Prada opens patisserie Prada Caffè at Harrods
CategoriesInterior Design

Prada opens patisserie Prada Caffè at Harrods

Fashion house Prada has opened the Prada Caffè in luxury department store Harrods, which has an interior that is blanketed in the brand’s signature green hue and mirrors one of Milan’s oldest patisseries.

Located at the corner of Hans Road in London, the Prada Caffè is accessed via a mint green latticed storefront that complements Harrods‘s Edwardian baroque terracotta facade.

Photo of the Prada Caffè
Prada Caffè is located in Harrods

The interior of the pop-up cafe draws on the interior of Pasticceria Marchesi, a Milanese patisserie that opened in 1824, which has similar pale-green interiors that are paired with green velvet-upholstered soft furnishings.

At Prada Caffè, the walls, ceilings and furniture – including booth seating, plush armchairs and architectural elements – were hued in a minty green referred to as Prada green, a colour that has become synonymous with the brand.

Interior photo of the Prada Caffè
It was decorated in Prada’s signature green colour

A large marble countertop, decorated with textural, pebbled panelling at its base, is located at the entrance to the cafe and used to display Prada-branded patisseries that are presented like individual pieces of jewellery.

The floors of the space were clad in black and white-checkered floor tiles in a nod to the floors of the Prada boutique located in Milan’s Galleria Vittorio Emanuele II.

Interior image of the Prada Caffè
The interior referenced Prada stores and a Milanese patisserie

Floral reliefs and mouldings cover the walls and ceilings of the cafe, which the brand explained aims to evoke the look of Prada stores worldwide.

A mezzanine level, supported by green columns, is decorated with bowed balustrades and used as an elevated seating area overlooking the marble-wrapped patisserie counter.

At the rear of the cafe, a secluded room continues the interior scheme. Here, green velvet booth seating surrounds the perimeter of the space beneath decorative floral relief walls.

Tableware was selected specifically for the cafe and ranges from blue-hued Japanese porcelain, informed by ancient Celadon pottery and decorated with contrasting black lines, to blown-glass crystalware.

Photo of a seating area at the cafe at Harrods
A checkered floor runs through the cafe

To accompany the blown glassware and duck egg blue porcelain, silverware was engraved with Prada branding and features handle ends that are shaped like the brand’s triangular logo.

The cafe will remain at Harrods until January 2024.

Interior photo of the cafe at Harrods
Furniture was upholstered in velvet

During Milan Fashion Week, Prada presented its Autumn Winter 2023 collection in the Deposito of the Fondazione Prada, which featured a moving and retractable ceiling.

Elsewhere in London, Ola Jachymiak Studio brightened a cafe in Notting Hill incorporating terracotta-tile floors and tangerine-hued walls.

The photography is courtesy of Prada.

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Coil + Drift opens lighting studio and showroom in the Catskills
CategoriesInterior Design

Coil + Drift opens lighting studio and showroom in the Catskills

Lighting studio Coil + Drift has opened an office, showroom and production facility in the Catskill Mountains of Upstate New York that places modern elements in a barn-like building.

Coil + Drift founder John Sorensen-Jolink, who relocated to the area in 2021, has created a new home for his brand in a barn-like structure surrounded by nature.

Furniture arranged on raised platforms across the showroom
Coil + Drift’s new space in the Catskills showcases the brand’s products

“By relocating their queer-owned design business to the countryside, Coil + Drift is sparking a visceral conversation between people in a thriving rural creative community about how what we make defines who we are,” said the studio.

The building encompasses 3,000 square feet (280 square metres) and boasts tall ceilings, which are painted white along with its plywood-panelled walls.

Glass-topped metal desk positioned on a brown rug
The showroom includes an office space, defined by a chocolate-brown rug

The space is divided between a combined office and showroom, and a production facility where an in-house team now creates all of the company’s lighting designs.

In one corner of the showroom sits a black wood-burning stove, with a flue that extends through the roof, next to a pile of chopped logs used to fuel it.

