From left: Jef Ablezot (Qubo Gas), Olivier Durteste (DDDxie), Thibaut Devulder (2hD), Dolby the dog and Morgan Dimnet (Qubo Gas)
Ten days into our artist residency at the Gare Numérique (Jeumont, France). Good progress on our Ooo-Ya-Tsu art performance, in particular on the phase music soundscapes that will be created during the live musical dialogue with the musician DDDXIE.
Back to Jeumont next week to finish the residency and rehearse for our first public performance!
I have just started a month-long artist residency at La Gare Numérique in Jeumont (northern France) to finalise our performance art project Ooo-Ya-Tsu.
The Ooo-Ya-Tsu collective (left to right): Olivier Durteste (DDDXIE), Thibaut Devulder (2hD), Morgan Dimnet and Jef Ablézot (Qubo Gas)
Located on the Belgium border, La Gare Numérique is a former train station, transformed a few years ago into a platform for the development of arts and digital technologies, offering state of the art facilities for artists, dancers, musicians and makers to develop and present their projects.
La Gare numérique will also be hosting the first public performance of Ooo-Ya-Tsuon Friday 9th October 2015, at the end of our artist residency.
After L'Aéronef, Le Cube, La Malterie and l'Hospice d'Havré, La Gare Numérique is the fifth art centre to host us for the development of our collaborative art project Ooo-Ya-Tsu, a live drawing and sound performance I am working on with art collective Qubo Gas and musician DDDXIE.
For this small project, we were approached by clients who wanted a sheltered space to host their frequent outdoor social events. We helped them design an integrated and flexible garden structure, to create a comfortable outdoor microclimate, whatever the weather or the occasion.
Our client, enjoying a late summer evening in the transformed terrace
The house already had a well-exposed adjacent terrace, but the the westerly wind and rain showers often disturbed the frequent social gatherings organised by our clients. They were looking for an affordable solution that would provide them with flexible configurations for the various social occasions (from small family dinner to large work events with 20+ guests).
Analysing each use scenario, we focused on creating a solution that would integrate well with the existing hard and soft landscaping, yet remain flexible in its use and the degrees of shelter it could provide.
In particular, we wanted to keep the space as open as possible to its surrounding. So we opted for a system of retractable textile roofs and glass screen walls, so that the outdoor space could function well throughout the year, whatever the weather, the number of guests and the type of activity it would host.
In parallel to this design process, we investigated both custom-made and standardised garden structures. We eventually converged towards a hybrid option, whereby we customised an existing pergola system to tailor it to the specific needs and taste of our clients and to the site, keeping the project on budget and allowing for fast-track installation — on time for the Norwegian National Day!
Testing furnishing configurations and checking their feasibility using standardised and custom-made elements, we refined the design with the clients to converge towards the final built result.
Our clients have since then sent us some nice photos, having enjoyed their new outdoor space from early spring to late autumn, hosting many social gatherings with family and friends!
Sketch impression of the remodeled cabin, looking at the fjord from the playroom
We love to design cabins, as they bring together so many of our design interests.
First, our predilection for architecture in remote (and often sensitive) natural locations, to create small thresholds where man meets nature, where minimal environmental footprint and limited access call for an economy of means.
And we are fond of designing tiny spaces — creating places rich in human interactions and intricate functions where people can really "key in" with the architecture, bringing back the simple joy of being together, sheltered from the elements.
But as importantly, cabins also act as social nodes where the complex community of the different generations in a family or in a group of friends congregate, each with their different needs, expectations and desires, making for a challenging but fascinating briefing process.
This redesign of a seaside cabin in Hvitsten, on the shore of the Oslo fjord, brought all these aspects together and was a nice counterpoint to our earlier design of a skiing winter cabin in the mountains of Hedmark.
A small stream flowing between the existing cabins
As is often the case with Norwegian cabins, our clients for this project spanned over three generations. Initially built in the 1950s by the great-grandfather, the summer cabin and its small sleeping annex have been used ever since by the family for spring and summer holidays.
The extended families are now struggling to all fit in the cabins, which has become both too small and in need of repair. Now retired, the grandfather and his partner also want to use the cabin a lot more throughout the year, so they needed the uninsulated cabin to be upgraded for the winter climate and wished to have a real bathroom installed.
