper floors, and hospitality or retail on the two bottom floors) and a future prototype for self-builds by creatives who want to stay in expensive inner cities. ‘The creative sector almost never owns the spaces it works in as almost all of them are owned by big corporations,’ explains Gonnissen. ‘If the cultural sector could create its own spaces the quality of the architecture and buildings would almost certainly go up and the sector would become stronger economically and more robust.’ §

©Ti Media Limited。壁纸*是TI Media Limited的一部分。版权所有。