Built by Belgian studio Robbrecht en Daem to a series of sketched plans and perspectives discovered in the Mies van der Rohe Archive of the Museum of Modern Art in New York, the pavilion respects the original design for the clubhouse that, due to the Great Depression, was never built.

Architects Paul Robbrecht and Hilde Daem conceived the structure as a full-size model rather than a building. "It is a life-size model revealing the essence of Mies's architecture through its abstraction," they explain.

The pavilion is located on the site it was originally planned for near Krefeld, where Mies van der Rohe also completed the residences Haus Esters and Haus Lange. "The pavilion is temporarily enriching the architectural heritage of a city that is known for being home to two of Mies's other remarkable buildings," say the architects.

The structure primarily comprises an open-plan space that is loosely partitioned by timber screens and stainless-steel columns. Offices, changing rooms and staff rooms are positioned along the eastern side of the plan, alongside a canopy that projects out towards the landscape.

1:1 Modell Golfclubhaus opens to the public this weekend and will remain in place until the end of October.

German-American architect Mies van der Rohe is commonly regarded as one of the masters of Modernist architecture. Two apartment towers by the architect were recently restored in Chicago, while his famous Barcelona Pavilion was filled with junk for an exhibition earlier this year. See more stories about Mies van der Rohe.

Robbrecht en Daem also recently received critical acclaim, after the firm's market hall in Ghent was one of the five finalists for the Mies van der Rohe Award 2013.

Photography is by Marc De Blieck.

Here's some more information from Robbrecht en Daem:

Mies van der Rohe - 1:1 Modell Golfclubhaus

Robbrecht en Daem architecten are building a life-size model to a 1930 design by Mies van der Rohe.

In the rolling landscape around the former industrial German city of Krefeld, Robbrecht en Daem architecten realized a striking temporary pavilion based on a design for a golf course clubhouse by Mies van der Rohe dating from 1930, which was never built. Christiane Lange, art historian and curator for Projekt MIK, invited the Belgian architectural firm of Robbrecht en Daem architecten to create a temporary objet d'architecture using the series of historical sketches of the project that were discovered during research into the Mies van der Rohe Archive at the Museum of Modern Art (MoMA) in New York City. The temporary installation by Robbrecht en Daem architecten is open for viewing from 27 May to 31 October 2013 at the original location of the project. The installation of 84 by 87 m is built primarily of wood. It is being conceived as a life-size model whose abstraction brings out the essence of Mies's architecture and spatial concepts. Along with the two other famous Mies projects in Krefeld – Haus Esters and Haus Lange, characterised by their brick volumetries and classical plan – the pavilion serves as a lovely illustration of the evolution that Mies brought to Modernism.

Krefeld, an industrial city on the edge of the Ruhr area, already housed two masterpieces from the early European career of Ludwig Mies van der Rohe: the twin project consisting of Haus Esters and Haus Lange, which date from 1927-1930. Those two projects, along with a handful of other project from Mies's hand, an extensive collection of furniture, several exhibition scenographies and the corporate building Verseidag bear witness to the good contacts that Mies had with the textile industry in Krefeld in the inter-bellum period.

Art historian Christiane Lange – granddaughter of textile manufacturer Hermann Lange, for whom Mies built Haus Lange – has been heading up a research and art project into the creations that Mies did for Krefeld.

The research project 'Mies in Krefeld (Projekt MIK)' has already seen two publications, an exhibitions and a documentary film around the theme. During research into the Mies van der Rohe Archive at the Museum of Modern Art (MoMA) in New York City, Lange stumbled upon a series of sketches that Mies had made in 1930 for a pavilion at the golf course close to Krefeld, that had never been built.

The unique archive material for the clubhouse includes sketched plans and perspectives that, in spite of being only few in number, manage to give a good impression of Mies's ambitions for the project. The design was to be part of a series of experiments into the spatial principles of the plan libre. The sketches show a spacious roof surface on slender columns, combined with a strongly rhythmical floor design and a few well positioned dividing walls that encapsulate the space. Along with the Esters villa and the Lange villa, known for their brick volumes and their open, yet classical plan, the clubhouse would have served as the perfect illustration for the evolution that Mies brought to Modernism.

For Christiane Lange, the unique archive material was the inspiration to curate an artistic project linking her historical interest in the persistent relation of Mies with the Krefeld based silk industry and its protagonists, with the broader question into the significance of Mies's architecture for contemporary architectural practice. She challenged the Belgian Robbrecht en Daem architecten to develop a new interpretation of Mies's design and to create an objet d'architecture to scale at the original site of the project.

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by Robbrecht en Daem appeared first on Dezeen.

The little building previously functioned as a garage for a weekend retreat in the Raethian Alps, but act_romegialli was asked to convert it into a space where the owner can keep gardening tools, prepare meals and entertain guests.

Retaining the rustic stone walls and columns of the old garage, the architects installed a galvanised metal framework with a skeletal pitched roof, then added glazed panels to infill openings on each of the walls.

