Eight interiors where Barbiecore pink adds a playful touch of colour
As the upcoming Barbie film has created a shortage of pink colour and launched a real-life dollhouse in Malibu, we gathered eight pink interiors to exemplify the Barbiecore aesthetic for this lookbook.
The pink hues that are usually associated with Barbie, a children’s toy first launched by manufacturer Mattel in 1959, are influencing both clothes and interiors ahead of Great Gerwig’s live-action Barbie film.
The style, which has become known as Barbiecore, can add a joyful touch of colour to otherwise pared-back interiors, or be used as a hyper-bright nod to 1980s opulence.
Here, we have gathered eight interiors where pink was used to give interiors additional warmth and a touch of whimsy.
This is the latest in our lookbook series, which provides visual inspiration from Dezeen’s archive. For more inspiration see previous lookbooks featuring rustic interiors, Wes Anderson-style interiors and welcoming wood-panelled dining rooms.
Minimal Fantasy, Spain, by Patricia Bustos Studio
The Minimal Fantasy apartment is anything but minimalist – instead, Patricia Bustos Studio aimed to create an “aesthetic madness” for the interior of this Madrid rental in a 1950s residential building.
The holiday home features 12 different shades of pink, with the entire living room covered in a pastel bubblegum pink.
“Pink vindicates the fall of stereotypes – everything is possible, nothing is planned or established and that’s the beauty of it,” the studio told Dezeen.
Find out more about Minimal Fantasy ›
San Francisco house, US, by Jamie Bush
A more discrete take on adding pink to an interior can be found in this San Francisco house by architect Jamie Bush, who gave it an overhaul using an eclectic array of furniture.
Bush added pink walls to the dining room, where they contrast against dark-wood vintage furniture and white details including a lamp and sheer curtains to create a playful, yet elegant atmosphere.
Find out more about San Francisco House ›
Barbie’s Malibu Dreamhouse, US, by Ken
The most Barbiecore interior of them all can naturally be found in the Barbie Malibu Dreamhouse, which is being rented out by the doll’s boyfriend Ken on Airbnb.
Inside the California mansion, located beachside in Malibu, guests can enjoy pink rooms including the bright-fuchsia bedroom that has been decorated with cowboy hats, boots and cowhide rugs to add more “Kenergy”.
Find out more about Barbie’s Malibu Dreamhouse ›
Mixtape apartment, Spain, by Azab
A dusky baby-pink kitchen decorates the Mixtape apartment in Bilbao, which was designed by architecture studio Azab.
The white and pink cupboards are boarded by light timber strips, and the appliances in the room have also been painted pink. A multicoloured floor with pale green and yellow as well as darker red herringbone tiles give the space a vibrant feel.
Find out more about Mixtape apartment ›
130-square-metre-house, UK, by Studiomama
“London’s smallest house”, a conceptual design by Studiomama, features an abundance of pink details throughout, including in its plywood-clad kitchen.
Here, the clever fold-out seating has been decorated with blush-pink cushions and pillows, with a pink cushion also forming a cosy backrest.
Find out more about 130-square-metre house ›
Moco Barcelona, Spain, by Isern Serra
A computer-generated image was transformed into a real-life interior for the Moco Barcelona store, a rose-coloured shop inside the city’s Moco Museum.
Designer Isern Serra used pink micro-cement to achieve the same uniform, ultra-smooth surfaces as those of the computer-generated image, creating a dream-like interior filled with rounded corners and arches.
Find out more about Moco Barcelona ›
Pigment House, UK, by Unknown Works
London studio Unknown Works went all in on the pink for Pigment House, a Hampstead home that was renovated to add a pink-toned patio area.
While not technically part of the interior, it adds a splash of colour to the ground floor area, and is used for indoor-outdoor living in the summer months. The choice of pink was a reference to the colourful buildings of Mexican architect Luiz Barragán.
Find out more about Pigment House ›
Cats’ Pink House, Taiwan, by KC Design Studio
This holiday home in Taiwan got its name, Cats’ Pink House, as it includes cat ladders, a rotating carousel-shaped climbing frame and a fluffy pink cat swing.
KC Design Studio used a mineral-based paint to create the pink walls throughout the home, which also features a pink bathroom – with a pink cat litter box.
Find out more about Cats’ Pink House ›
This is the latest in our lookbook series, which provides visual inspiration from Dezeen’s archive. For more inspiration see previous lookbooks featuring rustic interiors, Wes Anderson-style interiors and welcoming wood-panelled dining rooms.
The Capilano Library connects its suburban community to nature. The library form is developed from its cross section, which is folded to form three peaks across the site, each with a different scale. Each of the three peaks responds to scale, function, natural light and view. The western peak reflects the scale of the neighborhood with a quiet edge of support spaces along the street. The eastern peak is intimately scaled, with varied seating along a serene window overlooking the nearby ravine. The design is enhanced by the mix of rectangular and polygonal ALPOLIC metal panels that were installed around the library’s exterior.
The Wolf Creek Library design was made as a community destination and as a catalyst for growth. The exterior features an outdoor reading garden and terraced seating. The library houses 5,700 square feet of adult collections, 5,000 square feet of children’s collections, a computer/learning station room, teen area, music room, sub-dividable community meeting room for 125 people and two conference rooms with smart boards and projectors. Originally, copper was considered as cladding material for the building’s iconic wedge-shaped façade. But, ultimately, it was determined that ALPOLIC’s aluminium composite material (ACM) was a superior solution.
