University of Naples Subway Station Interior Design by Karim Rashid

The project team was Karim Rashid, Camila Tariki, and Dennis Askins. A multi-cultural, academic community of thousands of passengers a day trafficked the University of Naples subway station.

Communicating and embodying knowledge in the new digital age, language in the shrinking global landscape, innovation and mobility in this third technological revolution was an interior design.

Naples was an integral intellectual information haven that extended itself throughout the rest of the world, not longer a historic southern city of Italy but instead now. A metaphor of this new wired global condition was the changing Italy and the station. The station with its surroundings was integrated, as well as a platform was provided for innovative, cutting-edge design strategy. The descension was utilized from the piazza to the subway platforms. A metaphorical shift was represented from the conscious brain to the spiritual mind.

Interpreting the individual shift from a busy “brain state” to a focused “mind state”, one’s own experience was defined. Although tiles covered a space, the visitor would walk, entering into the station from the piazza to the subway station.

The soft nature of the space, the striking palette of colors and patterns influenced the station lobby. With lenticular iconography changing colors and perspective, an interesting siteline was provided as commuters proceed to the platforms below, along the back wall of the station lobby level.

An abstracted, SYNPOSIS sculpture reflecting the nodes of the brain and the synapses which occur within was intersecting the space between the heads profile benches (metaphorically intersecting the dialogue). A transition was experienced from the busy piazza to a more intimate, focused environment when descending to the subway platforms via escalator. Various artworks and other graphic art as a focal point were displayed here. With these abstract images, the user was invoked to shape the environment according to the creative interpretations.

Recognized words were displayed by rolling LED programming situated behind frosted glass. Knowledge and the multicultural university setting were referenced. The steps were separated portraits of Dante and Beatrice, descending and ascending the stairwells on each respective platform.

naples
The direction was indicated by the accent colors, lime and pink, through the descent to the final destination. The beauty of our airframe voxels of the flux and ever dynamic multidimensional information and data age (infostethiks) were spoken by airframe surfaces.

Spending the most static time was in the platform level of the subway station. The tranquil, imaginative environment of the “mindstate” enhanced one’s experience while waiting for the subway. The form of landscape forms provided seating. A backlit artwork was the back wall of the subway platform. A continuous soft glow in the space was provided. To signify a train’s arrival, a shadow of an oncoming train, etc. was included.

A temporal, transitional space was a subway station. The commuter experience within the train station was the concept.

The University of Naples subway station interior in Naples, Italy, was renovated by New York designer Karim Rashid. Between huge columns with the profiles of faces towards a shifting lenticular wall of graphic patterns were passed by commuters. Leading to platforms with backlit patterns on the walls, the escalators of the modern interior, there were sculptures and graphic artworks.

 

Hoto Fudo, a Tradional Food Restaurant, by Takeshi Hosaka Architects

The ARCHITECT was TAKESHI HOSAKA. The STRUCTURAL ENGINEERS was OVE ARUP & PARTNERS JAPAN Ltd HITOSHI YONAMINE. The Name of the project was HOTO FUDO. It was located on Fuji Kawaguchiko, Minamituru-gun, Yamanashi, JAPAN. It was far from Tokyo about two hours by the train, neared the Mt.Fuji. The Structurewas RC. The Site reached 2493.82 m2. The Building area was 733.98 m2. The Floor area ratio was 726.30 m2. The Building height reached 7460 mm. it consisted of one floor. The A local traditional food restaurant.

HOTO FUDO was a building like inside and outside.

The restaurant design was situated on the site with Mt. Fuji rising closely in the south and the two sides facing the trunk roads. There were such nature objects as mountains and clouds. The restaurant interior was built from soft geometry, which would not arise from the figures like quadrangles and circles. The shape that cleared the conditions such as the consistency as shell construction and the undulations that warded off rainwater in spite of its free geometry were established by continuously operating innumerable polygon mesh points.