All had cherished childhood memories of the cabin and wanted to preserve as much of its exterior aspect and rustic character as possible. So, their requirement to comfortably fit in up to twelve sleeping guests for occasional extended family gatherings called for inventive remodelling and renovation, considering their tight budget!
Perched against a steep rocky hillside overlooking the sea, the cabins face south-west into a breathtaking view of the Oslo fjord and its slow ballet of sailboats and cruise ships.
The Oslo fjord, as seen from the main cabin
Plans of the existing cabins
In the main cabin, the small living room actually had a large window opening towards the fjord, but the kitchen and meal area — central to family life in the cabin — were situated behind it, in the darkest part of space of cabin, right against the rock face to the north. The other facades of the cabin were essentially blind because of a small hallway and the two bedrooms to the west. As a result, the main daytime social spaces had no visual connection with either the covered porch to the south-west or the sleeping cabin to the west, both of them often used in the mornings and evenings for informal meals and drinks.
Typical of spaces with light coming from only one direction, this configuration made the living room and meal area appear strangely gloomy, as the large window created a glare effect in contrast with the other darker and unlit interior surfaces. Built to look straight onto the fjord through this large window, the space had only short interior perspectives, making it appear more cramped and small than it actually was.
Situated a few meters downhill and to the west, the sleeping annex had a quiet simplicity to it, nested in the overgrown vegetation and straddling a small stream in the rocks. Unfortunately, an improvised shower had been installed inside a few years back without proper ventilation and created damp problems, so that in addition to being overcrowded, its sleeping rooms had also become uncomfortable.
The initial plan was to integrate the existing porch into the main cabin, to create an extra bedroom. While this made sense to accommodate more guests, we all agreed that this compounded some of the existing problems, in particular closing off the main cabin from the fjord.
From two to fourteen sleeping guests! (click for full size)
Turning the problem around, we actually removed one bedroom from the main cabin, thus keeping only one for the most frequent occupants of the cabin: the grand-father and his partner.
We carefully checked the feasibility of our proposal by preparing a comprehensive list of use scenarios, from one couple to up to fourteen sleeping guests! We found that moving the shower out of the sleeping annex, ventilating it properly and making some slight adjustments to its interior layout and bedding would allow eight people to comfortably sleep there. All this could be done at minimum cost, so that most of the available budget could be dedicated to the main cabin.
Now remained the task of optimising the shared daytime spaces in the main cabin. And this was essential: every parent can imagine the intense atmosphere when up to three families, including young children, are stuck together indoors for a whole rainy afternoon! Thus, in addition to creating functional living quarters, we also needed to organise sub-spaces within this small cabin, so that everyone could define his or her comfortable own space.
We approached this task from two different angles.
Our design strategy for the remodelling the main cabin, drawn over the plan of the existing cabin (click for full size).
First, we created two different sub-spaces: one for the adults, facing the fjord, more social and relaxing, and one more playful for the children, cradled against the vegetation of the shaded cliff face. These two spaces intersect around the dinner table, the natural converging point for the whole family.
Then, we connected these spaces to the outdoors by nesting these sub-spaces around generous openings — not just towards the fjord, but also towards the sleeping cabin wrapped in overgrown vegetation down to the west, the mossy rocks at the north and the sunbathed terrace to the south — to create a dual feeling of spaciousness and enclosure.
Sketch impression of the remodeled seaside cabin, looking across the living room
Although the main living space remains compact, it feels opened to the light patterns and textures of its natural surroundings.
Frequently eating out during the summer months, the kitchen and dining area extend out onto a terrace that is stepping down, so as to maintain unobstructed views of the sea horizon, even when terrace parasols are used or the large awning on the south facade is deployed. The terrace also acts as a connecting point between the main cabin, the play garden and the shaded path to the sleeping cabin.
The proposed plan for the main cabin (click for full size)
Space was very limited inside the main cabin, so we concentrated most of the storage along the west wall, designed as a large oak surface perforated by the kitchen and large window niche where children can sit and play. To make sure that everything fitting nicely, we produced a detailed specification for these densely fitted interior — both in Norwegian and in English, at the clients' request.
We love to involve our clients in the building process. And since one of them is keen on woodworking, we had a design session together to develop together the design of open screen between kitchen and sitting, which also will also integrate coat/shoe storage, seating, a book shelf and the TV equipment. He will later on build it himself.
