Tiffany & Co.’s newly reopened store in Stuttgart’s Dorotheen Quartier features a glimmering facade designed by Dutch architecture firm MVRDV. This latest collaboration showcases the firm’s innovative use of materials and their commitment to translating Tiffany’s legacy into architectural design. The facade, created together with legendary Dutch ceramics manufacturer Koninklijke Tichelaar, is composed of hand-crafted ceramic diamonds with an iridescent finish.

MVRDV’s approach for the Tiffany facades builds upon the brand’s history of innovation and craftsmanship. Drawing inspiration from Tiffany’s reputation for experimentation and material excellence, the design emphasizes three-dimensionality and refined geometry, echoing the precision of diamond cuts. This Stuttgart store continues the series of facades designed by MVRDV for Tiffany, each celebrating the brand’s identity through unique architectural expressions.

images © Gionata Xerra Studio

mvrdv’s custom craftsmanship and gradient colors

The Stuttgart facade by MVRDV features 2,829 ceramic diamond elements, attached to Tiffany & Co.’s glass storefront using custom steel fixings. These diamonds, which the architects mount both inside and outside the glass, create a ‘floating’ effect, enveloping visitors in a dreamlike space. The arrangement allows for varying levels of transparency and opacity, enabling dynamic views into and out of the store. Key areas, such as window displays, are framed by a deliberate reduction in diamond density to enhance visibility.

Each diamond is hand-cast using a slip-casting method and glazed in one of nine custom colors. The gradient transitions from the brand’s iconic robin’s-egg blue to a crisp white, highlighting Tiffany’s recognizable image with the subdued palette of the Dorotheen Quartier. This intricate craftsmanship ensures the store stands out while maintaining harmony with the brand’s identity.

Tiffany & Co. reopens its Stuttgart store with a new facade by MVRDV

Ceramic Experts evoke tiffany & co. heritage

The ceramic elements employed by MVRDV for Tiffany & Co.’s Stuttgart facade were produced by Koninklijke Tichelaar, a renowned Dutch ceramics manufacturer. Their expertise facilitated the development of a specialized iridescent glaze that adds depth and dynamism to the facade. The finish shifts subtly with changes in lighting, weather, and perspective, evoking the shimmering qualities of Favrile glass — a patented innovation by Louis Comfort Tiffany in 1894.

‘In our facade design for the Stuttgart store, we tried to capture the sense of wonder and enchantment that has characterized the world of Tiffany & Co. ever since its inception,’ says Jacob van Rijs, MVRDV founding partner. The shimmering, floating diamonds create an immersive and magical experience, paying homage to Tiffany’s legacy of artistry and elegance.

the design features 2,829 hand-crafted ceramic diamonds

diamonds are mounted to the glass to create a floating effect

custom iridescent glazes create a shimmering, dynamic finish

a gradient transitions from Tiffany Blue to white across the facade

MVRDV collaborated with Dutch ceramics expert Koninklijke Tichelaar

project info:

name: Tiffany & Co. Facade

architect: MVRDV | @mvrdv

location: Stuttgart, Germany

client: Tiffany & Co. | @tiffanyandco

ceramics manufacturer: Koninklijke Tichelaar | @koninklijke_tichelaar

photographer: © Gionata Xerra Studio

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Dutch practice Studio RAP completes a groundbreaking and sculptural assembly, dubbed New Delft Blue, merging computational design and fabrication with traditional ceramic craft. Marking the entrance to a residential building block, the project is set against an apt backdrop — an old and scenic city in the western Netherlands well-known for its production of blue and white pottery. Together with Dutch ceramics manufacturer, Koninklijke Tichelaar, the design team reimagines this tradition, crafting unique modules of 3D-printed clay which together comprise a complex vaulted surface of fluid textures. Thus, the project strives to unleash a new architectural potential for ceramic ornamentation in the modern era. See designboom’s previous coverage here.

