Gensler redesigns its own LA office to have “warmth and comfort” of home
CategoriesInterior Design

Gensler redesigns its own LA office to have “warmth and comfort” of home

The team at global architecture firm Gensler’s Los Angeles office has redesigned a floor of its workspace with a hospitality approach, as a pilot for the remaining spaces.

The Gensler LA team’s renovated its space to give it more of the “warmth and comfort” that its staff became used to during its time working from home.

Workspace in the Gensler LA office with a banquette around a black circular tableWorkspace in the Gensler LA office with a banquette around a black circular table
The team at Gensler LA redesigned the third floor of their offices to better suit their current workplace needs

The studio’s return to the office post-pandemic came seven years into a 15-year lease of its spaces in Downtown Los Angeles, the firm had converted from an empty bank building in 2011 then expanded to two floors in an adjacent, connected structure.

With a growing workforce and a desire to rethink the layout, functionality and appearance of the office, a group of the studio’s “next generation” of designers and strategists led an effort to redesign the interiors of the third floor.

Open shelving with colourful books displayed Open shelving with colourful books displayed
The pilot project incorporates several products from Gensler collaborations, including open shelving and communal tables

“The look and feel of our space, though contemporary, lacked the warmth and comfort of the hospitality touches we integrate for our clients’ workspaces and that we had become accustomed to while working from home,” Gensler senior strategist Sarah Koos told Dezeen.

“Coupled with the changing nature of hybrid work, the space necessitated a transformation that would support a renewed sense of a work-lifestyle.”

Communal table in wood-lined roomCommunal table in wood-lined room
A warm aesthetic that captures the essence of Los Angeles was chosen for the interiors

The group spent a year listening and learning from surveys, workshops and feedback sessions in which each of the 500-plus employees was able to have a say about their future work environment.

Many team members had been highly mobile even before hybrid working became popular, so the previous dedicated desk system seemed redundant.

“Working from home for two years effectively rewired peoples’ expectations of their work environments, a sterile, single-use corporate office no longer spoke to the warmth, variety, and comfort they were afforded in their own homes,” said Koos.

Lounge area with comfy seating, plants and a guitarLounge area with comfy seating, plants and a guitar
Plenty of lounge areas with comfy seating were created for employees to use

They therefore set about redesigning the offices with a focus on flexibility, communal work areas and presentation spaces.

“Rather than confine our designers to a desk or a conference room, we developed a kit-of-parts inclusive of typical sit-stand workstations, communal tables, focus pods, booths, material layout islands, and more,” said Gensler senior designer Kirk Bairian.

“Gensler is built on a studio system which is critical to our design culture, and each studio was able to use this kit-of-parts to customise their space to reflect the specific ways in which they work.”

Workspace with glass meeting room, privacy booth and shelving for pin-upsWorkspace with glass meeting room, privacy booth and shelving for pin-ups
The team devised a “kit of parts” for the different studios to customise their own workspaces

A warm, hospitality-forward aesthetic that mirrors the “informal but elevated, casual but curated” essence of Los Angeles was chosen.

Materials including maple plywood, blackened metal and subtle textiles provide a backdrop for more colourful additions in the form of ever-changing pin-up display boards, styled shelving, artwork by local students and books from local creative businesses.

Lounge-style furniture and jewel-toned textiles are placed in the co-working areas to evoke a hotel lobby or coffee shop vibe.

Several of Gensler’s furniture and fixture collaborations were also introduced, among them the communal tables and open shelcves from a product line created with Fantoni and custom focus pods from a partnership with Tangram’s Studio Other.

Conference room behind glass wallConference room behind glass wall
Traditional conference rooms are available alongside more flexible spaces for group work

Since the project completed in 2023, the data from badges suggest that employee office attendance has increased by 35 per cent for the studios located in the renovated pilot space, according to the firm.

“Studios in the new space shared that they felt that working in the renovated space made them more productive, enabled more effective collaboration, and overall, greatly improved their in-office experience,” the team added.

Wood-lined workspace with private booths and open Zoom areasWood-lined workspace with private booths and open Zoom areas
Maple plywood and blackened metal were among the materials chosen to give the space more of a hospitality feel

Gensler is the world’s largest architecture firm and has locations 53 locations globally. Its European head offices in Wapping, London, was longlisted in the business building category of Dezeen Awards 2020.

In 2022, co-CEO Andy Cohen told Dezeen in an exclusive interview that architecture should abandon “top-down” management to improve working conditions.

Reference

“Subtle luxury” defines Rachel Boston jewellery store
CategoriesInterior Design

“Subtle luxury” defines Rachel Boston jewellery store

Interior design studio Hollie Bowden Interiors has created fine jeweller Rachel Boston’s flagship store and showroom in London.

Located in Shoreditch’s Redchurch Street, the store is split into four main areas – the retail space, private appointment area, workshop and office space for the jeweller’s team of 12.

Wood panelled walls and display casesWood panelled walls and display cases
The space blends a neutral palette of glass, steel and sycamore wood veneer

The store aims to blend a neutral material palette of glass and steel with sycamore wood veneer and velvet mohair upholstery.