The very basic existing drainage and electric systems were upgraded to cater for the new bathroom and appliances. The cladding was damaged and needed replacing, so we insulated the whole building fabric and fitted new energy-efficient windows. Along with a flexible shading system and ample provisions for natural ventilation, our clients will be able to enjoy their cabin all-year round!
Alina was at the fantastic Font theatre festival recently, and got chatting to Laura Macrae, a producer with Notts based companies Nonsuch and Sheep Soup. One of those chance encounters that were always meant to happen: Laura with a building and a performance space idea, just looking for an architect... and Alina an architect looking to expand her involvement in the theatre.
We've worked with several arts organisations on the adaptation of existing buildings to meet their needs, most notably at One Thoresby Street. And it is an exciting time for our home neighbourhood on the Eastside of Nottingham: a cluster of independents including OTS, Backlit, Surface Gallery and the Bohunk Institute have led the way and the council is now adding a critical mass via the Creative Quarter and the weighty Dakeyne Street and Sneinton Market redevelopments. Dance4's ambitious dance centre project may be on ice, but the organisation was ahead of the curve in seeing the potential of the area.
We look forward to supporting Laura's plan in the formative stages and — with the support of NTU's Future Factory — hope to work with recent graduates from the Interior Architecture and Design and Theatre Design courses to develop initial ideas for the building. My involvement with community group Sneinton Alchemy and our community engagement expertise will help Laura to make this the supportive and embedded project she aims for.
Watch this space, it won't stay quiet for long...
2hD co-founder Alina Hughes is leaving the practice after 12 years to pursue new creative directions.
2hD was started in 2003 by Alina, Tom Hughes and Thibaut Devulder when they collaborated on the competition-winning Sky Vault landmark design. Since then the practice has evolved with the three founders collaborating on a series of successful projects. Alina in particular has been instrumental in networking and putting the practice in front of new audiences through competition entries and her role as Nottingham and Derby Society of Architects President from 2009 to 2012. Alina has built up her role in architectural education, including the setting up of a new Architecture course at Nottingham Trent University (now finishing its 9th year), whilst retaining her role as Design Director at 2hD.
A fresh faced 2hD: as we were in 2003... (from left: Thibaut, Tom and Alina)
“Starting up 2hD and seeing it develop has been an amazing experience, intensely hard work at times but with some real high points,” said Alina. “I’m proud of what we’ve achieved in building up a body of work and supporting our community, both locally and within the profession. I look forward to seeing 2hD develop with Tom, Thibaut and Chris at the helm, and will continue to be involved as a collaborator in particular projects in the future. The time is right for me to explore my creative practice outside of architecture.”
“Alina has had a huge contribution to 2hD’s trajectory and development” said Tom Hughes. “Her passion and intensity has remained undaunted and she has worked to bring a small startup practice recognition on the local, national and international stage. I’m sure Alina will be keeping a watching brief as we move on — and we look forward to collaborating with her in the future."
Co-founder Thibaut Devulder said "Alina has ensured that we have continued to be principled and deeply thoughtful in our design work, and has embedded this approach so that it will endure for the future. I wish Alina every success in her new ventures."
While in Lille, I got a chance to visit an exhibition by the Qubo Gas collective, with whom we are collaborating on the Ooo-Ya-Tsu performance.
Morgan Dimnet and Jef Ablézot, of art collective Qubo Gas
Entitled "Rêveries des Roches Perforées" ("Daydream of Perforated Rocks"), this exhibition presented at contemporary art gallery Art Connexion showcases some of their latest work, including a recent woodblock print made during a residency in Japan — using the traditional Japanese technique Ukiyo-e — as well as the eponymous piece of the exhibition: a large three-dimensional transposition of their graphic universe into a giant flurry of pleated felt and threads.
Fascinating to see how Qubo Gas manage to express their intricate poetic universe of wild gardens and abstract superpositions of colours and details in so many forms...
Looking at potential suppliers of concrete worktops for a fit out project recently, I contacted Warrington & Rose. Locally based and with some really interesting pieces on their website, including an intriguing experimental piece with cinnamon sticks cast in to a concrete table top.
I had a good chat with Michael Thorpe, who turned out to be an ex-student of mine from Nottingham Trent University who set the company up after graduating and a few years working in the industry.
Great to see a former student creating some quality products, taking experimental risks and branching out as an entrepreneur!