images © Riccardo De Vecchi | video © Oculus Film

new delft blue: a modern gateway in an historic city

The architects at Studio RAP complete the New Delft Blue threshold for the PoortMeesters residential building block, an area nestled within the larger urban redevelopment project Nieuw Delft. Anchoring the lush communal courtyard, the project consists of two large entry gates, each spanning approximately four meters in width, eight meters in height, and twelve meters in depth. These gates, beyond their visual appeal, serve to envelop a prominent public staircase. With a nod to Delft’s medieval trading history as well as the city gates which can be found across the city, New Delft Blue unfolds as a modern interpretation of a familiar Dutch building motif.

a Visionary Design Inspired by Tradition

Drawing inspiration from the design vocabulary of traditional Delft Blue porcelain plates, Studio RAP incorporates elements that bridge centuries of artistic transformation. These plates have traversed a journey from replicating patterns of Chinese and Japanese origins to embracing contemporary Dutch designs. An enduring feature, however, has been the dichotomy between ornate, nature-inspired frames and tranquil, picturesque scenes. The New Delft Blue design embarks from this intersection, portraying the ever-shifting courtyard life as the idyllic scene, while the gates themselves emerge as three-dimensional frames adorned with algorithmically generated, nature-inspired patterns. These patterns guide visitors from the public realm into the semi-public oasis of the courtyard.

the gateway leads to the semi-public courtyard of a Delft housing block

The architects showcase their explorations in algorithmic design as they navigate the manufacturing constraints of the large-scale curving surface. Parameters such as maximum overhang, width, height, depth, shrinkage, and internal support structures have been deftly woven into the very fabric of the tiles’ geometry. This results in a composition of fluid shapes that evokes a three-dimensional painting. A translucent blue glaze glides across the surface of these tiles, orchestrating a visual symphony. This glazing technique accentuates the convex contours with a delicate light blue hue, while the concave valleys resonate with deep blue glaze pools. This interplay of hues lends seamless transitions, mirroring the city’s canals and its deep blue porcelains — all strengthened further against the backdrop of earth-toned brickwork.

fluid patterning evokes a three dimensional painting

two large entry gates each span four meters in width, eight meters in height, and twelve meters in depth

blue ceramic glaze glides across the 3D-printed modules

the gates emerge as three-dimensional frames wrapping algorithmically generated, nature-inspired patterns

project info:

project title: New Delft Blue
architecture, ceramic 3D-printing: Studio RAP | @studio.rap

location: Delft, The Netherlands

poortmeesters architect: VY architects

client: Ballast Nedam Development + BPD (Bouwfonds Property Development)

mounting: Kooistra Geveltechniek

rear structure: Lomax Systems

partners: vera yanovshtchinsky architecten, koninklijke tichelaar makkum

photography: © Riccardo De Vecchi | @riccardodevecchi.photo

video: © Oculus Film | @ocvlvsfilm

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‘Villa BW’ is a residential project introducing a modern twist to the local architecture of Schoorl in the Netherlands. Designed by Mecanoo, the dwelling is topped by a double-curved roof that morphs into a horizontal roofline creating an animated transition between the dune and the polder side of the verdant scenery. The Dutch architecture studio opted for a gentle juxtaposition of contemporary and traditional cues, finished with glazed ceramic tiles — created together with Dutch ceramics manufacturer Koninklijke Tichelaar — on its envelope. This customized tile cladding adds a continuous monolithic appearance, which forms a strong connection between the house and its transformative landscape.

Informed by the nuances of the environment, the color spectrum of the tiles consists of various glossy shades of grey, green and blue generating a captivating pearlescent effect that changes its character during the day, providing different impressions every time. This single material forms a coherent whole that illustrates the transitions in the geography, ‘from dune landscape to polder, and the soil layers, from light to dark’. Villa BW’s traditional look is enhanced by the wood-clad windows, which protrude from the facades like frames.

all images by Ossip Architectuurfotografie

reflecting the nuances of the surrounding setting 

The villa is spread over three floors, with an additional level within the hood of the roof. The sloping terrain of Schoorl embraces the house, with the ground floor and the basement level at -1 developing a direct connection with the surroundings. To the southeast, the connection with the landscape alongside the sloped garden is enhanced by enclosing two voids with a curtain wall system.