“Jewellery stores can be read as quite uninviting and exclusive,” Hollie Bowden Interiors founder Bowden told Dezeen. “I wanted to create the opposite experience to that, something that felt open and un-intimidating, yet special and elevated.”

Cantilever display case Cantilever display case
Bowden and designer EJR Barnes have created bespoke displays from mirror polished steel

Placing the jewellery centre stage was a key objective for Rachel Boston when briefing Bowden’s team.

“Even though our pieces are striking, they are ultimately small objects by nature, so I didn’t want a huge amount of fussy furniture or bold colours to detract from the experience of customers viewing our pieces,” Rachel Boston told Dezeen.

In response to the brief, Hollie Bowden created a compact 19-square-metre front retail space “inspired by the concept of a jewellery box that draws your attention into the small, intricate objects within”.

jewellery retail space jewellery retail space
The store on Redchurch street is split into four main areas

Sycamore veneer wall-cladding, limestone flooring and lining the display cases with ivory silk combine to create the jewellery-box effect, “emphasising this feeling of being cocooned in the space” Bowden told Dezeen.

“I wanted to focus on materials that have a quiet beauty about them, that you have to get up close to really appreciate,” she continued.

Steel window displaySteel window display
Bowden employs a refined approach to materials for this retail project in London

This process of refinement has been a hallmark of Bowden’s style since establishing her London-based studio in 2013.

“Not over-designing projects with too many materials is very important – to give objects the space to sing,” she explained. “I’m always trying to reduce and simplify.”

Jewellery is displayed in floating window vitrines and a cantilever display desk, designed in collaboration with London-based artist and designer, EJR Barnes.

Made from mirror polished steel, these bespoke displays introduce a “vertiginous moment that makes the space feel unique,” according to Bowden.

For these cabinets, Bowden and Barnes drew on the utilitarian design language of archives which “display, protect, and organise what they contain in quite a neutral way”.

A shop front A shop front
Hollie Bowden’s retail space in Shoreditch has been designed in reference to jewellery boxes

Rather than using big ornamental gestures more common in jewellery retail, Bowden says this approach “represents a unique and original way of presenting jewellery”.

“The idea of ‘subtle luxury’ feels like a great counterpoint to retail design at the moment that can feel like you’re in a casino,” she added.

The frames of the cases are simple and uninterrupted, maximising the display of the jewellery and encouraging guests to roam freely around any area.

Red chairRed chair
The red cab chair placed at the front of the store is by Mario Bellini

A Mario Bellini Cab Chair in a deep wine red, placed at the front of the store, works along the lines of the unexpected-red-theory interior trend, featured in our recent lookbook.

Through a stainless steel-lined open doorway, the rear space is curtained off for private appointments. This larger 42-square-metre showroom in the back has a more relaxed and intimate feel that mirrors the art-deco style of Boston’s jewellery.

Four chairs around a carpeted floor Four chairs around a carpeted floor
The rear of the store is reserved for private appointments

Upon entering the rear space, a brown short-pile carpet and bespoke sofa upholstered in Claremont mohair signals the transition from the storefront.

“We wanted to create two distinct spaces, independent of each other yet with a subtle link that reflects Rachel’s jewellery,” Bowden said.

“While the spaces contrast, the continuations of steel and limestone allow for a striking continuity throughout.”

A brown mohair velvet sofa A brown mohair velvet sofa
The rear showroom features a bespoke sofa upholstered in Claremont mohair

Other projects by Hollie Bowden Interiors featured on Dezeen include a pared-back jewellery showroom and a London office space inspired by the sultry lighting of gentlemen’s clubs.

The photography is by Richard Round-Turner.

Reference

ORA creates modern home in 500-year-old Czech Renaissance building
CategoriesInterior Design

ORA creates modern home in 500-year-old Czech Renaissance building

Czech architecture studio ORA has renovated a Renaissance-era house in the town of Český Krumlov, preserving original features like its carved wooden beams while adding free-standing contemporary furniture.

Local entrepreneurs Petra Hanáková and Radek Techlovský purchased the dilapidated house in the town centre in 2016 and asked ORA to oversee a modernisation process that retains the interior’s historical character.

Exterior of Masná 130 house in Český Krumlov, Czech Republic by ORAExterior of Masná 130 house in Český Krumlov, Czech Republic by ORA
Masná 130 is a renovated home by ORA in Český Krumlov

The 500-year-old building, now called Masná 130, had been neglected for decades and was not even connected to the town’s sewage system. It also had flood-damaged foundations and a roof in need of major repairs.

Despite its issues, the owners saw potential in the property and spent two years transforming its ground floor into a cafe that has become a gathering place for the local community.

Entrance of Masná 130 houseEntrance of Masná 130 house
The architects added bespoke furniture made from dark-stained birch plywood

The latest phase of the project involved renovating the first-floor living spaces. The original intention was to redevelop them as rental flats, but Hanáková and Techlovský eventually decided to create a single apartment that they could occupy themselves.

ORA’s design for the apartment reveals aspects of the building’s past while introducing modern features that reflect the owners’ love for contemporary design and minimalist style.

