Rope Wave Office / ten-arch + Usual Studio

Offices interiors
Location : Shanghai, China

Text description provided by the architects. The office area is only 170 square meters and it’s located at QSW Culture Center in  Shanghai. Owner wants to create a working space at low budgets but innovative and attractive. In this office small-scale design team and startups can work together.


Design Concept

1.Sharing, communicating, creativity

The floor plan of two circle shapes streamlined in the open space shows the function and make the room usage more efficient. The original space below public staircases is too small to be used. According to the space conditions, now this space turn to be a reading and corporate culture display area.

2.Rope, steel, wood

Most materials in this office are natural materials, such as rope, steel and wood, which are low price and eco-friendly. In order to highlight the rope material possibility and natural material beauty, we use waving rope as the main design concept.

3.Waving rope cover beam-column system

Dynamic waving rope interface, like a new clothes for the space, cover the original beam-column system to make office more energetic. Rope weaving as a spatial partition, define the function of each space and produce small into large space experience. This office decorated with warm colors and elaborate lighting and furniture, trying to create a comfortable and friendly space.

The Deep aquarium

Architect : Terry Farrell

Landscape Architect : Caselia Stanger

Location : Hull, Kingstone, East Yorkshire , England

Floors : 5

Website :


The Deep Aquarium, designed by architect Sir Terry Farrell is home to approximately 3,500 fish species, including coral reefs, sharks and rays, species that can live in this environment to be one of the deepest aquariums world. An elevator underwater allows visitors to observe the environment from a place of exception. The aquarium has become one of the major attractions of the city, acting as a means of conservation and education. The building opened in 2002, although the full papers were not finalized until 2005. From the top floor there is an observatory overlooking the Humber estuary.

The Deep operates as a charitable organization dedicated to increasing the enjoyment of the world’s oceans. He has won numerous awards including: Gold Award for Green Tourism Business Scheme Gold Award for Sustainable Tourism (England) and Silver Award for Major Attraction of the Year 2009.



n the design of Terry Farrell & Partners is building half, half sculpture, rising dramatically over a spit of land at the site ddonde the River Hull joins the Humber estuary width. The building exploits the landscape on which it is built and inspired by natural geological formations.

Farrell acknowledges that “… this type of leisure buildings is public architecture in its most popular form…”. In this case his intentions has resulted in an architectural metaphor of a wave, an iceberg or a heavily eroded and pushed out by the deeper forces of the earth cliff. The interior windowless largely inspired by the watery depths of the same sea. The goal is to create buildings that Farrells win popular support to close the gap between the causes of elite and popular.



The 5-storey building has 15 tanks with transparent walls for viewing the fish, including the deepest in Europe that has 10m high and is home to 2,500 fish of 120 species.


The building stands on a 30° angle to form a sharp corner point directly above the tongue of land between the river and the estuary. The land base of the building is covered with dark gray and black sheets of aluminum. At the top is coated aluminum panels of large irregular diamond shapes suggesting fissured rock plates. And higher still, the metamorphosis of the carpet, as if by underground heat and pressure had been transformed into gleaming ceramic tiles. The upward slope pinnacle culminates with a crystal clear tones and behind which a high level, which acts as a gallery gazebo faces a broad overview of the Humber.

Facade Access

While the glass gallery on the top floor with the sun shines creates a lightweight appearance, the facade where is located the access to the building, on the opposite side, is a composition of concentrate materials where colors prevail. The walls are coated with materials ranging from medium to dark gray, dotted with small and medium square windows. A large charcoal gray mass emerges in a crazy angle of the lower block, and this culminates in another high level, although much less than the viewpoint of the gallery. In rationalizing Farrell, this is all part of the metaphor of eroded monolith, but has little visual relationship with the other side paneled facade.


Once inside the building, visitors are taken by elevator to the top floor, where you begin the descent through a continuous winding ramp that gradually descends through aquariums, interactive modules, tapestries and other exhibitions. This downward spiral route takes visitors through the fabric of the museum, which traces the chronological development of the Big Bang, through the era of fossil, with the current state of the world’s oceans. Also gradually plumbs the brackish depths and geographical latitudes of the oceans. The main attraction inside the building is the largest tank, with a capacity of 2.5 million liters of water and 87 tons of salt, complete with a tunnel 9m allowing a glimpse of the depths. At the tip of the iceberg a cafe with a glass observation platform outside flying over the estuary is located.

The overall project includes new business and a new swing bridge over the River Hull.

The view through the huge picture window is of a multicoloured herbaceous border with iridescent butterfly creatures flitting through. Except that the flora are surreal-looking corals and the fauna are exotic fish. A few steps along, beyond an even larger wind


The structure is based on a reinforced concrete core and over 800 tons of structural steel, supported with precast foundation piles, driven by filling in all the lower glacial deposits. In the construction of the structure aspects of defense against flooding and pollution associated with this brownfield site is considered.


