US studio Ome Dezin has renovated a large mid-century home in Brentwood, California, using a tonal colour palette and maximising the lush hillside views.
The six-bedroom 12221 Benmore residence was designed and constructed in 1960 by notable local architects A Quincy Jones and Frederick Emmon.
Natural materials and neutral colours were chosen throughout the home to highlight the lush views
When Jesse Rudolph and Joelle Kutner of Ome Dezin came to the project, it had undergone a 1990s remodel that had stripped away its character and style.
The team made it their mission to revive the home’s original charm and connection to the outdoors, bringing in natural tones and materials.
White oak and travertine are recurring materials, as seen in the bar area
“We have always been fans of A Quincy Jones and familiar with his work, which is what prompted us to see the home initially,” the duo told Dezeen.
“This one did not disappoint — it had the typical Quincy atrium-like living space centered across from the exterior which includes a 40-foot (12-metre) waterfall.”
The main living spaces all flow together and have expansive views onto the garden
Many of the existing fixtures were retained, including the fixed windows and doors, wherever possible.
To keep the focus on the views from the large windows, the interior was designed with “a more muted, streamlined aesthetic”.
Custom pieces designed for the home include a dining table and chairs created in collaboration with Ben Willett
“We wanted to ensure the intention of Quincy was intact, so we aimed for a bit of brutalism and connection with nature,” said Rudolph and Kutner. “We opted for a limited material and color palette in favour of natural tones.”
The new white oak staircase designed for the three-storey atrium features rectangular forms and has an architectural presence, echoing the shape and style of the building.
Large windows are found in almost every room, so the decor is kept minimal and sparse so as not to draw focus
It sits at the nexus of the living room, dining area, kitchen and bar, which all flow together and enjoy expansive views out the back of the house.
A den adjacent to these open spaces is furnished with a variety of midcentury pieces, in keeping with the building’s history.
Dramatically patterned Cipollino stone in the bathroom echoes the grey tones of the rocks outside
Two types of stone were used throughout the home: travertine, which appears in the kitchen, bar area and powder room, and richly patterned Cipollino in the primary bathroom chosen to pick out the colours of the mountains visible through the windows.
In the lower-floor bedrooms and around the fireplace, flagstones and cobblestones were laid to create a grounding quality and to connect the spaces to the rocky landscape outside and pavers around the swimming pool.
Custom pieces designed for the project include the dining table created with furniture designer Ben Willett, which allows all of the chairs to be tucked away neatly underneath.
Two 10-foot-high (three-metre) doors were custom-built for the living space and feature Jean Prouvé-influenced circular window cutouts that allow light to shine through.
The garden features a swimming pool and a 40-foot (12-metre) waterfall
“We paid special attention to the lighting in the home, mostly sourcing vintage lights to add charm and character,” the design team said.
“With such a large home, and lots of windows and tall ceilings, warm mood lighting really made the spaces feel intimate and magical, particularly in the evenings.”
The home was designed and constructed in 1960 by A Quincy Jones and Frederick Emmon
Rudolph and Kutner founded Ome Dezin as a design and development studio focused on residential restoration in and around Los Angeles.
California has no shortage of mid-century properties in need of revamping. Other recently completed examples include Studio Schicketanz’s renovation of modernist architect Henry Hill’s former seaside home, and Woods + Dangaran’s overhaul of a residence that once belonged to singer Bing Crosby’s manager.
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Architecture and design have many faces, and the kaleidoscopic world of psychedelia is a fascinating one. Entrancing sinuous curves, vibrant hues, and boundless imagination alongside a connection between mind, body and the natural world are the key elements in this energetic aesthetic. Born initially from revolutionary 1960s counterculture, this surreal realm of artistic expression profoundly influenced architecture and interior design during its short reign, with daring architects pushing beyond conventional boundaries to create new, unprecedented environments.
As the reemergence of this enigmatic movement in today’s design landscape unfolds, it’s exciting and informative to delve into the past to understand its enduring allure.
A journey into the psychedelic movement’s history reveals that at its origin, the trend was heavily influenced by the widespread consumption of mind-altering substances and as the 1960s counterculture redefined the boundaries of art, politics, and social norms, a renaissance in artistic expression took hold, with architecture swept up in the beguiling influence.
One early example of psychedelic architecture is in Hamburg, Germany, at the Spiegel Publishing House. In 1969, Danish designer Verner Panton, a pioneer of psychedelic design, unveiled his magnificent office space. His avant-garde vision featured undulating contours, amorphous furnishings, and a riot of colors harmonizing into a symphony of visual delight. This space encapsulated the essence of the movement, defying traditional design’s rigidity and embracing a new world of imagination.
Around the same time, the groundbreaking architectural collective Ant Farm designed the House of the Century, an exemplary psychedelic edifice. This residential project is situated in Texas and boasts a distinctive, futuristic design with a curvilinear exterior and a luminous, open-plan interior. The structure’s seamless integration with its natural surroundings demonstrated the psychedelic movement’s affinity for the organic, a feature that would become a hallmark of the style.
In London, the 1967 opening of the UFO Club, designed by Michael English and Nigel Waymouth, heralded a new era for countercultural gatherings and developed a space that would not only reflect their way of thinking but encourage others to think and experience in new ways. The club’s interior, resplendent with otherworldly patterns and shimmering lights, provided an immersive experience, transporting visitors to a realm of hallucinatory euphoria. As a haven for artists, musicians and intellectuals, the UFO Club became and remains synonymous with the 1960s counterculture and the psychedelic aesthetic.