Wood table on a plinth with brass light above
Furniture is displayed on stepped plinths, accompanied by lighting above

Chocolate-brown area rugs contrast the pale concrete floors, defining the entrance, the office space and a spot by the fire in lieu of walls or partitions.

Plinths are used to raise furniture designs, arranged in styled vignettes along with lighting, plants and small accessories.

More objects are displayed on wooden shelves of varying lengths, held up at different heights on thin golden rods.

Industrial-looking metal and glass doors mounted on rolling tracks separate the showroom from the workshop, which is located in an adjoining room.

Daybed presented on a raised plinth
The showroom features a white ceiling and walls, and a pale concrete floor

On show are several new additions to popular Coil + Drift collections, such as a floor version of the Yama table lamp and a “mobile-like” chandelier that joins the Atlas series.

Also to coincide with its move and expansion, the company has launched a trade-focused online platform for its products.

Wide shot of the showroom with yellow chair in the foreground
The building also houses a production facility behind industrial-style doors

Coil + Drift’s previous projects have included styling a townhouse in Brooklyn’s Prospect Heights neighbourhood for Hatchet Design.

Sorensen-Jolink, a former dancer, is one of many creatives that moved from New York City to nearby rural areas, either during or following the Covid-19 pandemic.

Exterior view of the Coil + Drift showroom facing the door
Coil + Drift founder John Sorensen-Jolink relocated to the Catskills in 2021 before opening the new studio

Upstate New York, and particularly the Hudson Valley and Catskills area, was already growing in popularity as a destination for artists and designers before the lockdowns, thanks to its reputation for vintage furniture shopping and art institutions.

Then low property prices and high demand for space and fresh air sparked an exodus to the region, when many bought second homes or relocated permanently.

The photography is by Zach Hyman.

Reference

NeueHouse opens third members’ club in Los Angeles
CategoriesInterior Design

NeueHouse opens third members’ club in Los Angeles

Workspace brand NeueHouse has opened a work and social space in Venice Beach, Los Angeles, which is revealed in this video created for the brand by Dezeen.

The club is the third community and co-working space that the brand has opened in Los Angeles, California, with other locations in Hollywood and in Downtown’s historic Bradbury Building.

NeueHouse Venice Beach is located at 73 Market Street, in an area of Los Angeles known for its arts scene in the 70s and 80s.

The interiors of the club were designed by Canadian studio DesignAgency, who were strongly informed by southern California’s history as a centre of modernism.

The agency chose to use light, organic materials to reflect the Californian climate. Spaces are designed to be open-plan, in order to foster a feeling of informality and comfort.

Spaces were designed to reflect the oceanfront location

The building includes private and public workspaces, as well as a podcast recording studio, wellness room and social spaces.

As with Neuehouse’s other venues, the club will host a regular cultural programme including exhibitions, screenings and events.

The clubhouse is home to a collection of artwork curated by Caroline Brennan of design studio Silent Volume and Pamela Auchincloss of curatorial agency Eleven+. The collection combines the work of established artists with emerging talent from southern California.

The clubhouse contains co-working spaces and creative production facilities

The Venice Beach club also houses Reunion, the first in-house restaurant and bar in a Neuehouse location. The restaurant is situated on a private rooftop space with indoor and outdoor seating.

“Our latest House is a response to a historic demand from the local Venice creative community,” said chief marketing officer Jon Goss.

“We want to reimagine and pay homage to the block’s historic past, while offering a warm, design-first experience”.

You can apply for membership at NeueHouse Venice Beach at its website.

Last year, Dezeen and NeueHouse teamed up to host a series of events, including a panel discussion on Afrofuturism in art and design and a live talk on the metaverse featuring Liam Young, Refik Anadol and Space Popular.

Partnership content

This article was written as part of a partnership with NeueHouse. Find out more about our partnership content here.



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Call for entries to BE OPEN’s Better Energy by Design competition
CategoriesSustainable News

Call for entries to BE OPEN’s Better Energy by Design competition

Promotion: creative think-tank Be Open has launched an international competition inviting students and graduates to come up with innovative ways of advancing sustainable energy systems.

