UUfie
Ports1961

source: uufie
title: Ports 1961 Shanghai
location: Shanghai, China
project size: 1145 sqm
number of stories: 3
structure: Steel, Concrete, Glass Block
design period: 2013 – 2014
construction period: 2014 – 2015
photographer: Shengliang Su
Located at a major high-end commercial district at the intersection of Changde Road and Nanjing West Road in Shanghai, a new façade is created for the fashion house Ports 1961’s flagship store. The facade represents the future vision of Ports 1961, bringing together its origin and evolution. Demonstrating possibilities of design experimentation through the transformation of form, material, and technology while still bringing an aspect of both traditional and contemporary interpretations. While evoking the idea of a landform, an iceberg, floating freely in the ocean. It gives the building a sense of being undulated, expanding and contracting, as if shaped by its environment.
The facade composed of two types of glass blocks; a standard 300mm x 300mm glass block and a custom 300mm x 300mm x 300mm corner glass block. Unlike most glass block masonry constructions, it is not limited to one vertical plane. The combinations of the two types of glass block create a sculpted three-dimensional façade exhibiting cantilevered structures. By incorporating innovative structural engineering and a new joining system in the block itself, an elaborate ornamental stepping canopy is achieved that naturally angles to the flow of pedestrian and allows for four bow windows to be visible from all directions.
The usage of satin glass block and shot-blasted stainless steel mutes the surroundings while subtly reflecting the sunlight. In the evening, the view is icy and crisp, and the surface illuminates with embedded LED lights integrated into the joints of the masonry. The result is a facade that engages with the transformative nature of the people and the city of Shanghai.
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source: uufie
Established in 2009, UUfie is an architecture and design practice working globally. UUfie’s works span the fields of architecture, interior design, art, landscape, furniture, and product design.
Through a rigorous conceptual and intellectual approach aimed at dialogue and collaboration, UUfie explores the expressive quality of space, object and materials. Inspiration is not singular but drawn from many influences around the world. Every project is unique, yet can be unified by working in a highly participatory and collaborative method, with clients, engineers, fabricators and specialist consultants all contributing from the beginning of a project to completion.
While continuing to push for innovation and experimentation, the studio aims to ensure to address the specific features and potential of a particular situation, embracing them into the project while responding to the requirements of the program.
Current projects include the Ports 1961 flagship store (Shanghai, 2013-2015); the Printemps Haussmann renovation (Paris, 2013-ongoing); and Lake Cottage (Bolsover, Canada, 2011-2013), a two-story family home along the Kawartha Lakes that references the idea of a tree house. Notable furniture and object designs include a collection of hand-blown glass objects that balance on their centers of gravity like upside-down eggs; as well as Peacock-S and Peacock–L, a set of chairs inspired by the natural plumage of their namesake.

Eiri Ota, the Director and Principal Architect of UUfie, is a licensed architect in Japan who has experience working for cultural, residential and commercial projects. Born in Paris, France and educated and trained in Japan, he brings with him a highly-skilled and unique international perspective to the studio.
After graduating from Musashino University, he immediately started his career at Jun Aoki and Associates between 2003 and 2008 in Tokyo, Japan. He led several built projects such as Louis Vuitton Namiki (Japan), White Chapel (Japan) and Go-sees Hiroo (Japan). Addition to this, he also worked for the master planning and developments in China and UK, respectively, Quindao Bath Project and Giants Causeway Visitor Centre. He is highly competent in all phases of concept design till construction administration.
Today, he focuses on his partnership within UUfie to establish a strong team of architects and designer and forging strong relationships with collaborators and consultants.

Irene Gardpoit, the Director and Principal Architect of UUfie, is a licensed architect in Canada, with extensive experience in institutional, cultural and residential design and project development. She has contributed to over six built and internationally recognized projects within her career.
After receiving her Bachelor of Architecture from the University of Toronto, she left to train in Tokyo, Japan. Under Arata Isozaki and Associates (2003-2008), she contributed to several significant works, including the Aga Khan Foundation conception for three educational institutions in Kyrgyzstan, Kazakhstan, and Tajikistan, the University of Central Asia. Also, a contemporary museum in China and an extension of Hara Museum ARC in Japan, both featuring the integration of art, architecture and landscape.
Irene, as a director of UUfie, is focused on expanding the studio’s creative endeavors while establishing a strong team of architects, designers, and collaborators.
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source: pamono
UUfie is a multidisciplinary creative studio established in 2009 in Tokyo. Founded by architect-designers Irene Gardpoit (born in Toronto in 1979) and Eiri Ota (born in Paris in 1980), UUfie’s work spans the fields of art, architecture, landscape, furniture, and product design. The practice celebrates experimentation and diversity—often inspired by nature—and aims to create “experiences of transition” in all of its work. In 2011, UUfie opened a second office in Toronto.

