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Kith Women Flagship in Soho combines walnut and pink marble

American fashion brand Kith has returned to the location of its first Manhattan flagship to open a women-dedicated store, in which olive trees grow up through display podiums.

The inaugural Kith Women Flagship in Soho opened last December at 644 Broadway, the same historic landmark building where the brand debuted its Manhattan retail offering in 2011.

Custom-built walnut podiums with olive trees growing through the centre — Custom-built podiums run through the middle of the Kith Women flagship store in Soho

Previously the Manhattan Savings Institute Bank, the red sandstone and brick structure’s exterior features wrought iron gates at the entrance and set the tone for the materials palette inside.

Kith founder and creative director Ronnie Fieg designed the interiors to include signature elements of the brand’s retail concepts, but with adjustments to acknowledge its context.

Kith Women store with apparel and accessories displayed in walnut and brass-trimmed niches — The main room displays apparel and accessories in walnut and brass-trimmed niches

“The ambiance exudes modern elegance with its warm and calming aura, constructed with materials like Venetian plaster, travertine, and rosa aurora [marble],” said the Kith team.

The spacious main room benefits from tall ceilings and an open floor plan, and presents Kith Women in-house and multi-brand ready-to-wear apparel against Venetian plaster and Kith monogrammed suede wallpaper.

Footwear room with shoes presented on travertine shelves — In a room dedicated to footwear, shoes are presented on travertine shelves

Clothing is displayed on rails installed in walnut and brass-trimmed niches around the perimeter, with accessories like hats and bags placed on shelves above.

A row of square walnut podiums runs through the middle of the room, each with an olive tree growing up through the centre of its pink marble surface.

A cafe and flower shop featuring mosaic floors and a fluted marble service counter — A cafe and flower shop is run in partnership with PlantShed, and features mosaic floors and a fluted marble service counter

Custom-built by Brooklyn-based woodworker Mark Jupiter, these units contain drawers for product storage, and alternating ones are topped with glass vitrines for showcasing jewellery and other small accessories.

Oak flooring is laid in a grid pattern transversed by walnut strips, and the darker wood also lines the fitting rooms.

Footwear has a dedicated room, in which shoes are displayed on shelves with integrated lighting that run from one end to the other.

“Entering the footwear space, you will find a grand arched plaster ceiling, travertine shelves, and a custom chandelier from Italy by Viabizzuno,” the team said.

Cafe in a courtyard behind historic wrought iron gates — The cafe leads out to a courtyard behind the historic building’s wrought iron gates

In the final room is a cafe run in partnership with New York-based flower and plant shop PlantShed, which serves light bites and drinks and offers custom floral arrangements.

The space features a mosaic tiled floor, walnut wall panelling, a service counter with a fluted pink marble front and floral displays on stepped stone plinths.

The cafe leads out to a courtyard area behind the building’s impressive iron gates, which furnished with cafe tables and chairs in between topiary plants shaped into spirals.

Exterior view of red sandstone building at 644 Broadway — Kith Women is located at 644 Broadway, the same building where the brand opened its original flagship retail space in 2011

Feig also designed Kith’s recently opened Williamsburg store, located in the 25 Kent Plaza office building where the brand also has its corporate offices.

The company had previously worked with design studio Snarkitecture on its retail spaces around the world, including outposts in Miami, Los Angeles and Paris.

The photography is courtesy of Kith.

Reference

Interior Design

Hauvette & Madani restores Paris apartment to “former glory”

By Zarkon Group,16/02/2024

Local design studio Hauvette & Madani drew on the Haussmannian history of this Paris apartment to create a gallery-like interior for its occupant’s vast art collection.

Located in the city’s historic Triangle d’Or, the dwelling previously featured minimalist marble surfaces and gilding leftover from a recent renovation.

Hauvette & Madani “re-appropriated” the apartment, originally designed as part of Georges-Eugène Haussmann’s famed reconstruction of the French capital during the mid-19th century, to reflect its architectural past.

Paris apartment by Hauvette & Madani — Hauvette & Madani added cornices and mouldings to the apartment to reflect the dwelling’s Haussmannian roots

“The challenge was to completely revamp the apartment, which had just been refurbished,” said studio co-founder Samantha Hauvette, who designed the dwelling with Lucas Madani.

“We carried out meticulous research to find the right motifs and decorations to restore the place to its former glory and Haussmannian charm,” she told Dezeen.