The Saint Nicholas Eastern Orthodox Church transformed a generic shop building into a place of worship and fellowship. The architects kept the interior simple but utilized box rib metal panels for the exterior. Metal Sales manufactured the T-10A metal walls panels, which are coated in Metallic Silver and Dark Bronze Fluropon colors from Sherwin-Williams Coil Coatings. A thin cross, lit up in red, is also visible on the western side of the church.
Located in the heart of Los Angeles, this new eleven unit housing project emphasizes the central importance of shared open space for the residents and the community. Formosa takes what would be the internalized open space of the courtyard and moves it to the exterior of the building to create a park. This plan, O’Herlihy’s firm says, “simultaneously creates density and green space and models a replicable prototype for incremental community-driven city development.” Completed in 2008, the 16,000-square-foot building features a red corrugated metal exterior. Sherwin-Williams was chosen for its flagship Fluropon coating to be the product of choice for Formosa.
The National Museum of African American History and Culture (NMAAHC) holds a prominent place on the National Mall. As the team outlines, the primary architectural idea for the museum was derived from the classical tripartite column with its base, shaft and capital. In Yoruban art and architecture, the column or wooden post was usually crafted with a capital resembling a crown. This crown or corona form is the central idea which has driven the design of the museum.
This new ground up campus was designed to create a unique and authentic identity for the growing Central Arizona College. The three building campus is conceptually rooted in its historic agricultural roots and Native American legacy. Structures are conceived as a series of honest, spare and no maintenance ‘academic sheds.’ Deep overhangs let interior academic spaces flow outdoors seamlessly. Corten steel and rammed earth create the primary exterior language eliminating the need for long term maintenance.
The new Minneapolis Public Service building was designed to better reflect its community. Glass and aluminum facades wrap the building, while double height pockets are carved from the building to break up its massing. Bus and light-rail stations pass by and drop off next to the new building, offering access to from across the city. A large feature stair in the entry foyer provides public space that connects to an extra lobby on the second floor. In turn, the themes of transparency and connection continue inside.
The Walker library was designed to replace an outmoded subterranean facility, reestablishing the street façade that gives Hennepin Avenue its distinctive character and scale. Located adjacent to the Midtown Greenway bike trail and built on the foundations of the previous structure, the new library is positioned at a nexus of multi-modal transportation networks. As VJAA explains, the new stainless steel and glass clad building was designed as a simple figural mass consistent with the iconography of civic buildings.
CHS Field creates a culmination to Downtown Saint Paul’s 5th Street to the ballpark. With just 7,000 seats, the ballpark is conceived first as a park, a green space in the city and not a building. Entering off Broadway, at street level, the concourse becomes a 360 degree walkway allowing patrons to navigate around the entire field. Concourse amenities are pushed back into the hillside while the seating bowl and playing field are depressed into the natural topography of the site. It was designed to be the greenest ballpark in America.
HGA designed the Janet Wallace Fine Arts Center to anchor the western edge of the Macalester College campus in St. Paul, Minnesota. Built in the 1960s, the structure was in need of an update when college officials sought to redesign the complex. Because of the tight urban location of the campus, new campus construction needed to maximize multi-use possibilities to make every space count. The design team responded with a design for a visual and performing arts complex anchored by a light-filled, two-story arts commons.
As the new home for Twin Cities Habitat for Humanity, this structure was designed to make physical connections between the community, families and the Habitat staff. As Gensler outlines, the material palette is modest. Residential sized windows are incorporated into the metal panel exterior wall to create both visual and spatial interest throughout. The design team embraced the idea of using the scale and experience of the residential window as part of the project’s overall architectural concept.
VJJA designed the Lilydale Regional Park shelter as part of the Mississippi National River and Recreation Area. Sited on the floodplains of the east bank of the Mississippi River in St. Paul, it is defined by the Mississippi River to the North and Pickerel Lake below the river bluffs to the South. In turn, Harriet Island Regional Park informs the park to the East and the Interstate, 35‐E, to the west. The park is 384‐acres (155 hectares) which includes the 100‐acre (40-hectare) Pickerel Lake and an additional 100 acres (40 hectares) of wetland/marsh.
Lakewood follows the distinctly Americanized tradition of the Lawn Plan cemetery — a mix of large family monuments and individual grave markers arranged within open, sweeping lawns framed by trees and softly curving roads. Inspired by the landscape of Pere-Lachaise Cemetery in Paris, a new 24,500 square foot (2, 275 square meter) mausoleum connects to its context and includes burial space for more than 10,000 people, a chapel, reception center, and landscaping on four acres. Rooted in its materials, horizontal bands of split-faced gray granite tie the structure to the earth.
Two Xcel Energy substation enclosures were designed in Minneapolis, called Hiawatha West and Midtown. These were made to respond to multiple requirements and operate at multiple scales: the city, the neighborhood, and the substation-proper. Driven by extensive community feedback and requirements of the Public Utilities Commission, the architecture of these enclosures responds to their community settings as well as to substation functional requirements.
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