No air conditioners were present usually it used to be out in the open air. Only during the strong wind and the coldest season, the curved acrylic sliding door was closed. a stable temperature environment was secured for the building like inside and outside, giving 60 mm thick urethane insulation to the outside of the RC shell and keeping a stable RC temperature secures. The deformation volume was reduced due to the temperature of RC to make the building last longer.

alasar

Such illumination as made people simply feel changes in the evening light and did not make insects gather around the lights, was planned for the lighting plan. Rain dropped near windows and doors when it rained. The sound of raindrops was enjoyed in the spaces where rain did not come in. The fog entered the building, when its froggy. It became a landscape buried in snow when it snowed, and birds and animals came there. People could eat hoto rich in natural ingredients in this place, where like the middle between nature and art. *HOTO was traditional local noodle food.

An igloo-like noodle restaurant near Mount Fuji, Japan, was completed by Japanese studio Takeshi Hosaka Architects. Called Hoto Fudo, to circulate through large openings in the walls, air was allowed from outdoors, apart from in the coldest season when curved acrylic sliding doors were used. The rain was allowed to fall at the edges of the interior, fog to enter through the openings and wind to circulate under the reinforced concrete shell.

Store Interior for FitFlop by Sybarite

Fit Flop is the client here and the Sybarite was the architect who hails from London.

FitFlop Concept

The concept of store design was modern but timeless, interactive, refreshable, easy to merchandise and identifiable via its architecture with expanding of a product from one original namesake sandal to year-round boots and shoes.

A design that carried the brand’s energy anywhere, was fast and easy to install was the answered. It would look as good in LA as it does in Shanghai, whether in a standalone, pop up, or multibrand shop. To create perfectly flexible space functionality, the moulded pods could be custom-placed as shelves, hanging displays, mirrors and bins for accessories.  The concept of FitFlop allows visual merchandising which in the end comes out as logical, shoppable and uncluttered. An otherwise neutral palette cooperated well with merchandise of any season, energized by splashes of colour.

living room

With several more in the works for the coming year including London and Los Angeles, the first locations took placed in the Phillipines on January 2011.

A modular display system of store interior was designed by London studio Sybarite for shoe brand FitFlop. As required in each store, forming shelving, hooks, signage, mirrors and containers adapted round pods. The first stores, which opened, were in the Philippines and FitFlop’s plan was to roll out the design internationally. Photographs were by Marco Zanta.

The goal of the project was to nullify the boundaries of fashion, that suited to the gallery’s intention: to produce and present objects that are more personal, that talk to us as singular individuals. The gallery located at 23 rue Charlot, Paris 3rd, exhibited exclusive one-off pieces, jewelry and fashion.

 

KD-House Interior Design by Geneto in Shiga Prefecture

A two-by-four construction unit house by Sekisui Heim was renovated. It was located in a new residential area in Shiga prefecture. The Japanese interior was built to make the site strangely narrow, although the site was relatively broad.

To salvage the situation, flourishing life scenes were created inside.

Line of sight from adjacent land was prevented by the wall and carried in daylight and draft. A buffer zone was the space between the new and existing wall. Rooms like hobby room were created. Giving character to each room, furniture (tables, storage cabinets and horigotatsu) was in the wall. It created 4 layers including the inside surrounded by walls, the surrounding buffer zone, the outside (garden) buffer zone and the surrounding environment by making a buffer zone in the modern interior.

interior

The inside and outside softly were connected. Various life scenes turned around the wall, and the space. A project renovated the relations between the existing inside and outside space.

Diagonal walls across the house interior in Shiga, Japan, were set by Japanese architects Geneto. Views were captured through to neighbouring houses. New spaces were created in between the rooms. Called KD-House, to make best use of the new areas created, the renovation of interior design also included installing built-in wooden tables and storage.

This exotic interior was developed by the interior designer with the experiment of water filled ice bags – reminiscent of those used by British nurses to sooth the fever of an ailing patient in a 1950’s film.