Artworks within the Hauvette & Madani-designed living room — The living room features various artworks

The designers recreated delicate white cornices and mouldings – hallmarks of Haussmannian design – within the apartment, which had been previously stripped of these details.

This created a considered but neutral backdrop for the resident’s eclectic collection of artwork and a curated selection of furniture “mixing eras and styles,” according to Hauvette and Madani.

Turquoise fireplace — Sarah Crowner designed a bold fireplace for the dining space

Visitors enter at a small round vestibule clad in straw marquetry – a “common thread” that also features on a pair of curved sofas and a sleek coffee table as well as sliding doors, the main bedroom’s headboard and the dining table.

The light-filled living room is characterised by sculptural furniture and art pieces, including rounded vintage armchairs finished in a dark green hue and metallic base.

An amorphous ceiling work by Austrian artist Erwin Wurm was suspended above the sofas, while a deep blue painting by Swiss practitioner Miriam Cahn adds a bold hue to the room.

“It’s a real living space, where the homeowner shares a lot with her artist and designer friends,” said the designers. “All the pieces have a strong identity.”

Pink and green kitchen within Paris apartment — The kitchen balances traditional elements with more alternative details

For the dining room, American artist Sarah Crowner created a striking turquoise fireplace, which was clad in a blocky mosaic of geometric tiles and positioned alongside a burnt orange vintage egg-shaped chair.

“We wanted to take the codes of classicism and break free from them,” explained Hauvette and Madani, who aimed to balance traditional interior details with more contemporary colourful touches.

Blocky wooden drinks bar — A blocky drinks bar was finished in the same design as the kitchen table

Continuing this theme, the designers sandwiched a bright green stove between more subtle, light pink cabinets in the kitchen, which includes a patterned feature wall.

Blocks of light-coloured timber were stacked by French furniture maker Hervé van der Straeten to create a singular lumpy leg for the kitchen table as well as the base of a drinks bar elsewhere in the apartment.

Hauvette and Madani also constructed an in-house sauna for the home, finished in dark wooden slats and tucked behind a bespoke green-hued daybed, made by the designers themselves.

“We have a strong belief that everything that you love independently will work perfectly once put together,” said Madani, who highlighted the power of trusting your instincts when curating eclectic interiors.

Home sauna — Hauvette & Madani also added a home sauna

Summarising the overall look and feel of the apartment, the pair declared, “it’s Paris Haussmannian style, with a hint of craziness!”

Hauvette & Madani is not the first studio to renovate a traditional Parisian apartment with contemporary touches.

Local studio Uchronia recently filled a home for jewellery designers with multifaceted furniture pieces crafted to mirror the appearance of precious stones. The studio also previously added a wine-red kitchen to an otherwise neutral flat in the French capital.

The photography is by François Coquerel.

Reference

Interior Design

Gharib Studio outfits Austin jewellery store with pink walls and arches

By Zarkon Group,15/02/2024

Los Angeles design studio Gharib Studio has contrasted concrete floors and exposed ceilings with soft-pink walls and clean lines for a jewellery store in Austin.

Created for the friendship jewellery brand Little Words Project (LWP), Gharib Studio used elements of the merchandise to inform the store’s pink material palette and incorporated arches throughout the space to contrast the industrial elements of the building, which were left exposed.

Table with silver base — Gharib Studio has outfitted a jewellery store in Austin with dusty pink

According to Gharib Studio founder Nora Gharib, the team followed the common phrase “everything is bigger in Texas” when designing the concept store.

“I wanted to amplify the brand in a grand way by taking the LWP brand aesthetic and localizing it to Texas by pushing the standard design elements, such as the brand’s bracelet arches and beading table experience, then accentuating it,” said Gharib.

A retail store with silver with long white tables — Arches and soft tones contrast with the space’s industrial elements

Visitors enter the store into a large, primary space, where built-in display cases were integrated into the walls.

On one side, the display resembles small bookcases and on the other, the bracelets are displayed throughout a series of arches.

Archways with tables and chairs — Long tables lead to the seating area at the back of the space

At the centre of the primary space are two long tables with metallic-coated bases, also used for display. A circular display table in the middle was created to resemble a vanity, with merchandise incorporated throughout.

Gharib inserted three arches along the back of the space, in part to accentuate the height of the space, and to draw visitors to the space beyond them, which serves as a beading area.

Velvet chairs underneath aluminum light fixture — Metallic details were informed by the charms found on the bracelets

This space was outfitted with CB2 Castell Chairs in burgundy, with similar tables as the main space, except with pink bases instead of silver.