When it comes to the interior, the design team at Mecanoo gathered all living spaces around the curtain wall and an enclosed wood-cladded core. Thanks to the curtain wall, the basement levels adopt a transparent appearance, allowing plenty of natural light to flow inside. Throughout the house, the interior provides generous views of the surrounding countryside, utilizing wooden frames that refer to the charm of local craftsmanship.

the twisting roof is developed as a result of two overlapping shapes   

a double-curved roof adds to the lively expression of the facade

a gable roof is designed on the dune-side, characteristic of the street scene on the Oorsprongweg

a lively effect of grey, green and blue

the façade’s nuances and volumetry describe the transition from dune to polder landscape

project info:

name: Villa BW

architects: Mecanoo | @mecanoo
location: Schoorl, Netherlands
size: 308 sqm
status: completed in 2022
photography: Ossip Architectuurfotografie

The post multicolored glazed tile cladding enchants mecanoo’s villa bw with iridescent effect appeared first on designboom | architecture & design magazine.

The historic Arnhem Museum in the Netherlands receives a contemporary extension by Benthem Crouwel Architects, defined by its shimmering, iridescent tile facade. The project, created together with Dutch ceramics manufacturer Koninklijke Tichelaar, opens to the public this Friday, May 13th, 2022 and comprises the new extension along with the restoration of the heritage building and its characteristic historic dome.

The main focus of the intervention is the new wing, which protrudes 15 meters over the glacier-formed ‘moraine’ so that visitors inside seem to float above the trees. The museum will celebrate its opening with three exhibitions: From Left to Right, At Least Lasts Until, and Open.

images © Jannes Linders

a facade of 82,000 hand-crafted tiles

Benthem Crouwel Architects (see more here) transforms the Arnhem Museum into a contemporary space that is clearly organized, accessible and connects the city with nature and art. Architect and partner Saartje van der Made: ‘We were immediately captivated by the beautiful high location. The view is a huge plus, so we wanted to go even higher with the new building to accentuate that.’

Along with the floating wing that cantilevers far above the moraine and a public wide staircase that connects it to the renovated sculpture garden, the project shines with its glimmering facade. The new wing is tiled with 82,000 unique, hand-crafted tiles. The special color gradient of the tiles on the facade — from earthy tones on the shore to ice blue on the side towards the river — symbolizes the location of the museum on the moraine formed by a glacier.

The combination of these natural colors with the shape ensures that the building flows smoothly into the surrounding nature. Architect and partner Joost Vos: ‘The exterior had to be subtle and surprising, so that the building becomes part of the environment and at the same time arouses curiosity. The facade actually gets more and more interesting as you get closer. All tiles are unique, as if they are all small works of art, very fitting for this special place and its function as a museum.’

Benthem Crouwel Architects began its transformation of the Arnhem Museum in 2017. With the expansion of the new building, more than 1,100 square meters of exhibition and public space has been realized on top of the 1,350 square meters in the monument. The museum now has 1,935 square meters of state-of-the-art exhibition spaces. The spacious new building has five new exhibition halls and two public spaces, which are interconnected, with a self-evident routing.

The monumental dome of Cornelis Outshoorn from 1873, originally a gentlemen’s club, has regained its original, spatial character and is the heart of the museum. The entrance, shop and café are housed in this central meeting place. A freely accessible activity space has been created on the top floor of the dome, where a continuous program is offered by the museum. From now on, the dome also provides access to the completely renovated sculpture garden. This ‘green outdoor room’ is freely accessible.

project info:

project title: Arnhem Museum Extension

architecture: Benthem Crouwel Architects | @benthemcrouwelarchitects

location: Arnhem, Netherlands

project team: Joost Vos, Saartje van der Made, Mels Crouwel, Maurice Korenblik, Willem Jan van der Gugten, Nihal Kol, Volker Krenz, Jerome Latteux, Femke Tophoven, Nico de Waard, Marcel Wassenaar

landscape architecture: Karres + Brands

interior architecture: Studio Modijefsky

construction: Pieters Bouwtechniek Delft

installation advisor: Nelissen Ingenieursbureau

contractor: Rock Construction, aalten
installer: Alferink Installatietechniek
tiles supplier: Koninklijke Tichelaar

completion: May 2022

photography: Jannes Linders

The post benthem crouwel wraps its arnhem museum extension in shimmering tiles appeared first on designboom | architecture & design magazine.