Living room of house in Český Krumlov, Czech Republic by ORALiving room of house in Český Krumlov, Czech Republic by ORA
The building’s original carved wooden ceiling beams are left exposed

“We did not want to create a historical ‘museum’ interior, nor a design showroom,” said Hanáková and Techlovský. “We wanted to organically connect the historical and contemporary layers.”

The architects began by removing an existing partition wall in the main living space and reinstating the original open layout. This created a large salon that reveals the full splendour of the Renaissance-era wooden ceiling.

Kitchen of Masná 130 houseKitchen of Masná 130 house
The kitchen was designed as a standalone unit that is raised above the floor

The restoration process also uncovered original stone walls that were painted a deep crimson colour. Together with the wooden rafters, this informed a material palette that complements these dark, saturated tones and creates a cosy atmosphere.

The apartment’s bedroom features a small remnant of the original ceiling fresco. The rest of the room is painted a cream colour to lend the space a calm and relaxing feel.

In the bathroom, ORA chose to combine cool colours with white tiles and large mirrors to brighten the space. Playful details such as the irregularly shaped bathtub, curved sinks and tiles with rounded edges help to soften the overall aesthetic.

Throughout the apartment, the architects added bespoke freestanding furniture that performs the necessary functions without disturbing or concealing the existing heritage features.

View to bedroom of house in Český Krumlov, Czech Republic by ORAView to bedroom of house in Český Krumlov, Czech Republic by ORA
The bed is dominated by an oversized headboard

“The interior design is approached as a collage of motifs,” said ORA. “The furniture is inserted into the historical space in the form of separate objects that create distance from the historical elements.”

The kitchen, for example, was designed as a standalone unit that is raised above the floor and stops well short of the ceiling. Its sink, hob and countertop occupy a central void, with all other functions concealed within the cabinetry.

Bedroom of Masná 130 houseBedroom of Masná 130 house
It takes pride of place in the centre of the bedroom

The bed features an oversized headboard that connects with a wardrobe on its reverse side. It is placed in the centre of the bedroom and is angled to provide the best view of the window and the original painted ceiling.

Custom-made furniture is built from dark-stained birch plywood with contrasting brass legs that help to enhance the sense of separation from the existing spaces.

Lighting is either freestanding or integrated into furniture such as the kitchen unit and bed. An overhead light above the dining table is mounted on a bracket so it does not touch the historical ceiling.

Bathroom of house in Český Krumlov, Czech Republic by ORABathroom of house in Český Krumlov, Czech Republic by ORA
ORA combined cool colours with white tiles in the bathroom

ORA, which stands for Original Regional Architecture, was founded in 2014 by Jan Veisser, Jan Hora and Barbora Hora. The studio is based in the small town of Znojmo, with previous projects including the conversion of a 16th-century home in Mikulov to create a modern guesthouse.

Other recent attempts at revamping the historical residences of the Czech Republic include a 1920s villa in Prague that was renovated by No Architects and a 100-year-old apartment in Karlovy Vary, where Plus One Architects uncovered the building’s original paintwork.

The photography is by BoysPlayNice.

Reference

Ten highlights from Design Doha exhibition Arab Design Now
CategoriesInterior Design

Ten highlights from Design Doha exhibition Arab Design Now

A disaster-proof chandelier from Lebanon and a towering sand dune-style stone installation feature in Arab Design Now, the main exhibition at the inaugural Design Doha biennial.

Arab Design Now was curated by Rana Beiruti to capture the spirit of contemporary design across the Middle East and North Africa (MENA), the curator told Dezeen ahead of the opening of the first Design Doha.

Set within the Qatari capital’s M7 building, the design biennial draws together a range of collectible design and installations.

Selected works from 74 participants paid homage to the MENA region’s “extremely harsh and unique geography” and investigated the “use of materials as a guiding principle,” explained Beiruti.

Here are 10 of Dezeen’s highlights from Arab Design Now, which is on display in Doha until early August.


Sites – New Sites by Studio Anne Holtrop at Arab Design NowSites – New Sites by Studio Anne Holtrop at Arab Design Now

Sites – New Sites by Studio Anne Holtrop

Bahrain- and Amsterdam-based architect Anne Holtrop has designed a cluster of large-scale mobiles made from vast slabs of lumpy resin.

Holtrop took casts of a series of manmade and natural sites that he found across Qatar to create the textured pieces, which hang from bearing mechanisms and can be manually rotated by visitors to produce continuously moving formations.


Constellations 2.0: Object. Light. Consciousness by Abeer SeikalyConstellations 2.0: Object. Light. Consciousness by Abeer Seikaly

Constellations 2.0: Object. Light. Consciousness by Abeer Seikaly

Over 5,000 pieces of Murano glass were woven together by Jordanian-Palestinian designer Abeer Seikaly to create this chandelier, which combines Bedouin weaving practices from Jordan with traditional Venetian glassmaking techniques.

Brass and stainless steel were also integrated into the lighting, made flexible by the glass mesh.

Once illuminated, the sculptural piece creates dramatic light patterns that nod to a starry night sky seen from the Badia desert, according to Seikaly.