A neon sign that reads, “You can sit with us” hangs above the tables.

Textured dusty-pink wallpaper by Belarte Studio was used to line the space, while the remaining interior was covered in a rose pink hue.

Metallic accents throughout the store, including aluminium light pendants, a metal trimmed mirror and the display table’s metallic bases, were informed by the metal charms found in LWP bracelets.

Space with velvet chairs and textured wallpaper — It is the brand’s first store in Austin

The space’s utility elements were left exposed on the ceiling, with red track lighting running the perimeter of the space.

Other retail projects recently completed in Austin include a mid-century post office turned grocery by Side Angle Side.

Gharib Studio is a Los Angeles-based studio founded by Nora Gharib in 2023, focused on retail and brand design.

The photography is by Casey Woods Photography

Project credits:

Architectural designer: Gharib Studio

General contractor: Paco Santander Construction

Reference

Sustainable News

The allure of the ‘bio’ prefix must be taken with some healthy scrutiny

By Zarkon Group,15/02/2024

Biomaterials have the potential to significantly cut carbon emissions but designers should approach them with caution to avoid creating a whole new set of problems, warns Sioban Imms.

The vision of a civilisation based on biomaterials is compelling: products, clothes and buildings made from materials that have been “grown”, rather than derived from polluting, extractive fossil industries. The promise is not only lower emissions, but products that are more in tune with the environment – manufactured objects that are part of the natural cycle of life. And consumers are willing to pay a premium for such ostensibly “sustainable” products – 12 per cent more, according to a recent study by Bain.

However, in a bid to gain competitive advantage, marketing narratives surrounding biomaterials are regularly inflated or gloss over important details. Prefixing “bio” to a material name conjures a sense of being natural, compostable, and better all round for personal and environmental health.

Marketing narratives surrounding biomaterials are regularly inflated

But these claims can unravel, or at least become complicated, when researching a little deeper than the material classification, product name and strapline. A report from RepRisk found a 70 per cent increase in incidents of greenwashing between 2022 and 2023. Incoming legislation in the EU is specifically targeting this issue.

The definition and terminology around biomaterials is still evolving. For clarity, we’re not talking here about biomaterial designed for implanting into the body, but biologically derived materials used in product, fashion and architecture.

Often grown using living micro-organisms like yeast, bacteria, cellulose and mycelium, they can be finely tuned at the nanoscale by engineering DNA sequences to produce specific properties. For example, UK company Colorfix tweaks the DNA of bacteria so that they excrete coloured pigments for dyeing textiles. Microbial manufacturing organisms like these tend to be fed, fermented and modified in controlled environments.

The substitution of fossil-derived, high-carbon materials for biomaterials is urgently important. A recently published study by Radboud Universiteit in the Netherlands concluded that biomaterials reduce greenhouse-gas emissions by an average of 45 per cent compared to fossil-based materials.

But biomaterials are not a magic bullet to the multi-faceted nature crisis industrial civilisation is causing. Especially important is avoiding what are sometimes called “regrettable substitutions” – whereby one material is replaced with another that merely introduces a new set of problems.

For example, BioCane disposable food packaging is an alternative to plastic food packaging made from bagasse – pulped sugarcane-fibre, a waste product from the sugar industry. The design is geared to express its natural origins and circularity, from the subtly flecked, neutral colour and matte finish to the embossed logomark featuring a plant within a gradated circle.

Biomaterials are not a magic bullet to the multi-faceted nature crisis

However, for BioCane to be grease repellant (so it doesn’t fall apart before you’ve consumed the contents) it needs an oleophobic coating, unlike plastic packaging. BioCane uses a polyfluoroalkyl substance (PFAS) for this coating. PFAS are termed “forever chemicals” due to their damaging long-term persistence and accumulation in the environment – not to mention our own bodies.

BioPak, which produces BioCane, transparently publishes information about this on its website, highlighting it as an industry-wide problem. The company also includes a timely pledge to phase out PFAS-containing packaging by June 2024, which happens to coincide with a move to phase out PFAS by the Environmental Protection Agency in the US.

Not all manufacturers are as responsible; it’s common to find unlisted additives – or perhaps a fossil-based lamination to improve a material’s durability – under a headline claim of biological origins.