studio RAP is planning to frame the lush communal courtyard of the poortmeesters building block, which is part of the large scale redevelopment ‘nieuw delft’ with two large entry gates. a reference to delft as a medieval trading city, the gates also offer passers-by a glimpse of the idyllic life going on inside. for the design of the gates, the rotterdam-based studio has drawn from traditional delft blue porcelain plates, reinterpreting their aesthetic qualities with innovative techniques. 

‘the design vocabulary of these plates has changed radically over the centuries from copying chinese and japanese oriental designs to making contemporary dutch designs,’ notes studio RAP. ‘the differentiation between a decorative, abstracted frame and picturesque scene, however, has been a recurring division. this division is the starting point for the new delft blue design where the scene is the ever-changing existing courtyard life and the gates exist as three-dimensional frames that focus the view.’

measuring four meters wide, eight meters high, and 12 meters deep, the gates cover a large public staircase that indicates the communal character of the courtyard. their deep blue color reflects the connection to delft blue porcelain and the surrounding canals, while it subtly contrasts the earth-toned masonry covering the building to indicate a threshold. the project requires approximately 4.000 contemporary, rich and unique ceramic tiles, which will be 3D printed.

certain manufacturing constrains, including maximum overhang, width, height and depth, are developed using an algorithmic approach to 3D pattern design, while they are taken into account when generating the geometry of the tiles. ‘because the tiles are 3D-printed, applying variation in their shape is rather cheap,’ adds studio RAP. ‘by applying a runny glaze on white-burning clay portions of the tile that are convex (hills) will remain white as the blue glaze pools in the concave (valley) areas of the tile. this poetic method of ‘painting with shape’ allows for smooth transitions between hues of blue and white that are impossible to produce otherwise.’

project info:

name: new delft blue

architect: studio RAP

poortmeesters architect: VY architects

status: prototype

location: delft, the netherlands

client: ballast nedam development + BPD (bouwfonds property development)

3D-ceramic-printing: studio RAP

partners: vera yanovshtchinsky architecten, koninklijke tichelaar makkum

The post 3D-printed ceramic tiles clad the gates of studio RAP’s residential building block in delft appeared first on designboom | architecture & design magazine.

all images © hufton + crow

formed from the aston webb screen — a listed portland stone structure built in 1909 to hide the museum’s unsightly victorian boilers — a reconfigured colonnade now serves as a welcoming entrance to the V&A. the original stonework retains the scars that world war II left on the museum, which is reflected in 11 sets of new metal gates. designed by AL_A, the new interventions present patterns of perforations that trace the imprint of the historic shrapnel damage.

a reconfigured colonnade now serves as a welcoming entrance to the V&A

visitors are then greeted by the sackler courtyard, a new civic space that comprises 11,000 handmade porcelain tiles. in addition to a café, which features furniture designed by AL_A and manufactured by moroso, the world’s first all-porcelain public courtyard reveals architecturally significant façades and details that have never previously been seen by the public. these include sgraffito decoration on the side of the henry cole wing — a decorative renaissance technique using multiple layers of colored plaster created by the museum’s first art students in the late 19th century.

the sackler courtyard is a new civic space that comprises 11,000 handmade porcelain tiles

the entrance sequence is continued internally with the blavatnik hall, which leads to a new shop and connects to the historic ceramic staircase. finally, the sainsbury gallery forms one of the largest temporary exhibition venues in the UK, providing 1,100 square meters of column-free space. the flexible volume is located above a floor dedicated to art handling, conservation, and preparation space. here, structural columns and beams have been painted international orange — a color used in the aerospace industry to set objects apart from their surroundings.

the entrance sequence is continued internally with the blavatnik hall

‘the V&A exhibition road quarter is a reflection of the pioneering identity of the V&A and continues its mission of innovation into the twenty-first century,’ says amanda levete of AL_A. ‘the quarter reimagines the museum as an urban project, creating an exceptional place for london that will redefine the V&A’s relationship with the street and the public.’