House Between a Jujube Tree and a Palm Tree by Civil Architecture at Arab Design NowHouse Between a Jujube Tree and a Palm Tree by Civil Architecture at Arab Design Now

House Between a Jujube Tree and a Palm Tree by Civil Architecture

Kuwait and Bahrain-based office Civil Architecture has designed a looming fibreglass roof proposal for a majlis – the traditional term for an Arabic gathering space.

“It’s a 1:1 model of a roof of an actual house that we designed in Bahrain,” studio co-founder Hamed Bukhamseen told Deezen.

Supported by steel and suspended from tension cables, the majlis features openings designed to accommodate tall trees and was created to explore the “symbiotic but blurred” relationship between indoor and outdoor settings.


Nubia, Hathor and Gros Guillaume Stool by Omar ChakilNubia, Hathor and Gros Guillaume Stool by Omar Chakil
Photo courtesy of Design Doha

Nubia, Hathor and Gros Guillaume Stool by Omar Chakil

French-Egyptian-Lebanese designer Omar Chakil was informed by his father’s homeland of Egypt when he chose alabaster onyx to create this monolithic shelving, a bulbous coffee table and a stool that glides across the floor on wheels.

Taking cues from ancient practices, Chakil carved the rounded furniture from raw blocks of the material, which was sanded down over time using water rather than covered in varnish – something that the designer said had became common in Egypt, especially when making “cheap” souvenirs.

“The whole idea of the collection was to use Egyptian alabaster, which was a healing stone,” Chakil told Dezeen.

“The pharaohs used [the material], then it transformed it over time. It lost its soul. So I tried to put it in the contemporary context by using the shapes that healing emotions would take – so they are round and soft, even though they are very heavy,” he added.

“I see that people are afraid to, but I want them to touch the furniture.”


Tiamat by AAU AnastasTiamat by AAU Anastas

Tiamat by AAU Anastas

Palestinian architecture office AAU Anastas is presenting Tiamat, a dune-shaped installation that forms part of the studio’s ongoing project, Stone Matters, which explores the potential of combining historical stone building techniques with modern technologies to encourage the use of structural stone.

Positioned for visitors to walk through, the installation is a towering structure made of stone sourced from Bethlehem and informed by the Gothic-style architecture found across Palestine, Syria and Lebanon.

According to AAU Anastas, the light, sound reverberations and climate control within Tiamat’s internal space is unique to stone construction.


Clay in Context by Sama El Saket at Arab Design NowClay in Context by Sama El Saket at Arab Design Now

Clay in Context by Sama El Saket

Jordan-born architect and ceramicist Sama El Saket took cues from her native landscape when creating this “taxonomy of Jordanian clays”.

The result is a set of spindle bottle-style vessels, each made of a different natural clay found across Jordan. This gives the pieces their distinctive colours, textures and character.

“These are all natural clays with no pigments added,” El Saket told Dezeen. “The colours are attributed to the different minerals that are found within the region. Some are sandier, some are rockier.”

The designer noted that while Jordan features an abundance of clay deposits and a rich history of ceramic production, today most Jordanian clay is imported.


Light Impact by Fabraca StudiosLight Impact by Fabraca Studios
Photo by Sabine Saadeh

Light Impact by Fabraca Studios

Lebanese industrial design brand Fabraca Studios has created Light Impact, a solid aluminium lighting fixture that was designed as an alternative chandelier, resembling durable ropes.

The piece was made to replace a glass chandelier that shattered in the aftermath of the 2020 Beiruit explosion, which destroyed a large part of Lebanon’s capital city.

Light Impact is defined by “flexible characteristics designed to withstand another disaster,” studio founder Samer Saadeh told Dezeen. He added that the piece, which includes internal brass components, was designed as an ode to Beirut’s adaptability and resilience.


Eleven by Sahel AlhiyariEleven by Sahel Alhiyari

Eleven by Sahel Alhiyari

Eleven is a cluster of tall fluted terracotta columns by Jordanian architect Sahel Alhiyari that were made through moulding and forming rather than traditional cutting and carving.

The architect handcrafted the segments, which are vertically stacked, using a similar technique to pottery-making,

“As you twist and turn the material, it creates all of this stuff,” Alhiyari told Dezeen. The designer explained that the columns were deliberately created to celebrate imperfections, despite referencing classical architecture.


Sediments by Talin HazbarSediments by Talin Hazbar

Sediments by Talin Hazbar

UAE-based Syrian designer Talin Hazbar is featuring her Sediments project, which previously gained recognition at Dubai Design Week.

The work consists of blocky seating made from fishing ropes and fishing cage ropes extracted from the Persian Gulf with the assistance of the Dubai Voluntary Diving Team.

Also made up of recycled rubber grains, the heavily textured seating was created to serve as a reminder of how we might attempt to clean up damaged coastlines, according to Hazbar.


Whispers from the Deep by T SakhiWhispers from the Deep by T Sakhi

Whispers from the Deep by T Sakhi

Lebanese-Polish sisters Tessa and Tara El Sakhi of the studio T Sakhi combined discarded metal salvaged from factories in Veneto, Italy, with Murano glass to create amorphous glassware that takes cues from underwater sea creatures.

These pieces were arranged atop dramatic shelving inside the elevator connecting the first and second floors of the Arab Design Now exhibition.

The result is a playful installation that draws together the Venetian lagoon and Lebanese glassblowing traditions.