Bioplastic is another material experiencing significant growth, partly driven by high oil prices making fossil-fuel-derived plastic less competitive. Most bioplastic is made from ethanol, commonly sourced from corn, wheat or sugarcane. Sugarcane, for example, is planted in monocultures in tropical and sub-tropical countries like Brazil. The sugar is extracted, fermented and distilled to produce precursor chemicals for bioplastics.

But to assess the environmental value of using this bioplastic, we need to know about how the crops are managed – for example, the pesticides and synthetic fertilisers used to increase crop yield, the land-clearance practices, and the effect on food prices if the bioplastic became widely adopted. At the end of the product’s life, specialised infrastructure for disposal will need to be in place, further complicating the picture.

Biodegradable bioplastic would seem to offer a solution to the worst ravages of plastic – the alarming buildup of microplastic pollution across the world. How much better if the material could be absorbed back into the environment?

Biodegradable doesn’t mean a material will break down in the environment over useful timescales

The market opportunity for biodegradable plastics is alluring, and forecasts predict that they will account for the majority of the bioplastics market – 62 per cent, by 2028. This opportunity is attracting investment and also the potential for greenwashing as companies vie for a competitive advantage over others.

But biodegradable doesn’t mean a material will break down in the environment over useful timescales. A 2022 UCL study of supposedly “home compostable” bioplastics revealed that 60 per cent did not fully degrade within the tested timespans – a finding that unravels the whole purpose for investing in compostable packaging.

Claims relating to bioplastics were at the crux of a recent legal case brought against US biotech firm Danimer Scientific Inc. The manufacturer of biodegradable products had claimed that its proprietary plastic material Nodax PHA is able to biodegrade not only in industrial composting facilities but in landfill and in the ocean.

Danimer’s share prices rocketed, sparking an investigative report in the Wall Street Journal, which stated that “many claims about Nodax are exaggerated and misleading, according to several experts on biodegradable plastics”. Danimer refutes this statement, but what came out in court was that the company performed biodegradability tests on Nodax in a powdered form, which doesn’t relate to real-world product formats like bottles that have variable thickness.

The legal case was eventually dismissed, but nonetheless the alleged greenwashing spiked Danimer’s share price, shaking investors’ trust in the company and having knock-on effects for the wider industry.

Going forward, manufacturers will need to be transparent about what goes into their products. In the EU, legislation tackling greenwashing in product labelling will come into effect in 2026. The new law is a direct response to the rise in misleading claims that companies use.

When specifying a biomaterial, it’s important to dig into its provenance

It comes after a study commissioned by the bloc found that 53 per cent of green claims on products and services are vague, misleading or unfounded, and 40 per cent have no supporting evidence. In the UK, the Competition and Markets Authority has published the Green Claims Code – a six-point guide to help businesses ensure they are not unwittingly misleading customers.

These two initiatives highlight the importance of using the right language when promoting products and materials, and as the impact of the EU’s legislation ripples through the industry, there will be a natural calibration to more transparency.

The takeaway for designers is that, as ever, the picture is complex. When specifying a biomaterial, it’s important to dig into its provenance, as well as to look at the material use and disposal. The allure of the “bio” prefix from an ethical – and marketing – perspective may be strong, but must be taken along with some healthy scrutiny.

Sioban Imms is a colour, material and finish (CMF) and sustainability strategist with a background in design and manufacturing. She is co-founder of consulting agency Substance and a contributing editor at trend forecasters Stylus and WGSN.

The photo, of MarinaTex designed by Lucy Hughes, is courtesy of the University of Sussex.

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Reference

Interior Design

IKEA unveils “powerful” first photos by artist-in-residence Annie Leibovitz

By Zarkon Group,14/02/2024

Swedish furniture brand IKEA has released two images from a series of photographs taken by Annie Leibovitz, its first-ever artist-in-residence, showing people in their homes across the world.

The American photographer, who is best known for her portraits, travelled to twenty-five homes around the globe to take photos of people in their residences. She visited houses and apartments in Sweden, India, Italy, Japan, Germany, England and the US.

“The home has always been important in my work,” Leibovitz said when appointed artist-in-residence in 2023.

“I’ve been photographing people in their homes since I began,” she added. “It’s a way to understand who a person is. The advice I give to young photographers is to photograph their families. It’s one of the best ways to start.”

People in home photographed for IKEA — Annie Leibovitz photographed 25 homes for IKEA, including this one in Germany

Leibovitz’s photos for IKEA show a variety of different interiors in seven different countries.

“The result is a powerful photographic document that illuminates the nuances of life at home – across borders, ethnicities and professions,” the furniture brand said of the project.