The Better Energy by Design competition is open to students, recent graduates and young professionals from across the globe who specialise in the fields of art, design, architecture and media.

In launching the competition, Be Open hopes to raise awareness of the UN’s 17 Sustainable Development Goals (SDGs) – namely the seventh goal (SDG7), which aims to ensure that everyone has access to affordable and clean energy.

Participants are tasked with devising new technologies and designs that will advance SDG7 by speeding up the move towards low-carbon energy infrastructures.

Call for entries to BE OPEN’s Better Energy by Design competition
The competition aims to spotlight the UN’s 17 Sustainable Development Goals

“It is agreed by the world’s leaders that SDG7, calling for affordable, reliable, sustainable and modern energy for all by 2030, lies at the heart of all of the SDGs, and without progress on SDG7, it will be impossible to achieve the 2030 Agenda,” said Be Open.

“We strongly believe that creativity is integral to the shift to a sustainable existence,” the foundation continued. “To attain the UN’s SDGs, we need to think outside of the box.”

Call for entries to BE OPEN’s Better Energy by Design competition
Entrants are tasked with designing low-carbon energy systems

Submissions are free of charge, and must be based on one of three themes: Powered by Renewables, Save More Energy or Reducing the Energy Gap.

Entrants have the choice of entering individually or as part of a team. If entering as part of a team, each individual within the team may also submit their own project, in addition to the team project.

Those who wish to take part must submit their entry online via the competition website by 31 January 2023.

Call for entries to BE OPEN’s Better Energy by Design competition
Cash prizes ranging from €2,000 to €5,000 are available for winners

An international jury will make 50 honourable mentions out of all submissions before selecting first, second and third prize winners, who will be awarded €5,000, €3,000 and €2,000, respectively.

There will also be a Be Open’s Choice prize worth €3,000 – the winner will be chosen by the foundation’s community members out of 50 honourable mentions.

A further Public Vote prize worth €2,000 will be awarded, based on a majority vote from votes cast online.

Call for entries to BE OPEN’s Better Energy by Design competition
The competition is open to students and recent graduates who specialise in creative fields

Better Energy By Design is just one of a series of competitions that Be Open has run over the past four years, with each competition focusing on a specific SDG in a bid to further the UN goals.

To submit an entry, or to find out more about the competition, visit the Better Energy By Design website.

Partnership content

This article was written by Dezeen for Be Open as part of a partnership. Find out more about Dezeen partnership content here.

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Alternative Systems opens at the Design Museum
CategoriesSustainable News

Alternative Systems opens at the Design Museum

An exhibition highlighting London-based designer Bethany Williams’ waste-combating, social-driven vision for the fashion industry has opened at the Design Museum.

Exhibited in the atrium of London’s Design Museum, Bethany Williams: Alternative Systems is a celebration of Williams’ work which explores and responds to social issues through the use of community-led enrichment initiatives.

Image of the clothes displayed at the Bethany Williams: Alternative Systems display
Bethany Williams: Alternative Systems is a free display in the atrium of the Design Museum

A number of key works by the designer were exhibited across the four walls of the atrium’s balcony gallery, which is free to entry.

Mannequins are displayed among textiles samples, photography and raw waste materials in efforts to highlight the studio’s commitment to sustainable fashion.

Mannequins dressed in Bethany Williams garments are on display
The display was chosen to be shown in a free entry space in the museum

“I decided to organise the display thematically rather than by collection,” said Design Museum’s head of curatorial and interpretation Priya Khanchandani.

“It opens with a section about the studio specifically and then there’s a part about creative process, intellectual references and the way in which they propose alternative infrastructures of working, followed by a section about reuse and another about community collaborations,” she told Dezeen.

“Bethany’s work not only tackles the question of the environmental impact of design, but it also has an amazing social purpose.”

Garments are suspended from branches at Bethany Williams: Alternative Systems
The exhibition design was completed by Edit

Williams is a fashion designer, humanitarian and artist. She graduated from Brighton University with a degree in Critical Fine Art before receiving a master’s from the London College of Fashion in Menswear.