There are many examples of psychedelic design and our list would be incomplete without mentioning the influence of Austrian artist and architect Friedensreich Hundertwasser. Hundertwasserhaus is an apartment building in Vienna, was completed in 1985 and showcased his penchant for fluid forms, vibrant colors, and ecological awareness. With uneven floors, meandering corridors, and lush rooftop gardens, the Hundertwasserhaus defied conventional architectural norms, embodying the psychedelic spirit of freedom and individuality.
Conemoting Market by Yebin Design, Shenzhen, China Photograph by Xiaoyun
Ordinance of the Subconscious Treatment by Atelier Duyi Han, China Photograph by Atelier Duyi Han
Fast forward to the present, and the reemergence of psychedelic design is evident across various contemporary projects. This resurgence can be attributed to several factors, including a renewed interest in alternative spirituality, eco-conscious design, and a desire to break free from the monotony of minimalist aesthetics. While historically, psychedelia meant the use of vibrant colors and contrasting materiality, today’s refined and developed architectural style has led to architects and designers primarily adopting the movement’s core principles into their own explorations, emphasizing fluidity, form, and connectivity with nature over simply vivid color.
Hafary Gallery by Park + Associates, Singapore Photograph by Khoo Guo Jie
Some critics have suggested that the reemergence of psychedelic architecture directly correlates with the resurgence of interest in psychedelics for mental health and well-being, a field that has undoubtedly risen to the forefront of both healthcare and design as a key focus point. As research into the therapeutic potential of various substances gains momentum and research space, so does the notion that the psychedelic architecture of the past may have had unlocked an essential insight when considering and developing spaces that support our emotional and physical health.
A recognizable cultural shift towards introspection, creativity, and self-expression is widely observed in todays society and this shift dovetails with the core principles of psychedelic design, encouraging architects and designers to revisit and reinterpret the movement’s legacy. Even if today’s architects aren’t necessarily taking the psychedelics themselves, the aesthetics of 1960s have impressed themselves on cultural memory, and it seems that firms dabbling in formal experimentation on this legacy — whether it is consciously or unconsciously.
Serpentine Pavilion by BIG – Bjarke Ingels Group, London, United Kingdom Photograph by Iwan Baan
Notable examples of modern psychedelic-inspired architecture include the Bjarke Ingels Group’s (BIG) Serpentine Pavilion that stood in London in 2016 or the Blur Building by Diller Scofidio + Renfro in Switzerland. The Serpentine Pavilion, completed in 2016, featured an undulating, translucent structure that invites visitors to explore its labyrinthine pathways.
A masterful use of form and light transform the pavilion into an immersive experience, echoing the psychedelic principles of the past. Meanwhile, the Blur Building is an ethereal cloud-like structure on Lake Neuchâtel. A fine mist generated by water jets envelops the structure, creating a dreamlike atmosphere that harkens back to the mystique of psychedelic design and the importance of experience within the movement.
Without question, the 1960s counterculture’s psychedelic movement left an indelible mark on the architectural and design world, pushing the boundaries of conventional architecture. Today it becomes evident that the psychedelic spirit continues reverberating through the world of design. As architects and designers find inspiration in the past and chart new territory, the allure of psychedelic design endures. As humans continue to explore alternative forms of spirituality, eco-conscious design, and the therapeutic potential of psychedelics, the vibrant and innovative legacy of psychedelic architecture remains a powerful source of inspiration.
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London firm dMFK Architects has transformed a mid-century medical laboratory into a flexible office space with smoked oak joinery and a restored concrete staircase.
The office is spread over 550 square metres and located on the first floor of a fully-glazed 1960s building in the city’s Fitzrovia neighbourhood.
Meeting rooms are separated from the main space using smoked oak joinery
dMFK Architects was commissioned by property developers Derwent London to create an interior that was in keeping with the building’s heritage while incorporating the essential features of a modern co-working space.
Accessed from the ground floor lobby via the building’s original restored concrete staircase, the office features smoked oak joinery and bespoke family-style tables by British furniture brand Benchmark.
Spherical pendant lights hang in the main open-plan office area
Paired with vintage lights and pieces of Swiss and Danish furniture, the overall scheme creates a homely environment that is reminiscent of the mid-century era.
The studio incorporated a wide range of spaces for different types of work including phone booths, focus booths, a choice of meeting spaces, shared flexible workbenches, a breakout area, dining spaces, showers and changing facilities.
“We aimed to design as many different workplace opportunities within one space as we could, to offer a potential tenant light and shade and a range of options,” said dMFK Architects.
“Materials were kept soft and neutral to appeal to as wide a range of tenants as we could.”
Open shelving helps to divide up the space
The architects also stressed the importance of offering different types of lighting to foster productivity.
“We wanted contrast, areas of light and shade, strong task lighting on the tables but dimmer lighting in other areas,” they explained.
“We also chose not to use linear strip lighting to create a less even quality of light, which we believe is less tiring and more interesting.”
dMFK Architects restored the building’s original concrete staircase
According to dMFK Architects, the project is representative of a growing trend for developers to create finished interiors within office spaces, rather than renting out empty shells.
The studio has previously designed 11 buildings for The Office Group and was responsible for renovating The Gaslight, a mixed-use development set within an art deco building in central London.