The photography is by Edmund Sumner unless stated otherwise.

Arab Design Now takes place at Design Doha from 24 February to 5 August 2024 at M7 in Doha, Qatar. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world.



Reference

Get listed in Dezeen’s digital guide for NYCxDesign 2024
CategoriesInterior Design

Get listed in Dezeen’s digital guide for NYCxDesign 2024

If you’re hosting an event during NYCxDesign, you can get listed in Dezeen Events Guide’s digital guide to the festival, which highlights the key events taking place across New York City’s five boroughs.

NYCxDesign runs from 16 to 23 May 2024 and features hundreds of events including installations, exhibitions, fairs, tours, open studios and product launches.

One of the largest events taking place during the eight-day programme is the International Contemporary Furniture Fair (ICFF) and WantedDesign Manhattan, located at the Javits Center from 19 to 21 May 2024. Each year the fair sees 10,000 visitors from the architecture, design and retail fields.

With 2024 marking the festival’s 12th anniversary, NYCxDesign aims for its events to target themes of sustainability, inclusivity and diversity while exploring a range of design mediums.

Get listed in Dezeen’s digital NYCxDesign guide

Get in touch with the Dezeen Events Guide team at [email protected] to book your listing or to discuss a wider partnership with Dezeen.

There are three types of listing available:

Standard listings cost £125 ($160) and include the event name, date and location details plus a website link. These listings will feature up to 50 words of text about the event.

Enhanced listings cost £175 ($225) and include all of the above plus an image at the top of the listing’s page and a preview image on the Dezeen Events Guide homepage. These listings will also feature up to 100 words of text about the event.

Featured listings cost £350 ($450) and include the elements of an enhanced listing plus a post on Dezeen’s Threads channel, inclusion in the featured events carousel on the right hand of the homepage for up to two weeks and 150 words of text about the event. This text can include commercial information such as ticket prices and offers and can feature additional links to website pages such as ticket sales and newsletter signups.

For more details about partnering with us to help amplify your event, contact the team at [email protected].

About Dezeen Events Guide

Dezeen Events Guide is our guide to the best architecture and design events taking place across the world each year.

The guide is updated weekly and includes events, conferences, trade fairs, major exhibitions and design weeks.

The illustration is by Justyna Green.

Reference

Instead Of Stairs, A Spiraling Ramp Was Designed For This Office Building
CategoriesInterior Design

Instead Of Stairs, A Spiraling Ramp Was Designed For This Office Building

A spiraling ramp replaces the need for stairs in this modern office and adds a sculptural element.

PAULO MERLINI architects has designed the offices of E-GOI & CLAVEL´S KITCHEN in Portugal, and one of the main design features central to the interior is a spiraling ramp.

A spiraling ramp replaces the need for stairs in this modern office and adds a sculptural element.

The former warehouse, which has now been transformed into offices that span multiple floors, includes a ramp that replaces the need for a staircase.

A spiraling ramp replaces the need for stairs in this modern office and adds a sculptural element.

The elegantly curves of the concrete form is accentuated by the use of white bars and edges.

A spiraling ramp replaces the need for stairs in this modern office and adds a sculptural element.
A spiraling ramp replaces the need for stairs in this modern office and adds a sculptural element.

The circling ramp connects the floors of the office and adds a sculptural element that doesn’t block the light from traveling throughout the interior.

A spiraling ramp replaces the need for stairs in this modern office and adds a sculptural element.
A spiraling ramp replaces the need for stairs in this modern office and adds a sculptural element.
A white frame and supports connect the top of a spiraling ramp with the ceiling.

Here’s a glimpse of the ramp looking down from the top floor, and up from the ground.

A spiraling ramp replaces the need for stairs in this modern office.

Let’s take a look at the rest of the office…

The exterior of the office has walls of glass providing a glimpse of the interior for the pedestrians on the street.

The exterior of this modern office has walls of glass providing a glimpse of the interior for the pedestrians on the street.
The exterior of this modern office has walls of glass providing a glimpse of the interior for the pedestrians on the street.

There’s a variety of different seating areas in the office interior, including spaces for casual meetings in house-shaped alcoves.

There's a variety of different seating areas in this modern office interior, including spaces for casual meetings in house-shaped alcoves.

More private work rooms with glass walls that keep the sound in or out.

A modern office interior with a variety of work areas.

A larger meeting room with a blue curtain that’s filled with beanbags and has LED lighting in the ceiling.

A large meeting room with a blue curtain that's filled with beanbags and has LED lighting in the ceiling.

Other more traditional work spaces exist too, with desks that include multiple work stations.

A modern office with floor-to-ceiling windows.

There’s also a photo studio with a minimalist white kitchen with floating wood shelves. Adjacent to the kitchen are tall wood shelves filled with photography props and kitchen equipment.

A modern office has a photo studio with a minimalist white kitchen with floating wood shelves. Adjacent to the kitchen are tall wood shelves filled with photography props and kitchen equipment.
Wood shelves frame a spiraling ramp in the center of this modern office.

When it’s time to take a break from working, there’s a communal area with long wood tables, a kitchenette, seating by the windows, and an outdoor space.