‘with its mix of ingenuity and imagination, the V&A has always been a meeting point for historicism and modernity,’ adds tristram hunt, director of the V&A. ‘the V&A exhibition road quarter bridges the two by offering fresh insights into our historic building with pioneering new architecture, creating london’s leading exhibition space.’

the hall leads to a new shop and connects to the historic ceramic staircase

with construction work well underway on new galleries in dundee and shenzhen, the opening of the project signals the start of a new era for the museum. since AL_A was commissioned to undertake the project in 2011, 22,500 cubic meters of earth have been removed from the site — 99% of which was recycled. the new spaces have created more than 6,000 square meters out of 2,200 square meters of underused space. the exhibition road quarter opens to the public on the evening of june 30, 2017.

the sainsbury gallery forms one of the largest temporary exhibition venues in the UK

the gallery provides 1,100 square meters of column-free space

structural columns and beams have been painted ‘international orange’

the world’s first all-porcelain public courtyard becomes gently illuminated at dusk

the exhibition road quarter opens to the public on june 30, 2017

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project info:

client: victoria & albert museum
architect: AL_A
engineers (SMEP): arup
quantity surveyor: aecom
lighting designer: DHA designs
historic building adviser: giles quarme & associates
planning consultant: DP9
project manager: lendlease
main contractor: wates
specialist AWS contractor: PAYE
specialist subcontractors: koninklijke tichelaar makkum (porcelain tiles), octatube (oculus), midland alloy (aston webb screen gates), astins (gallery ceiling), EE stairs (gallery staircase), cornish concrete (stepped terrace), mazorati ronchetti (café bar)

AL_A team
principal: amanda levete
project director: alice dietsch
project architect: matt wilkinson
team: ho-yin ng, maximiliano arrocet, alex bulygin, blandine plenard, chiara zaccagnini, fernando ruiz barberan, filippo previtali, giulio pellizzon, matthew riley, michael levy, michael wetmore, patrick drewello, peter angrave, peter king, raffael petrovic, robert rice, rumen stefanov, song jie lim, stefano bertotti, stephen citrone, win assakul

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The post AL_A completes the V&A’s largest architectural intervention in over 100 years appeared first on designboom | architecture & design magazine.

designed by architecture office AL_A based on a winning competition proposal in 2011, the ‘exhibition road building project‘ adds a new entrance, courtyard, and galleries to the victoria & albert museum in london. the scheme places the exhibition space, specified for temporary displays, below ground, in order to entirely maintain the original structure. with its walls, floors, and roof lined in tile, the plaza and café will be the first in the UK to be finished with porcelain, supplied by the dutch ceramics company koninklijke tichelaar makkum. construction on the museum extension began in january 2014, with a projected opening set for early 2017.

a rendered animation provides walk-through views of the V&A museum’s new entrance, courtyard, and gallery
video courtesy of AL_A

led by architect amanda levete, the design seeks to increase the museum’s openness to the public, offering permeable connections among the street, the courtyard, and the subterranean exhibition space. the landscape is broken up by a wide staircase and large skylight,which illuminates the gallery below. a separate faceted building form rises between the existing buildings to to cover the museum’s interior and house a café. located 15 meters below grade, the 1,500 square meter display area features deep structural fins, which are arranged with undulating geometry to create a dynamic ceiling-scape.

the exhibition space is housed below the courtyard and café
image courtesy of AL_A

the renovation maintains the original museum structure
image courtesy of AL_A

skylights illuminate the large exhibition hall
image courtesy of AL_A

glass curtain walls allow for maximum transparency between the courtyard and museum interior
image courtesy of AL_A

image courtesy of AL_A

a walk by the aston webb screen gates which enclose the courtyard
video courtesy of AL_A

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The post koninklijke tichelaar makkum tiles V&A exhibition road project by AL_A appeared first on designboom | architecture & design magazine.