She launched her namesake brand in 2017 and has strived to spotlight and respond to social and environmental issues, her works see her partnering with local grassroots programs and manufacturing collections using waste materials.

Scrubs are displayed at Bethany Williams: Alternative Systems
Garments are exhibited alongside research, drawings and materials

A section of the display exhibits Willliams’ work as part of the Emergency Designer Network. The initiative is a collaboration between herself and designers Phoebe English, Cozette McCreery and Holly Fulton.

The group of creatives, with their textile manufacturing knowledge and teams of volunteers, produced 12,000 scrubs, 100,000 masks and 4,000 gowns for frontline healthcare workers during the peak of the coronavirus pandemic.

Waste from packaging tape sourced from Rimini, Italy was handwoven and constructed into functional items and garments as part of Williams’s Autumn Winter 2018 collection, which was on display.

“I felt it was very important to show not just the finished garments, which you would see in a retail fashion context; being a museum display I wanted to add other layers of information,” explained Khanchandani.

Bethany Williams: Alternative Systems includes shoes crafted from packaging waste
Williams’ work merges streetwear and craft

“There are process materials like drawings and sketches, and also source material,” said Khanchandani. “For instance, a jacket made of waste newspaper is shown alongside some of the waste material, the Liverpool Echo, which is dangling next to the garment.”

“You’re able to see the journey of the objects from inception, to finished product.”

Detail image of shoes made from plastic waste
Williams has collaborated with San Patrignano, a drug and alcohol rehabilitation programme

Each season, the fashion studio collaborates with different local charities and grassroots programs and donates a percentage of its profits to its causes.

“With our work, we hope to continue to reach new audiences, encourage inclusivity and positive change for the fashion industry,” said Williams. “The Design Museum continues to be aligned with this via the exhibitions curated, including their Waste Age exhibition, which we featured in last year.”

“We are so proud to showcase our new exhibition: Bethany Williams: Alternative Systems, a celebration of the new way of working proposed for the fashion industry by the studio’s work.”

Printed and patchwork clothing pictured suspended on the walls of the Design Museum
Dresses and corsetry feature boning constructed from waste materials

The opening of Bethany Williams: Alternative Systems was timed to coincide with Williams’ Autumn Winter 2022 collection, titled The Hands that Heal Us, which was presented at the museum.

The collection included a cactus leather jacket, and garments made from recycled and organic-based denim with detachable metal hardware that aid the recycling process at the end of its life.

Mannequins wearing clothing at Bethany Williams: Alternative Systems
A skeleton suit was informed by a 19th-century children’s playsuit

In 2016, Williams graduated from London College of Fashion and showed her MA graduate collection in the university’s show as part of London Fashion Week.

Last year’s Waste Age exhibition at the Design Museum, which featured Williams’ work, explored how design has contributed to the increasing throwaway culture and how people can create an alternative circular economy that doesn’t exploit the planet.

Photography is by Felix Speller.

Bethany Williams: Alternative Systems is on display at the Design Museum from 22 February 2022. See Dezeen Events Guide for all the latest architecture and design events taking place around the world.

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Exhibition dedicated to the work of Yinka Ilori opens at Design Museum
CategoriesInterior Design

Exhibition dedicated to the work of Yinka Ilori opens at Design Museum

Brightly coloured chairs and personal memorabilia feature in the Parables for Happiness exhibition showcasing the works of London-based designer Yinka Ilori at the Design Museum.

Opened during London Design Festival, the exhibition is the first major display of Ilori’s vast number of vibrant designs, including graphic murals, furniture and public installations.

Model of one of Yinka Ilori's architectural designs
Parables of Happiness showcases a wide selection of Ilori’s designs

Ilori’s designs are exhibited alongside pieces that influenced his work and objects representing his Nigerian heritage, including Nigerian textiles adorned with colourful geometric patterns and a traditional Dùndún drum that visitors can play.

The show also includes models of some of the 80 sculptural chairs that Ilori has designed.

Yinka Ilori's colourful and graphic chair on display
Ilori started his career designing chairs

One of Ilori’s chair designs is presented in a line-up of iconic and recognisable chairs with the aim of giving context to his work. Included in the display is the RCP2 chair by Jane Atfield, who was Ilori’s tutor at university.