The materials used in the building are of different colors and textures, including colored concrete, acrylic render, profiled metal, glass and enamel diamond sheets of marine grade aluminum, used in shipbuilding, which take on different colors according how to receive the light and reflections. The tanks have a capacity for 2.500.000lt water and 87tn salt.

To cope with the rain, the aluminum panels were coated with a waterproof paint in black and carefully arranged to form a screen that protects the tinted windows rain. The aluminum plates are attached with hidden fixings and support frames with joints between 5.40 and 0.70mm variables that display the surface behind and create different visual effects.
In “nose” of the building, laminated glass panels were cut along the support structure in steel, while elsewhere glazing systems MERO “Varioclip” were used with an aluminum framing the many windows and features crystal.

• In the construction has been used precast concrete floors, steel elliptical profiles, stainless steel profiles and numerous types of coating.

• In the 3rd and 4th floor glazing system with steel pressure plates in both west and east windows and glass doors was placed.

• an aluminum coating and insulation steel was performed, coated ventilated rainscreen on aluminum gutters and roof seals on the outer walls.

• For slabs of different plants and steel prefabricated reinforced concrete slabs were used.

• In the coatings were used 380sqm double glazed plate glazing, using nine different patterns, glass tile 345sqm, 1.370m² polished aluminum panels, laminated panels 290sqm crystal in the “nose” of the building and aluminum 110sqm black patina to the “Dark Zone”.

Studio Fuksas’ concert and exhibition venue in Tbilisi

Conjoined glass and steel tubes form Studio Fuksas' concert nd exhibition venue in Tbilisi


These images show the tubular forms of a music theatre and exhibition hall by  Studio Fuksas, which is nearing completion in the  Georgian capital, Tbilisi.


Architects Massimiliano and Doriana Fuksas designed the cultural complex for a site in the city's Rhike Park. The project has been ongoing since 2010 and is scheduled to complete later in 2017 when work on the interiors is finished.


The €40 million (£35 million) building comprises a pair of flared, tubular structures clad in a tessellated pattern of steel and glass panels.

One section of its V-shaped plan points towards the nearby Peace Bridge, which was design by Italian architect Michele de Lucchi and completed in 2010.

The Rhike Park is also within sight of the  Tbilisi Public Service Hall – an office building sheltered beneath mushrooming steel canopies that Studio Fuksas completed on the opposite bank of the Kura river in 2012.

An exhibition hall is contained in the southern section of the Tbilisi Music Theatre and Concert Hall, which is entered via a set of steps that ascend into a void facing the park.

The structure to the north houses the 566-seat Musical Theatre Hall, along with a foyer and other amenities including offices, storage and technical areas for theatre machinery.

This part of the building is raised up to provide a view across the river through a fully glazed curtain wall from the foyer and cafeteria inside.

"It is a periscope to the city and looks towards the river framing the historic core of the Old Tbilisi," said the studio.

The building's fluid shape is typical of Studio Fuksas's output and evokes previous projects including a school for hotel management in Montpellier with triangular windows punched into its curving facades and an airport terminal in Shenzhen with thousands of hexagonal skylights punctuating its tunnel-like forms.

La Sagrada Familia in Barcelona by Antoni Gaudi

Nothing is art if it does not come from nature.

-Antoni Gaudi

Architect : Antoni Gaudi

Location : Barcelona, Spain

Style : Gothic and Modernisme


 About Antoni Gaudi

Antoni Gaudí i Cornet was a Spanish architect known as the greatest exponent of Catalan Modernism.  Gaudi's works have a highly individualized, one-of-a-kind style. Most are located in Barcelona,  including his  main work, the church of the Sagrada Familia.

Gaudí's work was influenced by his passions in life: architecture, nature, and religion.

He considered every detail of his creations and integrated into his architecture such crafts as ceramics, stained glass, wrought ironwork forging and carpentry. He also introduced new techniques in the treatment of materials, such as trencadis which used waste ceramic pieces.


The Basilica de la Sagrada Familia also known as the Sagrada Familia, is a large unfinished Roman-Catholic minor basilica in Barcelona.

Designed by Spanish/ Catalan architect Antoni Gaudi (1852–1926), his work on the building is part of a UNESCO World Heritage site.


On 19 March 1882, construction of the Sagrada Família began under architect Francisco de Paula de Villar. In 1883, when Villar resigned, Gaudí took over as chief architect, transforming the project with his architectural and engineering style, combining  Gothic and curvilinear Art Nouveau forms. Gaudi devoted the remainder of his life to the project, and he is buried in the crypt. At the time of his death in 1926, less than a quarter of the project was complete.