The series, which comprises 25 photos in total, was commissioned by IKEA after its IKEA Life at Home Report showed that 48 per cent of people globally don’t feel the media represents their home.

The first two images released by IKEA, show the homes of Yusuke Onimaru in Japan and Maria Arrechea in Germany – specifically Onimaru’s ceramic workshop and Arrechea’s living space filled with friends.

Leibovitz’s photos will be shown as part of the IKEA+ exhibition in Paris, which will take place during Paris Fashion Week.

It will also feature a collaboration with online radio station Rinse and showcase the Tesammans collection made by IKEA together with Eindhoven-basd design duo Raw Color.

Six emerging designers from the Casa93 fashion education program are also taking part in the IKEA+ showcase. They worked with “home furnishing mentors” from IKEA to create designs that focus on upcycling and sustainable design.

The photography is by Annie Leibovitz for IKEA.

IKEA+ will take place on 28 Rue de Lappe, Paris, from 29 February to 3 March. For more worldwide events, exhibitions and talks in architecture and design, visit Dezeen Events Guide.

Reference

Architecture

Concrete ring connects Hoji Gangneung homes by AOA Architects

By Zarkon Group,14/02/2024

Seoul studio AOA Architects has created Hoji Gangneung, a series of uniquely shaped concrete dwellings linked by a raised, circular path in the South Korean countryside.

Located in Gangwon-do, Hoji Gangneung includes a family house for the owner and three guesthouses, along with a communal building.

Concrete Hoji Gengneung houses in South Korea — Five buildings are arranged around a raised concrete ring

AOA Architects designed one of the four homes with an octagonal shape and central courtyard while another, named the Round House, has a semi-circular end.

The remaining two dwellings and the communal building have rectangular floor plans and differ from each other by their roof shape.

Hoji Gangneung houses in South Korea — AOA Architects designed each structure with a different shape

The communal building has a mono-pitch roof and one rectangular house has a regular gable roof. The final house, named the Long House, features a gable roof with a raised central section topped with a skylight, creating an elongated light well.

“Every building has its own shape, size and character, allowing guests to enjoy each space distinctly through shadow play,” said AOA Architects principal Jaewon Suh.

Hoji Gangneung by AOA Architects — Hoji Gangneung is located in the countryside in South Korea

AOA Architects took cues from countryside structures, such as warehouses and cabins, when designing Hoji Gangneung, aiming to create a project that references its surroundings while establishing itself as something new.

“The main concept and goal of the design is to build something familiar and also unfamiliar in a rural area,” Suh told Dezeen.

“For some, the Octagonal House looks like a nomadic tent and feels like an octagonal pavilion, the Long House looks like a milk carton or a grain warehouse, and the Round House looks like a slender piece of wood or a face with a hat, but these associations do not matter.”

A concrete ring elevated above the grassy landscape connects the five buildings, a decision the studio made to prevent the need for multiple paths.

“A circular shape was the best gesture to connect the five buildings at once,” Suh said. “As a result, while avoiding typical countryside alley shape and showing the main concept of the design, an artificial circular raised walkway was created.”

Concrete house in South Korea by AOA Architects — The buildings are made from textured concrete

According to the studio, the choice of concrete also deliberately juxtaposes the grassy landscape below.

“By raising a walkway slightly from the land, a tension between the gently floated concrete walkway and weak grasses of the land occurs,” said Suh.

Concrete home interior with a pitched roof and light well — AOA Architects covered the interiors of the homes in wood

The buildings are all built from textured concrete and topped by corrugated metal roofs.

In the communal building, the concrete structure is left exposed. Large glass doors spanning one wall open onto the concrete walkway and give views of the dwellings.

Communal dining area with a concrete structure — The concrete structure of the communal building is left exposed inside

The interiors of the houses are finished with wood to add a sense of warmth and “make one feel that they have entered a box of musical instruments”, according to Suh.

AOA Architects was founded in 2013 by Jaewon Suh and Euihaing Lee. The studio previously designed a Minecraft-themed apartment in Seoul with a stepped roof and red- and white-tiled exterior.

Elsewhere in South Korea, architecture studio Atelier Koma recently created a concrete chapel and YounghanChung Architects designed a two-storey study space for a retired university lecturer.

The photography is by Chin Hyosook.

Reference

Interior Design

Barde vanVoltt gives historic Haarlem house a contemporary update

By Zarkon Group,13/02/2024

Interiors studio Barde vanVoltt has renovated this early 1900s house in the Dutch city of Haarlem to forge a strong connection between the building’s past and present, grounding the space with warm woods and tactile textures.