“One of the reasons I started designing was because of a brief given by Jane Atfield called Our Chair,” Ilori told Dezeen. “Purely because of her brief is why I started designing chairs when I finished uni.”

Washington Skeleton Side Chair designed by David Adjaye on display
A chair designed by David Adjaye is exhibited alongside Ilori’s work

Another chair on display is the Washington Skeleton Side Chair designed by British-Ghanian architect David Adjaye, who Ilori credits with having “opened doors for designers like me”.

“Over the years, my work has gained recognition for the strong use of colour, pattern and narrative that comes from my Nigerian heritage,” said Ilori. “However, it has often deviated from design trends and has been misunderstood”

“This display charts my inspirations and creative journey as I transitioned from furniture design to community-driven public installations,” he continued.

Nigerian textiles displayed at the Design Museum
His work is influenced by Nigerian textiles

Visitors to the exhibition can discover Ilori’s architectural projects through photographs, drawings and models including his Colour Palace pavilion, which was erected in Dulwich in 2019.

Details of Ilori’s Launderette of Dreams – an installation that involved reimagining a launderette in London as a children’s play zone for Lego – are displayed. A lego chair that formed part of the Launderette of Dreams installation is also on display at the show.

“A fast-rising star of contemporary design, Yinka Ilori’s unique aesthetic – drawing on Nigerian textiles with a nod to postmodernism – employs a mix of visual references that come together to inspire joy,” said the exhibition’s curator Priya Khanchandani.

“This display is a testament to how cultural fusions, frissons and juxtapositions can be rich fuel for creativity and for generating more inclusive architectures in the city.”

Details of the Parables of Happiness exhibition
Chairs and details of the designer’s public installations are included in the exhibition

As well as showcasing Ilori’s bright, playful designs and examples of his design influences, the exhibition features some of the designer’s personal items.

Visitors can see his name badge from working at Marks and Spencer and a pair of paint-splattered trousers that Ilori wore while painting a number of his graphic murals.

Details of the Parables of Happiness exhibition
Ilori is known for his use of colour and graphic representation

“I’m a huge believer in memory making and storytelling – how do we relive or revisit memories?” said Ilori.

In Parables of Happiness, Ilori hopes to “open up new conversations about design in the UK and internationally, to see how other people view design around the world”.

“I am truly humbled and honoured to have my work exhibited at such an early stage in my career and hope the display provides inspiration for the next generation who might feel they don’t fit into the status quo,” the designer continued.

Known for his colourful designs, Ilori has recently completed a pavilion in Berlin with a canopy made up of brightly coloured translucent disks and transformed his London studio and office with bold hues indicative of his signature art style.

The photography is by Felix Speller.

Parables for Happiness takes place from 15 September 2022 to 25 June 2023 at the Design Museum in London. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world.

Reference

Balenciaga opens smoked-glass couture store beneath historic atelier in Paris
CategoriesInterior Design

Balenciaga opens smoked-glass couture store beneath historic atelier in Paris

Fashion house Balenciaga has opened a couture store with smoked-glass-panelled walls in the same building as its original couture salon in Paris.

The store is located beneath Balenciaga‘s historic atelier at 10 Avenue George V, which was recently renovated to exactly replicate the interior of the original couture salon that was first opened in 1937.

Interior image of Balenciaga's Couture Store in Paris
The interior of the store was clad in tinted glass

“The newly renovated space at 10 Avenue George V is dedicated to preserving Balenciaga’s heritage in its original couture location, first opened in 1937, as well as creating a couture for today,” said the brand.

The design of the store beneath the couture salon was created by long-time Balenciaga collaborator Sub, a Berlin-based architecture studio that was founded by Niklas Bildstein Zaar and Andrea Faraguna.

Interior image of a smoked-glass changing room at Balenciaga's Couture Store
The store is located in the same building as Balenciaga’s original couture salon

The boutique’s exterior is marked by oversized serif Balenciaga signage, a nod to Balenciaga’s 20th-century branding that also forms a distinction from the narrow, sans serif typeface that currently identifies the brand.