A modern office with a communal break room.
A modern office with seating by the windows that take advantage of the natural light.
A modern office with plants that hang from a metal detail.
Photography by Ivo Tavares Studio | Architecture Office: PAULO MERLINI architects | Main Architects: Paulo Merlini/ André Santos Silva

AHMM to transform office into co-living space next to Barbican estate
CategoriesInterior Design

AHMM to transform office into co-living space next to Barbican estate

Developer HUB and investor Bridges Fund Management have revealed plans to convert a 1950s office building in London into Cornerstone, a co-living residential scheme designed by Allford Hall Monaghan Morris.

Located on the edge of the Barbican estate, the Cornerstone project will draw from the iconic Barbican architecture to transform 45 Beech Street into 174 co-living residences along with street-level commercial spaces and amenities.

“Building on the success of our previous London projects with HUB, we are joining forces again to transform an underloved office building in the heart of the city,” Allford Hall Monaghan Morris (AHMM) director Hazel Joseph said.

Elevation view of Cornerstone by AHMM in LondonElevation view of Cornerstone by AHMM in London
AHMM has revealed plans for a co-living retrofit next to London’s Barbican estate

AHMM’s proposal aims to re-use as much of the building’s existing structure and facade as possible, taking a “retrofit-first approach” to minimise the need for new building works.

The studio will also primarily work within the geometric parameters defined by the original envelope, while updating the rectilinear language to create uniform apertures for each co-living apartment.

Referencing the Barbican estate, a series of arched, double-height extrusions will be introduced across the crown of the building to house additional co-living apartments.

Barbican context and facade of Cornerstone by AHMM in LondonBarbican context and facade of Cornerstone by AHMM in London
The design will adapt the existing building’s form and insert a series of arched spaces at the top

“The architectural approach has been carefully considered, responding sensitively to the much-loved Barbican context, completing the northern frontage of the estate,” Joseph said.

The arches will be partially set back from the building’s facade and lined with an asymmetric patchwork of glazed and tile panels underneath the curved overhangs.

At street level, warm red panel accents will contrast against the building’s neutral concrete finishes to highlight commercial and collective functions.

The scheme will integrate a public cafe, a co-working space and community-focused amenities at its lower levels to improve the public realm for those who live and work in the area.

“The existing structure of 45 Beech Street will be re-used and extended, creating a new residential community with shared amenities and breathing new life into the local streetscape,” Joseph explained.

street level activation of Cornerstone by AHMM in Londonstreet level activation of Cornerstone by AHMM in London
At street level, new commercial and public amenities will seek to activate the ground plane

According to HUB and Bridges Fund Management, AHMM’s proposal was developed in collaboration with the community – including Barbican residents – who were consulted through a series of workshops and events.

A website was also established to solicit viewpoints about the redevelopment, reiterating the design vision to establish a “vibrant community” that will adapt the original building and holistically contribute to the neighbourhood.

AHMM was established in 1989 by Simon Allford, Jonathan Hall, Paul Monaghan and Peter Morris in London. The studio has previously converted a 1930s block into New Scotland Yard’s headquarters in London and completed a mixed-use building in Southwark with interlocking flats.

Also adjacent to the Barbican estate, Diller Scofidio & Renfro’s proposal for a pyramidal music centre was recently scrapped when the City of London Corporation revealed its plans for a “major renewal” of the Barbican.

The images are courtesy of HUB and Bridges Fund Management.

Reference

Ivy Studio installs colourful marbles in Montreal’s Hayat restaurant
CategoriesInterior Design

Ivy Studio installs colourful marbles in Montreal’s Hayat restaurant

Montreal-based Ivy Studio has chosen a variety of dramatic marble to outfit a Middle Eastern restaurant, which features a colour palette influenced by “the earthy tones of the Syrian deserts”.

In Montreal’s Old Port neighbourhood, the 1,500-square-foot (140-square metre) Hayat restaurant is designed to reflect the cuisine served by chef Joseph Awad.

Entrance to Hayat restaurant with marble host stand in foregroundEntrance to Hayat restaurant with marble host stand in foreground
The marble host stand at Hayat sets the tone for the restaurant’s Middle Eastern-influenced colour palette

“This Middle Eastern restaurant’s colour palette was inspired by the earthy tones of the Syrian deserts and their surrounding greenery,” said Ivy Studio.

Upon entering is a screen of black hammered-glass panels, which also conceals the kitchen in the far corner.

Dining room with marble topped tables, green chairs and cream wallsDining room with marble topped tables, green chairs and cream walls
In the main dining space, banquette seating runs along two walls below a fabric ceiling installation

In the main dining room, built-in benches form an L along two walls, while a pair of U-shaped booths sit against another that arches over them.

The seat backs are upholstered in mauve velvet and the cushions are wrapped in contrasting deep green leather.

Private booths positioned below an arched ceiling and behind a partition of black hammered glassPrivate booths positioned below an arched ceiling and behind a partition of black hammered glass
Private booths are positioned below an arched ceiling and behind a partition of black hammered glass

Closer to the kitchen is another small, semi-circular booth built into the walnut millwork.

Here the cushioned seats are covered in ruby-toned velvet, and a metallic light fixture is suspended above.