The owners – a young family of four – wanted a home that would stand the test of time while telling Dutch practice Barde vanVoltt to “surprise us”.

Exterior of Dutch home by Barde vanVoltt — Barde vanVoltt had overhauled an early 20th-century house in Haarlem

In answer, the studio worked to create an interior that fuses the past and the present.

“Stepping into this house is a journey through time, a reminder that architecture is a dialogue between generations,” the studio told Dezeen.

“Meticulously preserving its historical charm, the house’s design seamlessly integrates contemporary features, creating a harmonious blend that transcends eras.”

Extension of Haarlem House — The studio added an extension to the rear of the home

To address the narrow footprint of the house – a typically Dutch feature – internal walls were either removed, widened or replaced with glass panel doors.

The back of the property was transformed with an extension and concertina glass doors to maximize the sense of light and space.

Kitchen of Dutch home by Barde vanVoltt — The extension houses the kitchen and dining area

“With the extension on the ground floor, we wanted to create contrast with the original architecture,” said Barde vanVoltt. “The understated square modern architecture, due to its shape and angular position, blends perfectly with the past.”

“With the historic facade at the front, we took advantage of the space at the rear, extending the kitchen and living areas into the garden.”

Living room of Haarlem House — A vintage sandstone table centres the living room

The practice carefully aligned the new design elements with shapes drawn from the architectural features of the house, with the new full-height door openings echoing the proportions of the living room’s original windows.

In the attic, a guest room doubles as a playroom. Barde vanVoltt infused this once-dark space with natural light via a skylight, “allowing guests to sleep under the stars”.

Hallway with stained glass windows inside Haarlem House — Barde vanVoltt retained Haarlem House’s original stained glass windows

“Dutch houses are noted for their sloping attic roof lines,” the studio said. “For the children’s bedrooms, we followed this structural line and created custom bunk beds that combine sleep, storage, and space for play.”

The material palette includes a range of mid- and dark-toned timbers that bring a sense of warmth and tactility to the home.

These are complemented by natural materials including stone and linen.

“Our colour scheme always consists of earthy colours like moss green, a faded terracotta, grey concrete and off-whites,” the studio said. “For this residence, we brought them in line with the original colours from the existing tiles and stained glass.”

Children's bedroom inside Dutch home by Barde vanVoltt — Custom bunk beds feature in the children’s bedrooms

The furniture edit features Barde vanVoltt’s favoured mix of statement pieces alongside handmade and bespoke elements.

Selected pieces reflect the architectural style of the building such as the Lot table by Tecta in the study, as well as Gerrit Thomas Rietveld’s 1934 Zig Zag chair and his Steltman chair from 1963, which was the last chair ever created by the Dutch designer.

The playroom, dining area and bedroom all have specially-made seating upholstered in Kvadrat fabrics, while the bedrooms and study feature bespoke beds and closets.

Bathroom inside Dutch home by Barde vanVoltt — Wooden blinds mirror the linear pattern of the bathroom tiles

“We love creating interiors full of handmade, bespoke furniture pieces with refined details,” said Barde vanVoltt. “The headboard of the master bedroom is an art piece in itself. The walnut slats are slightly curved and give it a very sophisticated look.”

The square coffee table in the living room – made from a single piece of sandstone – is a vintage piece from Atelier Uma.

Bedroom inside Haarlem House — Barde vanVoltt created a custom headboard in the primary bedroom

For the lighting scheme, Barde vanVoltt set out to create the right balance between functional and decorative lighting, collaborating with lighting experts PSLab to create a “warm and cosy atmosphere.”

Other Dutch homes that have recently been featured on Dezeen include a house with a hexagonal footprint in Amsterdam and a Hobbit-style residence that is partially buried underground.

The photography is by Thomas de Bruyne.

Reference

Interior Design

Ten inspiring living spaces punctuated by structural columns

By Zarkon Group,12/02/2024

From monolithic concrete pillars to ornately decorated columns, this lookbook collates ten living room interiors that embrace existing structural columns.

It is not always cost-effective or practical for designers and architects to remove preexisting columns from interiors, especially if they are load-bearing and thus vital to the structural integrity of the building.

In the past, the structural components of buildings were often concealed within walls; however, this changed with the increase in popularity of open-plan spaces over the course of the 20th century.

