Interior Design Magazine Best of Year Awards for Greater World Sustainability, 2022ījarke Ingels Finn Nørkjær David Zahle Annette Jensen Armen Menendian Jan Magasanik Lone Fenger Albrechtsen Stefan Plugaru Zoltan Kalászi Gül Ertekin Alina Tamosiunaite Alysen Hiller Ana Merino Andreas Geisler Johansen Ariel Joy Norback Wallner Baptiste Blot Christian Alvarez Christin Svensson Claudia Hertrich Claudio Moretti Cory Mattheis Dennis Rasmussen Eskild Nordbud Felicia Guldberg Gaetan Brunet Henrik Kania James Duggan Schrader Jan Borgstrøm Jeppe Ecklon Johan Cool Jonas Mønster Karsten Hammer Hansen Kirstine Ragnhild Lucas Torres Aguero Malte Kloe Michael Andersen Oana Simionescu Rasmus Pedersen Riccardo Mariano Rune Hansen Sebastian Latz Tammy Teng Tina Tröster Todd Bennett Xi Chen Xing Xiong Xu Li Rasmus Rodam Marc Jay Tina Lund Højgaard Jensen Michal Kristof Andy Yu Qianyi Lim Maria Mavriku Masatoshi Oka Pablo Labra Peter Rieff Sara Sosio John Pries Jensen Kristina Loskotova AWARDSĭansk Stalpris (Danish Steel Award), 2016 Scandinavian Design Awards for Architecture of the Year, 2023 ījarke Ingels David Zahle Ole Elkjær-Larsen Agnieszka Wardzińska Alexander Jacobson Andrea Hektor Andy Coward Ariana Ribas Ariana Szmedra Bjarke Koch-Ørvad Camille Breuil Cæcilie Søs Brandt-Olsen Claudia Bertolotti Duncan Horswill Eduardo Javier Sosa Trevino Eva Seo-Andersen Ewa Zapiec Filip Fot Frederic Lucien Engasser Frederik Skou Jensen Jens Majdal Kaarsholm Jesper Kanstrup Petersen Julia Novaes Tabet Julien Bernard Jacques Picard Julius Victor Schneevoigt Kaoan Hengles De Lima Katrine Juul Katrine Sandstrøm Kristoffer Negendahl Ksenia Zhitomirskaya Luca Pileri Magni Waltersson Miles Treacy Nanna Gyldholm Møller Neringa Jurkonyte Ningnan Ye Palita Tungjaroen Paula Madrid Rron Bexheti Steen Kortbæk Svendsen Thor Larsen-Lechuga Tobias Hjortdal Tommy Bjørnstrup Tore Banke Tristan Harvey Ulla Hornsyld Viktoria Millentrup Xingyue Huang Zuzanna Eugenia Montwill Ákos Márk Horváth Jean-Sébastien Pagnon Andreas Bak Cheng-Huang Lin Giulia Frittoli Sui King Yu Jenna Hukkinen Marcel Götz Jonas Rask Edward Durie AWARDSĭOGA-merket for Architecture and Design, 2023 All four production units are built with 21 m free-spanning, cross-laminated timber, creating flexible column free – space s. Along the color and wood factory, the sloping roofs are extended to form a pathway for visitors and staff to hike up and down the building while observing the production processes inside. Inside the factories, each wing has one alternating ceiling corner lifted to create inclined roofs that allow views into the production halls as well as the forest outside. Exploring The Plus feels like moving through an archipelago of colorful islands where the experience and overview of the factory’s activities are unified. Like a flowchart, the entire interior is organized with the color of each machine overflowing to the floors. The layout enables an efficient, flexible, and transparent workflow between the manufacturing units and an intuitive visitor experience. Thought it was a great way to balance out the bareness of the foreground with the detail in the rest of the scene.The Plus is conceived as a radial array of four main production halls – a warehouse, color factory, wood factory, and the assembly – that connect at the center and generate the ‘plus’ shape at its intersection. The birds were added as a last-minute suggestion by one of my viewers, Vy. Just wait for the first layer to dry and go over the top with a darker or different shade of green. The layering of the greens here was important to create an illusion of detail and contrast. I initially started painting the shadows of the buildings on the left-hand side but ran out of this color for the right-hand side, which is why there is an odd contrast between the two.Īlways remember to mix up enough color before going into a larger area. I like letting the sand and water blend together to create a soft edge! Requested by you for your suggestion and for providing this beautiful photo □ I drew/painted this one for a previous live demo. We also do a quick warm-up by sketching and painting a cafe scene too. With this scene, I had to change quite a bit of the overall scene, and I walk you through my mental process and drawing to help you to do this. It’s rare that you end up with a photograph that is perfect to start painting with. This required some guesswork and while it isn’t perfect, I ended up with something similar to what I wanted to achieve. I change the entire perspective of a beach scene from a birds-eye view to a linear perspective. In this unique workshop, I try something quite new to most beginners. Check out the live workshop here: Paint a Beach Landscape (Cefalù, Sicily) and a Cafe Scene
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