Standout architectural projects include the Ports 1961 façade (Shanghai, 2013-2015); the Printemps Haussmann renovation (Paris, 2013); and Lake Cottage (Bolsover, Canada, 2011-2013), a two-story family home along the Kawartha Lakes that references the idea of a tree house. Notable furniture and object designs include Whiteout Vases (2014), part of the Dinuvo series, a collection of hand-blown glass objects that balance on their centers of gravity like upside-down eggs; as well as Peacock-S and Peacock–L (both 2011) and Black Peacock (2014), a set of chairs inspired by the natural plumage of their namesake. All three are composed of a type of acrylic composite that is delicately manipulated by hand; the latter, however, is finished with several coats of dark lacquer, making it an anomaly to the collection, while still embodying the idea of a natural moment frozen in time.

The studio’s work has been included in several contemporary design exhibitions and galleries, including, as of this writing, Design Exchange (Toronto, 2015), Salone del Mobile (Milan, 2014), Guild Design Fair (Cape Town, 2014), Canada Bloom (Toronto, 2014), Museo Bagatti Valsecchi (Milan, 2014), Promenade du Port (Sardinia, 2014), Design Miami (2013), Spazio Rossana Orlandi (Milan, 2013), and the Interior Design Show (Toronto, 2012). The pair has also earned numerous awards, such as: a 2015 OAA Design Excellence Award for their Lake Cottage project; and a 2014 Project of the Year Winner (also for Lake Cottage) in the Best of Canada Design Competition, among others.

Gardpoit earned a Bachelor’s degree in Architecture from the University of Toronto in 2002. She is also certified as a member of the Royal Architectural Institute of Canada and a licensed architect (OAA). From 2003 to 2008, Gardpoit worked as an associate at architectural firm Arata Isozaki & Associates in Tokyo. Ota, meanwhile, earned his Bachelor’s degree from the Musashino Art University in Tokyo in 2002. He is certified as a licensed first-class architect in Japan. Prior to UUfie, he worked as an associate at the architectural firm of Jun Aoki & Associates from 2003-2008.
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source: archdailyco
Descripción de los arquitectos. Ubicado en una importante zona comercial en la intersección de la Calle Changde y Nanjing West Road en Shanghai, se crea una nueva fachada para la casa de moda Ports 1961. La fachada es representativa de la visión de futuro de Ports 1961 reuniendo en ella su origen y evolución.

El diseño evoca la idea de un accidente geográfico que se asemeja a un iceberg flotando libremente en el océano; el edificio tiene un sentido de ondulación, expandiéndose y contrayéndose, como si fuese formado por su entorno. La fachada muestra las posibilidades de la experimentación en el diseño, mostrando la transformación de la forma, el material y la tecnología, sin dejar de tener un aspecto de ambas interpretaciones, tradicionales y contemporáneas. La grandeza estructural del edificio llama la atención, mientras que su naturaleza ambivalente está cambiando de forma con su entorno.

La fachada se compone de dos tipos de bloques de vidrio; un bloque de vidrio estándar de 300 mm x 300 mm y un bloque de vidrio esquina de 300mm x 300mm x 300mm. A diferencia de la mayoría de las construcciones de mampostería de bloques de vidrio, no está limitada a un plano vertical.

Las combinaciones de los dos tipos de bloques de vidrio crean una fachada tridimensional esculpida exhibiendo estructuras en voladizo. Mediante la incorporación de ingeniería estructural innovadora e inventando un nuevo sistema de unión en el mismo bloque, se consigue un elaborado dosel escalonado ornamental que se ajusta de forma natural al flujo de peatones y permite que cuatro ventanas sobresalientes sean visibles desde todas las direcciones.

El uso de bloques de vidrio y acero inoxidable contrasta con el caos de la ciudad. Durante el día, la fachada logra callar a los alrededores mientras que sutilmente refleja la luz del sol. Por la tarde, la vista es helada y crujiente y la superficie se ilumina con luces LED incrustadas en las articulaciones de la mampostería. Las diferentes geometrías y cambiantes perspectivas de la fachada expresan la naturaleza transformadora de la ciudad y la gente de Shanghai.
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source: goooodhk
该旗舰店的外表皮从海面上自由漂浮的冰山中获得灵感，采用现代的演绎方法实现整体统一同时相当壮观，具有吸引力商业外立面。设计使用到30厘米见方的玻璃方体和两条短边为30厘米的垂直等腰三角形玻璃体。这两种玻璃体灵活组合行了了平整的表面或者锯齿状的表面。视觉效果相当突出。入口开在街道转角处，建筑上方有四个窗口状屏幕向城市播放影像，还有一组格栅式屏幕放置在主入口同侧一边的锯齿表面前。此外，沿街还做了一个大型橱窗。让从十字路口而来的人们都注意到这栋建筑。

建筑外表皮磨砂玻璃与喷砂不锈钢与混乱的城市形成巨大的反差。在白天，它白净，反射着阳光。到了夜晚，玻璃砖背后LED光源发出清晰的白色冷光。这是一个形体岁视角不同而发生改变的建筑，但它与城市有些格格不入的高冷气质却始终如一。