Beneath the signage, four arched openings frame swooping curtains that are given a golden hue by the brown-tinted glazing.

Interior image of a grey-hued fitting room at the Balenciaga Couture Store
Grey curtains zone spaces throughout the store

The interior of the couture store echoes Balenciaga’s raw architecture concept, which was applied internationally across the interior of its stores, but this edition has been clad in panels of tinted glass instead of concrete.

Between the unfinished but glass-clad walls, ash-hued curtains conceal carpeted areas while wrinkled-leather ottomans were placed throughout the two-storey store.

Wrought iron balustrades and a curving marble staircase, with glass panelling slotted around it, hint at the building’s history and the former decor and interior scheme of the atelier above.

“The concept of the couture store is a gateway to couture, which remains a very closed universe, especially for new generations,” said Balenciaga CEO Cédric Charbit.

Interior image of the first floor of the Balenciaga Couture Store
Remnants of the store’s history were incorporated into the design

“In this new store, products, made-to-measure services and retail excellence are a reinvention of the Balenciaga client experience,” said Charbit.

“It is exciting to be able to present this level of craft, creativity and made-in-France savoir-faire in our historical address.”

Image of the interior with mirrors surrounding the store's columns and supports
Balenciaga’s couture atelier is located above the store

Metal shelving was decorated with couture items, ranging from artisanal to technological, from the brand’s most recent Autumn Winter 2022 couture show.

Items on display include its speaker bag, which was created in collaboration with Danish audio brand, Bang & Olufsen.

Earlier in 2022, Balenciaga wrapped its Mount Street store in London in a bright pink faux fur to celebrate its Le Cagole bag.

Photography is courtesy of Balenciaga.

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Studio Four opens up “dark and compartmentalised” Melbourne residence
CategoriesInterior Design

Studio Four opens up “dark and compartmentalised” Melbourne residence

A series of portal openings improve connections between rooms and bring extra light into this 1970s residence in Melbourne renovated by Australian practice Studio Four.


Studio Four aimed to renovate the home, which was designed by Australian architect Wayne Gillespie in 1972, to improve the internal plan and bring it up to date for contemporary living.

Exterior of Cunningham Street residence with protruding glazed volume
A series of portal openings provide views of the garden beyond (top and above)

“While the existing house was of solid build, the interiors felt lightweight by comparison and did not flow or function as desired,” said Studio Four.

“Some spaces, in particular the existing kitchen, were dark and compartmentalised and did not fully harness the possible connections with the garden.”

Kitchen interior Studio Four with wooden chairs and table and view of garden
Solid wood furnishings create a sense of warmth in the otherwise monochrome kitchen

Located in the city’s South Yarra neighbourhood, the Cunningham Street Residence was designed by Gillespie as his first independent project and his first home.

The architect, who died in 2001, was known for his use of pure, clean lines, and combining classical design features with modern technology.

Wooden kitchen table setup with integrated planter in Cunningham Street residence
A planter is integrated between the dining table and kitchen island

“The client’s brief was to provide a holistic solution,” explained Studio Four.

“Their brief was to strengthen Gillespie’s original vision, as opposed to creating an alternate vision that would directly contrast it.”

Cunningham Street residence by Studio Four
The kitchen was relocated

Studio Four replanned the rooms to enable the occupants to spend time both together and separately.

For example, the existing kitchen was relocated to the centre and rear of the home so it could be used as a central space for the family to gather in.

To make the spaces appear larger and more connected with each other and the outside space, the architects inserted a series of portal openings between the spaces.

It decorated the spaces with a palette of light and neutral colours.

Reading nook with blue carpet and view of garden in interior by Studio Four
One of the portals features an integrated reading nook

“The design response reflects the integrity of the existing built fabric. The focus is on the experience rather than the form, and all emphasis is placed on the quality of the experience rather than a visual statement,” concluded the studio.

“The result is a house where the architectural form and its interiors act as one, and the transition between built form and landscape is blurred.”