Columns are sometimes placed at irregular intervals, especially in older buildings, and consequently the interior design scheme must be adapted to fit around them.

Pillars can provide a strong focal point that can be enhanced by both the choice of interior finishes and the placement of furniture around them.

Depending on their materiality and style, they can also serve as an immovable reminder of the building’s design style and the historical period in which it was built.

This is the latest in our lookbooks series, which provides visual inspiration from Dezeen’s archive. For more inspiration see previous lookbooks featuring interiors animated by textural burl wood, multicoloured interior design schemes and contemporary interiors that make a feature of historic ruins.

Grey chairs in living room with white column in corner — Photo by Pier Carthew

Kerr, Australia, by SSdH

The industrial past of this mezzanine apartment in Melbourne is apparent thanks to the I-beams that crisscross the space and the pair of thick plastered columns in two corners of its living room.

The functional aesthetic of the pillars is complimented by the presence of streamlined metal furnishings and offset by floor-to-ceiling wooden panelling.

Find out more about Kerr ›

Kitchen with chrome counter in JJ16 apartment by Lucas y Hernández-Gil — Photo by Jose Hevia

JJ16, Spain, by Lucas y Hernández-Gil

Situated in the Salamanca district of Madrid, local studio Lucas y Hernández-Gil created a playful interior for a high-ceilinged 19th-century apartment that combines pops of colour with original features.

A pair of elegant columns made from cast iron frame the entrance to the walk-through kitchen, contrasting the contemporary units with their fluted shafts and ornamented capitals.

Find out more about JJ16 ›

Living room with concrete column in it — Photo by Fran Parente

Curitiba apartment, Brazil, by Leandro Garcia and Amanda Dalla-Bona

Eclectic furniture and glossy herringbone flooring contrast the weathered concrete pillar that sits on the boundary between the living and dining spaces of this apartment in the Brazilian city of Curitiba.

It has a rectangular footprint and a characterfully rough surface, which are both echoed in a gnarled wooden stool sitting at its base.

Find out more about Curitiba apartment›

Living room with mirrored wall and detailed columns — Photo by Sarah Elliott

Tribeca Loft, USA, by Andrea Leung

Public and private zones have been delineated by a partially mirrored wall tucked behind a sequence of three original, intricately formed columns in this loft apartment in New York’s Tribeca area.

The Corinthian-style iron pillars are characterised by gracefully fluted shafts topped by opulent capitals that feature acanthus leaves. The style was popular in ancient Greek and Roman architecture.

Find out more about Tribeca Loft ›

Living room with smooth white column in corner — Photo by Felix Speller and Child Studio

Mews house, UK, by Child Studio

A quartet of smooth, statuesque pillars blend in seamlessly against a backdrop of art deco and mid-century modern furnishings in the living area of this mews house in London’s Mayfair area.

The thick, pale pillars bring a dramatic air to the space, which was designed for lounging as well as hosting, entertaining and dining.

Find out more about the mews house ›

Living space with curved sofa and tiled columns — Photo by Seth Caplan

Dumbo Loft, USA, by Crystal Sinclair Designs

Walls made from floor-to-ceiling glass panels and an opulent crystal chandelier create a sense of luxury in this Brooklyn apartment.

The living room is grounded by a double-height structural pillar, which has a bottom half clad in pale pink vertical, subway-style tiles.

Find out more about Dumbo Loft ›

Living space with kitchen in corner and stone pillar in centre — Photo by José Hevia

Can Santacilia, Spain, by OHLAB

A pillar with a faceted stone shaft and an ornately carved and painted wooden capital is the focal point of this living area inside an apartment in Palma de Mallorca by local studio OHLAB.

The stately pillar and dramatic coffered ceiling are contrasted by the sleek modern kitchen, but united by the use of stone in both the column and kitchen island.

Find out more about Can Santacilia ›

Living area in a wooden house — Photo by Nao Takahashi

Casa Nano, Japan, by Bosco Sodi

This modest home in Tokyo features slender struts made from wood that form part of the building’s exposed structure.

Wooden seating, tables, cabinets and shelving create a harmonious interior scheme, which is dominated by both the skeletal wooden frame of the building and an open-tread staircase.

Find out more about Casa Nano ›

Vasto gallery by Mesura apartment interior — Photo by Salva López

Casa Vasto, Spain, by Mesura

This apartment in Barcelona (above and main image) is studded with white-rendered columns dating from the 18th century, which anchor the unique vaulted ceiling to the expansive floor.