The bar counter made from teal, pistachio and cream-coloured marbleThe bar counter made from teal, pistachio and cream-coloured marble
The bar is made from a dramatic marble variety with streaks of teal, pistachio and cream colours

Ivy Studio selected a wide variety of striking, richly veined marbles, “each contributing their own touch of colour into the space” according to the team.

The bar is made from a dramatic stone with teal, cream and pistachio striations, while the host stand and dining table tops in the main area are purple and white.

A red-hued semicircular booth tucked into walnut millworkA red-hued semicircular booth tucked into walnut millwork
A red-hued semicircular booth is tucked into the walnut millwork close to the kitchen

The building’s exposed brickwork is painted cream to match the other walls, while the original historic stone between the large windows is left exposed.

“The ancient stone walls at the front and rear facades were left intact to showcase the building’s history,” Ivy Studio said.

Curved layers across the ceiling, which hide indirect lighting, are designed to evoke the smooth landscapes of the Middle East.

A fabric installation suspended above the dining tables curves around more strips of lighting, diffusing the light to create a warm glow.

Bar made from a dramatic marble variety with streaks of teal, pistachio and cream coloursBar made from a dramatic marble variety with streaks of teal, pistachio and cream colours
The bar is made from a dramatic marble variety with streaks of teal, pistachio and cream colours

Walnut, stone and cream walls are also found in the bathrooms, which echo the colour and material scheme throughout the restaurant.

“The overall intention of the palette was to bring together the worlds of Middle Eastern nature and Old Montreal construction,” the studio said.

Hayat restaurant by Ivy StudioHayat restaurant by Ivy Studio
The same material palette continues in the moody bathrooms

Ivy Studio has completed several interiors across Montreal that include colourful marble.

These include the Italian restaurant Piatti where the dark green stone contrasts the building’s rough walls and co-working office Spatial where purple surfaces pop against mint green millwork.

The photography is by Alex Lesage.


Project credits:

Architecture and design: Ivy Studio
Construction: Groupe Manovra

Reference

Post Company imbues Mollie Aspen hotel interiors with earthy hues
CategoriesInterior Design

Post Company imbues Mollie Aspen hotel interiors with earthy hues

New York studio Post Company has designed warm, wood-filled interiors for a boutique hotel in Aspen, Colorado, which offers a pared-back take on the Arts and Crafts style.

Mollie Aspen occupies a new timber-clad building designed by CCY Architects and developed and operated by HayMax in the mountain city’s downtown area.

Lobby lounge at Mollie Aspen with earth-toned furniture and a gridded wood ceilingLobby lounge at Mollie Aspen with earth-toned furniture and a gridded wood ceiling
With an open fireplace as a backdrop, the lobby lounge at Mollie Aspen features earth-toned furniture and a gridded wood ceiling

Post Company was tasked with creating the interiors for the 68-room hotel, combining contemporary Scandinavian and Japanese design elements for a serene take on Rocky Mountain luxury.

“Mollie is designed for those with a natural curiosity and appreciation for connection and offers visitors a unique, welcoming respite in the bustling mountain town,” said the hotel’s team.

All-day cafe in the Mollie Aspen lobby All-day cafe in the Mollie Aspen lobby
An all-day cafe in the lobby serves pastries and beverages from a walnut-wrapped counter

An abundance of wood can be found throughout the different spaces, with numerous varieties creating a layered effect of different colours and grain patterns.

The timber is crafted into elements like gridded wall and ceiling panels with built-in lighting, which evoke an Arts and Crafts aesthetic, as well as fluted counterfronts and a range of furniture pieces.

Burl wood counters and displays in a retail spaceBurl wood counters and displays in a retail space
Burl wood counters and displays present goods in the hotel’s retail space

The majority of the materials used in Mollie’s construction were sourced from the Western United States to reduce waste, according to the team.

Meanwhile, other accents like earthen ceramics, hand-dyed textiles and sand-casted brass add to the cosy atmosphere.

Guest room with neutral decorGuest room with neutral decor
Guest rooms offer an even more pared-back take on the neutral decor palette

“These materials are incorporated throughout the hotel to mimic the area’s rough-hewn mountains while large windows frame views of the surrounding landscape and bring an abundance of light into the hotel,” said the team.

The lobby lounge is designed as a cosy gathering space for guests and the public, with a large open fireplace providing a backdrop.

Beige plaster walls and textured carpet in a guest roomBeige plaster walls and textured carpet in a guest room
Beige plaster walls and textured carpets complement the wood ceilings in the guest rooms

Chunky leather, velvet and boucle sofas and armchairs in a range of earthy hues form comfy conversation nooks.

At one end of the room, the black-topped bar spans the full width and is illuminated by a row of globe-shaped pendant lights suspended from thin brass bars.

Guest suite with black leather furniture and snowy mountain viewsGuest suite with black leather furniture and snowy mountain views
Black leather furniture in the larger suites offers a contrast to the other furniture pieces and snowy mountain views

A repeated geometric pattern across the pale counter front is also found on door panels leading to other hotel areas.