Bedroom with floor to ceiling windows and green bedding in Cunningham Street residence
The bedroom features panoramic views of the trees outside

Studio Four, which is led by directors Annabelle Berryman and Sarah Henry, has a track record of creating homes that blur indoor and outdoor space.

Previous residential projects include an all-white family home with a garden at its centre, and a grey-brick home with a central olive tree-dotted courtyard.

Photography is by Shannon McGrath.

Reference

Google store designed by by Reddymade opens in New York
CategoriesInterior Design

Google store designed by by Reddymade opens in New York

Google has opened its first physical retail space in New York’s Chelsea, designed by architecture studio Reddymade to include cork furniture and recycled materials.


Welcoming its first visitors on 17 June 2021, Google Store occupies a ground-floor space in the former Port Authority Building – a vast art deco structure that is home to the tech company’s NYC headquarters.

Google Store windows
The large windows of the first Google Store look out onto Ninth Avenue in Chelsea

Located on the corner of 15th Street and Ninth Avenue, the store’s glazed facade looks onto the entrance of the popular Chelsea Market situated opposite.

Architect Suchi Reddy of Reddymade worked with Ivy Ross, VP of design, UX and research for Google Hardware, to create a retail experience based on their collaboration during Milan’s Salone del Mobile in 2019.

Google Store interior
Google Store’s interior features warm materials and lighting

Elements of the exhibition, A Space For Being, including the core principles of neuroaesthetics – a branch of science that examines how visual aesthetics can impact our bodies and minds – informed the design of the store.

Warm and tactile materials like wood panelling, and cork furniture by Daniel Michalik, were chosen to create an inviting mood in the main area. “Reddymade’s design puts the visitor at ease, welcoming those seeking help alongside those pursuing their curiosity,” said a statement on behalf of the studio.

Seating in Google Store
Cork furniture by Daniel Michalik is dotted around the space

At the entrance, tubes of extruded glass are suspended between the floor and ceiling to form the Imagination Space, where visitors are invited to interact with Google products and technologies via a series of screens.

The intention is to “re-awaken visitors to the childlike wonder found in the technology and digital innovation on display”, the statement said.

Around the store, a thin black metal line traces a fluid path, drawing the eye between the various product displays.

A central circular counter that acts as a support desk has a neon halo, spelling out “Here to help” multiple times in a ring.

Casual seating at Google Store
Casual seating is provided for customers seeking product support

Casual seating in the form of benches, poufs and stools can be used by shoppers and those seeking product advice or assistance.

In the windows, illuminated “discovery boxes” showcase Google products and allow passersby to interact with them using augmented reality technology.

Imagination Space
The Imagination Space creates an enclosed area for shoppers to experience Google products and technologies

Many of the materials across the Google Store were selected for their sustainable credentials, enabling the project to achieve LEED Platinum certification.

Among these are flooring made from 100 per cent recycled factory waste by Swedish company Bolon, and acoustic panels with a felt-like finish made from 100 per cent PET plastic, and containing at least 60 per cent post-consumer content, by US manufacturer Kirei.

Window boxes from the exterior
Discovery Boxes in the Google Store windows allow passersby to interact using augmented reality technology

Ross spoke to Dezeen in 2019 about how companies like Google “have an obligation” to be more sustainable.

She is also responsible for the creation of the Google Design Lab at the company’s Silicon Valley headquarters, as well as the expansion of its hardware line, which she has overseen since 2016.

Photography is by Paul Warchol, courtesy of Google.


Project credits:

Architect: Reddymade
Contractor: Michilli
MEP engineer: Rosini Engineering
Structural engineer: Stratford Engineering
Accessibility and LEED consultant: Steven Winters Associates
Lighting designer: Reveal Design Group
Acoustic consultant: Lally Acoustical Consulting
Expeditor: Ganci & Logozzo
Millwork/fabricator: Bednark Studio
Millwork: Viridis
Glass fabricator (Magic Space): AMG Glass Technik
Cork furniture: Daniel Michalik
Furniture dealer: EvensonBest
Upholstery: The Work Room
Neon: Let There Be Neon

Reference