Steel wires strung up around the structure help a selection of deciduous plants to climb over the facade, plus a mixture of annual and perennial shrubs are planted around its base, providing a constant blanket of exterior greenery.

The interior of the building is divided into two rooms, both with weather-beaten larch floors and exposed concrete ceilings. The kitchen is constructed from galvanised steel and features a sink with metal pipes for taps.

Other garden pavilions to feature on Dezeen include a wooden folly that cantilevers across a lake and a pavilion with the same structural form as a leaf. See more pavilions on Dezeen.

Photography is by Marcello Mariana.

Read on for a project description from the architects:

"Green Box" | act_romegialli

The "green box" project rises as the renovation of a small disused garage, accessory to a weekend house situated on the slopes of the Raethian Alps. A structure realised with lightweight metal galvanised profiles and steel wires wraps the existent volume and transforms it into a tridimensional support for the climbing vegetation.

It is composed mainly by deciduous vegetation: Lonicera periclymenum and Polygonum baldshuanicum for the main texture on which climb up the secondary texture of Humulus lupulus and Clematis tangutica. On the basement there are groups of herbaceous perennials (Centranthus ruber, Gaura Lindheimeri, Geranium sanguineum, Rudbekia triloba) alternate with annual ones (Cosmos bipinnatus, Tagetes tenuifolia, Tropaeolum majus, Zinnia tenuifolia) and bulbous to ensure a light but continuous flowering.

Inside the pavilion is organised a room for the gardening tools, great passion of the owner, an area for cooking and a space for conviviality. Materials are left rough and simple; galvanised steel for the kitchen, larch planks for flooring and big sliding doors, windows in unpainted galvanised steel, simple pipes for the water supply.

A small green shelter in the vegetation, privileged observation point of the changing of the seasons of the surrounding park. Park that is left wild in some areas and in other transformed into garden of flowers or simple green space, punctuated only by beautiful nude rocks scattered in the property.

Location: Cerido SO – Italy
Typology: pavilion for gardening and conviviality
Design: act_romegialli - Gianmatteo Romegialli, Angela Maria Romegialli, Erika Gaggia
Landscape: Gheo Clavarino
Client: Private

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The new cladding will replace bamboo louvres that currently surround the glazed walls of the building, which was originally designed by the former London studio to accommodate an exhibition about low-cost housing for the six-month-long world fair.

The pavilion was converted into a retail and office complex once the Expo was over, but two years on the bamboo had started to rot and the steel frames were showing signs of rust, so the owners asked 3Gatti Architecture Studio of Rome and Shanghai to come up with a new design.

3Gatti has developed a facade of parasol-like screens that each fold open from a spring-loaded central joint. "We came up with this idea because on sunny days here, Shanghai is full of people with umbrellas," chief architect Francesco Gatti told Dezeen. "Here they are very common objects used for sun shading."

Just like with the existing bamboo shutters, occupants will be able to adjust the shades to control the light levels within the building. "The previous design of the Madrid Pavilion was a system controlled by the users moving the folding shades horizontally," Gatti added. "We just changed the shades into a more familiar object."

The architects will use perforated Corten steel to create the surface of each umbrella, as well as the panels in between. The ground floor elevations will be glazed to allow more visibility into the shops at this level.

Francesco Gatti founded 3Gatti Architecture Studio in 2002 and opened his Shanghai office in 2004. Other projects in China by the firm include a hotel that looks like a giant set of shelves and an undulating cave-like bar. See more architecture by 3Gatti.

The Madrid Pavilion was one of over 70 pavilions at the Shanghai Expo 2010. See more of the pavilions on Dezeen, including the UK Pavilion designed by Thomas Heatherwick.

Here's a project description from 3Gatti Architecture Studio:

Umbrella Facade - new facade for the ex Madrid Pavilion in the Shanghai Expo site.

After the 2010 Shanghai expo the Madrid pavilion needed to be renovated and transformed into a commercial building with retail and office functions. The old facade was built around a 1.5m wide terrace all around the building with bamboo louvers mounted on folding steel frames. In 2012 the bamboo got rotten and the frames rusted so the Shanghai Expo Bureau decided to replace the old bamboo skin with a new facade that could work in the same way: allow the people to open or close the shades so to protect glass facade from the sun in summer and allow more light in during the winter. We were commissioned to find an eye-catching concept that can follow those functions but also attract more people in the new commercial area.

If you visit China one of the first surprise you will find is that most of the women protect themselves from the sun using umbrellas and when actually rains most of the time they don't mind to get wet without any protection. So when they asked us to protect a building in China from the sun this idea came up spontaneously: an umbrella facade.

The idea was to make each umbrella able to be controlled by a pulley to allow people to interact with it. Apart from the pulley the rest of the mechanism is identical to the one of the umbrella with the only difference that the mechanical parts are made of stainless steel, the frames of aluminum and the external surface of thin corten.