An all-day cafe at the opposite end of the lobby serves pastries and an assortment of beverages from a walnut-wrapped counter, and the restaurant

Bathroom with dark green tiles and freestanding white bathtubBathroom with dark green tiles and freestanding white bathtub
Dark green tiles in the bathrooms match the spruce trees outside

In the adjacent retail space, burl wood counters and displays with curved edges, some of which are topped with glass vitrines.

On the third floor is a roof terrace with a bar and a spa pool set to open in Spring 2024, while a fitness facility and flexible meeting space are located at ground level.

The guest rooms continue the soft, neutral palette in a more pared-back style.

Beige plaster walls, textured carpets and green-grey curtains complement the wood ceilings and built-in furniture, while black leather chairs add contrast.

Mollie Apsen entrance with logo on the entrance canopyMollie Apsen entrance with logo on the entrance canopy
Mollie Aspen is located within a newly constructed building by CCY Architects

Dark green stacked tiles that line the bathrooms match the spruce trees outside and freestanding tubs beside the windows allow guests to enjoy the view while soaking.

“Guests are left with a sense of Aspen’s cultural and recreational history, providing a lens to appreciate its contemporary personality and influence,” the team said.

Mollie Aspen's wood-clad exteriorMollie Aspen's wood-clad exterior
The building was constructed largely from materials sourced from the Western US

Aspen is a renowned destination for winter sports and affluent vacationers, and CCY Architects has designed several private residences in and around the town – among them an extension to a Victorian house, a residence nestled in a grassy valley and a retreat that overlooks the dramatic mountainous scenery.

Formerly known as Studio Tack, Post Company’s previous hotel projects include the Anvil Hotel in Wyoming, The Sandman in California, and Scribner’s Catskill Lodge in New York.

The photography is by Nicole Franzen.

Reference

Totem-pole colonnade encloses Kaimakk restaurant at Istanbul Airport
CategoriesInterior Design

Totem-pole colonnade encloses Kaimakk restaurant at Istanbul Airport

A stone and glass fountain, totem pole-like columns and gilded arches characterise the Kaimakk bar and dining space by local studio Sanayi313 inside Istanbul Airport.

The 600-square-metre space was created by Sanayi313 as a place of refuge from the bustle of the airport.

“The challenge of this project was to create a place where people would feel secluded and relaxed in the hectic environment of one of Europe’s busiest airport terminals,” Sanayi313 founder Enis Karavil told Dezeen.

Arched metal gates leading to fountain Kaimakk Istanbul Airport designed by Sanayi313Arched metal gates leading to fountain Kaimakk Istanbul Airport designed by Sanayi313
Kaimakk is an Istanbul Airport restaurant designed by Sanayi313

Two large, L-shaped serving counters with canopies above enclose the seating space inside. Between the counters, an archway with intricate metalwork gates leads to a “frozen” fountain at the centre of the project.

The fountain was made from traditional travertine stone with individually made, mouth-blown glass pieces.

Kaimakk bar and dining area by Sanyayi313Kaimakk bar and dining area by Sanyayi313
A fountain made of stone and glass sits at the centre of the space

Completed in two stages, the fountain was first carved and assembled before contemporary Turkish glass artist Derya Geylani crafted the glass pieces to create the “frozen” expression.

According to Kaimakk’s Lian Beraha, the fountain “took shape from the idea of life, joy, abundance and the eruption of cream”.

Mouth-blown glass pieces in fountain by Derya GeylaniMouth-blown glass pieces in fountain by Derya Geylani
Mouth-blown glass pieces were made by Turkish glass artist Derya Geylani

Surrounding the fountain, a series of tall archways are supported on sculptural, totem-pole-like  columns that form a colonnade enclosing the restaurant.

“The studio stacked a variety of recurring forms into totem-like pillars with gold discs between them and placed arched blocks on top, as if playing with Lego,” Karavil explained.

“Each arched unit is equipped with built-in blinds made of translucent material to diffuse the light transmitted into the space at different times during the day,” he continued.

“Coated in micro-topping, the four-metre-high structure pays homage to the architecture and stoneworks in the Turkish city of Mardin.”

Tall totem pole-like columns throughout Kaimakk by Sanayi313Tall totem pole-like columns throughout Kaimakk by Sanayi313
Large sculptural columns and arches are a recurring motif throughout the project

This idea of drawing upon heritage was central to the concept behind the project, which, according to Beraha, “draws inspiration from the traditional Mesopotamian culture” of places in southeastern Turkey like Mardin, Diyarbakır and Gaziantep.

“One of the key features of the project is the handcrafted mosaic floors incorporating an intricate geometrical pattern with stars,” Karavil described.

“It draws inspiration from the One Thousand and One Nights – a collection of Middle Eastern folktales also known as Arabian Nights.”

Columns and benches in dining area by Sanyayi313Columns and benches in dining area by Sanyayi313
Sanayi313 used a colour palette of beige, cream and gold

Built-in booth seating is positioned alongside barstools and a mixture of both round and rectangular marble-topped tables, with views out over the airport runway.

Other projects in Istanbul include Renzo Piano’s Istanbul Modern museum wrapped in a facade of “evocative fish scales” and an Apple Store by Foster + Partners that is characterised by two travertine walls.

The photography is by İbrahim Özbunar.

Reference