In preparation for our exhibition with Pictanovo about our Ooo-Ya-Tsu collaborative performance project, I spent a few days working with Qubo Gas at La Malterie — an experimental music and visual art centre in Lille (France) — to sort out some of the technical aspects of the project, such as calibrating the video projection and remotely tracking the motion of drawing gestures with brushes and pens.
We will continue working on the animation and graphics of the performance in two weeks time at the Hospice d'Havré.
We have been invited to present our collaborative performance project Ooo-Ya-Tsu as part of the Experiences Interactives exhibition, starting in 29th May 2015.
Hospice d'Havré (Photo © Bruno Parmentier)
The exhibition is organised by Pictanovo, a French association supporting the development of visual arts in Northern France and one of the main sponsors of our project.
The event will take place in the stunning Hospice d'Havré in Tourcoing and will showcase over the summer 2015 a selection of art projects supported by the organisation.
Prior to the exhibition, Pictanovo has kindly invited us to continue developing our visual and musical performance during a week-long artist residency in the exhibition space.
In collaboration with art collective QuboGas and musician DDDIXIE, our performance project Ooo-Ya-Tsu is also supported by the Centre National du Cinéma et de l'Image Animée (CNC), L'Aéronef, the French Civil Society of Multimedia Authors (SCAM), Le Cube and La Malterie.
Further to our social sustainability ethos, we want to learn more about how we can grow as a practice as a result of (rather than in spite of) our involvement in community engagement activities.
This topic has been recognised by Nottingham Trent University School of Architecture as a suitable subject for investigation within the context of their professional doctorate programme, and Chris has therefore been developing a formal research proposal since the beginning of January.
Chris would welcome any correspondence on this subject: please read his Practice and Community blog and email him with your comments or suggestions.
I am delighted that my appointment as a Director of 2hD has been confirmed today. Most immediately, my enhanced role with the practice will involve me in reviewing our quality systems, but I am keen to develop a strategic plan for our business to begin to handle larger-scale projects. From an additional base in Norwich (Paragon House, Earlham Road, NR2 3RA), I hope also to win new commissions and to extend our network of friends, collaborators and well-wishers.
My interest in the company was originally sparked by its distinctive ethos of community engagement. In every project we undertake, there is a strong commitment to exploring the wider social context, involving ourselves in the identification of local needs and aspirations, and responding creatively with development proposals that will bring long-term benefits — not merely to our immediate clients but to the whole neighbourhood.
I am committed to 2hD keeping hold of these very special ‘social sustainability’ ideals as our business grows. I have therefore embarked upon a three-year research programme supported by Nottingham Trent University, looking at how architectural practices such as ours can develop and expand through promotion of, and involvement in, community-based projects. I take the view that 2hD’s specialist skills in drawing local people into our design activities — practised through our architectural work, regular teaching activities and involvement in our local communities — should be harnessed as an asset and promoted as a primary feature of the way we work.
If you’d like to follow the development of my research, please look from time to time at my Practice and Community blog (and let me know what you think).
Mining some of our old files recently, we dug up this little gem from 2006: a mobile exhibition module we called Squint. It's an installation we originally designed for a competition in Calgary, for the temporary transformation of an urban space situated under a railway bridge.
Squint in the streets of Calgary (from our competition entry in 2006)
Excited by the idea of the self-building something we would then send to the other side of the world, we took the approach of a foldable crate system that could be deployed in an unlimited number of configurations, playfully modulating the openness — or enclosure — of the micro exhibition space it hosted.
Set on its site and then manipulated by the public, the articulated and perforated little structure offered glimpses of its content to passers-by, "leaking" some of its content to the surrounding urban space.
In another context: Nottingham's Exchange Arcade...
And of course, for easy transportation, the whole thing can be neatly folded into a tiny, self-contained crate containing both the panels and the exhibition materials, ready for shipping!
This was a fun little project and maybe something to prototype again?
Interested? Get in touch with us!
A fun little video that visual artist Qubo Gas made to illustrate their work with Diptyque. This gives some insight about the way they use traditional media — such as ink and watercolours — which also plays an important part in our collaborative art performance project Ooo-Ya-Tsu.
Musique: Antoine Pesle — Video : Justine Pluvinage
Our client and his family have now moved into their new self-build house on a hillside in Eidsvoll, Norway. Here are some early interior shots of the finished house.
Photo @ Caroline Prøven Brohaug, CABRO Photo