When the umbrellas are fully opened the facade is completely flat so that most of the sunlight and strong wind is blocked. If the umbrellas are opened the light is able to come fully inside and the umbrella sticks become attractive star-sticks with an aerodynamic shape not resistant to the wind preventing structural tensions in case of typhoons.

Architecture firm: 3GATTI
Chief architect: Francesco Gatti
Project manager: Bogdan Chipara
Collaborators: Alessandro Paladin, Jennifer Yong, Zara Wang, Yichen Wang

Client: Shanghai World Expo (Group) Co., ltd.
Location: UBPA , Shanghai Expo area
Programme: Replace the old bamboo-louvers façade with a new facade.
Area: 1330 m²
Design period: November 2012
Construction period: Autumn 2014
Materials: Corten, aluminum and stainless steel

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by 3Gatti Architecture Studio appeared first on Dezeen.

Named Crescent House, the structure was designed by Andrew Burns with a symmetrical geometry that comprises two intersecting arcs within a rectangular frame.

Visitors are invited to follow the curve of the walls to a secluded space at the pavilion's centre, where light filters through tiny perforations to create a wall resembling the night sky.

The charred cedar cladding references the frequently occurring bush fires of the region. Meanwhile, the rectangular structure at the back frames a view of the hedge beyond.

"The pavilion has an ambiguous presence, between architecture and art object," says Burns. "The structure responds to elemental themes: darkness and light, the wonder of the night sky, the arc of the sun and the presence of bushfire on this continent."

Crescent House is the inaugural project in the Fugitive Structures programme, a series of temporary pavilions that will be installed annually in the Zen Garden of the Sherman Contemporary Art Foundation (SCAF).

Citing the Serpentine Gallery pavilions in London as an inspiration, the SCAF plans to invite emerging and mid-career architects to design the new pavilions, one of which will be constructed each year, for the next four years.

Andrew Burns also recently completed a pointy gallery and studio for artists in Japan.

See more architecture that features blackened wood, including a rural residence outside Melbourne and a temporary tower installed in Norway.

Photography is by Brett Boardman.

Here's some more information from Andrew Burns:

'Crescent House' is the first in an annual series of temporary pavilions to be installed at Sherman Contemporary Art Foundation in Paddington, Sydney. The aim of this 'Fugitive Structures' program is to engage a wide audience with architectural thought.

Two arcs are set within an apparently simple rectilinear form. The arcs bisect, creating a pair of infinitely sharp points and a threshold to the space beyond. This combination of fragility and robustness seeks to charge the conversations within the space with a particular quality.

The structure has an ambiguous presence; between architecture and art object. Through framing, it transforms an ordinary rose apple hedge into a landscape of beauty.

The pavilion responds to elemental themes; darkness and light, the wonder offered by the night sky and the burnt quality of yaki-sugi (charred cedar) recalling the presence of bushfires on this continent.

The pavilion and has been initiated and supported by Sherman Contemporary Art Foundation, BVN Donovan Hill, Andrew Cameron Family Foundation and the Nelson Meers Foundation.

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by Andrew Burns appeared first on Dezeen.

Produced by Borealis, the installation arm of Serrano's studio, The Dome is built from nearly 1000 inflated PVC spheres with LED lights at their centres. "They're kind of like beach balls," Serrano told Dezeen.

Each LED is connected to a computerised system, which relays a combination of around 50 different patterns of light and colour. The program can be downloaded to a smartphone or tablet, making it easy to alter the sequence.

Cables fix each of the balls around the skeletal framework of the dome.

Serrano says he originally planned to rent a much smaller structure, but ended up using a dome that Coachella already owned.

"It's four times bigger than our original proposal," he explains. "We had to have the balls custom made in China to get them ready in time."

The structure was installed for the two weekends of the annual music festival and will be dismantled later this month.

Héctor Serrano is based in London. Past projects by the designer include a speaker designed to look like a computer icon and a set of accessories for turning balloons into animal heads. See more design by Héctor Serrano.

Other designs we've featured from music festivals include tree-mounted urinals at Roskilde in Denmark and star-shaped lights from Burning Man festival in Nevada.

Here's some more information from Héctor Serrano:

The Dome by Borealis for Coachella

Inspired by the Pantheon dome in Rome, the installation resemblance a cathedral of light, an art piece where the visitor is immerse in a 360º unique experience completely surround with light. The dome works as immersive environments when inside and as large scale sculpture when view from outside. The dome is made out of nearly 1000 spheres and LEDs that are used as a pixel, creating a volumetric environment with infinite patterns and possibilities.

Borealis is the installation division of Hector Serrano. The Dome launches on Friday 12 April and will be open for Coachella two weekends 12-15 and 19-21 and attended by more than 200,000 people. The Coachella Valley Music and Arts Festival is an annual three-day music and arts festival, held in Indio, California in the Inland Empire's Coachella Valley. The event features many music genres, including rock, indie, hip hop, and electronic music, as well as sculpture.

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at Coachella appeared first on Dezeen.