Low-slung furnishings provide a horizontal emphasis in the interior while the columns create a rhythm of upright pillars, which nod to the building’s industrial heritage.

Find out more about Casa Vasto ›

Brutalist Chelsea townhouse by Pricegore — Photo by Johan Dehlin

Brutalist Chelsea townhouse, UK, by Pricegore

London-based architecture studio Pricegore refurbished the interior of this brutalist townhouse to celebrate its concrete materiality.

In the lofty, double-height living space, a cylindrical pillar stretches from floor to ceiling in front of the backdrop provided by the house’s verdant garden.

Find out more about Brutalist Chelsea townhouse ›

This is the latest in our lookbooks series, which provides visual inspiration from Dezeen’s archive. For more inspiration see previous lookbooks featuring interiors with textural burl wood, colourful interior design schemes and contemporary interiors that make a feature of existing historic ruins.

Reference

Interior Design

Studio Paolo Ferrari designs Toronto restaurant as a “world unto itself”

By Zarkon Group,11/02/2024

Toronto-based Studio Paolo Ferrari has created cinematic interiors for a restaurant in the city’s Downtown area, combining influences from filmmakers that range from Stanley Kubrick to Nancy Meyers.

Unlike a typical restaurant layout, Daphne unfolds as a series of rooms with distinct identities, each borrowing references from different cinema styles.

Neutral-toned dining room with dramatic vaulted ceilings and a checkered floor — Daphne is laid out across several spaces, including a Great Room designed to feel like Nancy Meyers movie

Studio Paolo Ferrari intended each space to offer a different experience for guests, and custom-designed all of the furniture and lighting for the restaurant to make it feel even more unique.

“Daphne is an elevated and exceedingly creative take on the American bistro, fusing the nostalgia of New England prep with wonder and eccentricity,” said Studio Paolo Ferrari. “At once intimate and grand, eccentric and sculptural, convivial and experimental, the deeply imaginative space is reminiscent of a great residence that’s evolved over time.”

Burnt orange dining area with a wavy banquette — Studio Paolo Ferrari designed custom furniture and lighting throughout the restaurant

Guests arrive into an intimate space that features a transparent full-height wine cabinet, which offers glimpses of the dining area beyond.

They then move through to the Great Room, a cavernous room framed by a dramatic vaulted ceiling and decorated in a warm neutral palette.

Dining room fully enveloped in a burnt orange hue — The Drawing Room is fully enveloped in a burnt orange hue

Through the centre is a line of dining tables, each paired with a rounded striped sofa and two boucle-covered chairs.

The open kitchen is fully visible through the arches on one side, while a darker, cosier dining area coloured a burnt orange hue runs along the other.

A mirrored corridor with a hand-painted landscape mural leads to a separate bar area

“The grand space is reminiscent of the warmly luxurious spirit of a Nancy Meyers film, with custom furnishings that are deeply residential in feel and varsity-inspired checkerboard tiling,” said Studio Paolo Ferrari.

The Drawing Room beyond continues the burnt orange colour, fully enveloping the walls, ceiling and seating upholstery to create a monochromatic space.

Bar with wavy walls and green banquette — The mural continues across the wavy walls of the bar room and green banquette seating follow the curves

Cove lighting is installed behind louvres that cover the upper walls, adding texture and shadows as well as hint of “Cape Cod Americana”.

The bar area is reached via a long corridor that’s mirrored from floor to ceiling along one wall, and is lined with a hand-painted landscape mural across the opposite side.

Bar with glass countertop and fluted front — The glass bar countertop is illuminated from within, while the counter front is fluted

This verdant rural scene continues across the wavy surfaces in the bar room, above green banquettes that follow the flow of the wall.

“Daphne is a world unto itself, awaiting discovery,” the studio said. “Stepping into the bar is almost akin to stepping into an exquisitely-designed film set.”

The snaking glass-topped bar counter is illuminated from within, as a nod to the bar in the fictional Overlook Hotel from Stanley Kubrick’s movie The Shining.

The counter front is fluted in reverence to Beaux-Arts architect Henry Bacon, while reflective stainless steel across the back bar matches the circular tables and chair feet in the room.

Outdoor dining area between two brick buildings — An adjacent dilapidated building was razed to create an expansive outdoor terrace

A dilapidated building adjacent to the restaurant was demolished to make way for an expansive outdoor Garden Terrace with a dining area and bar.

Sandwiched between two brick structures, this exterior space features comfy yellow and white-striped seating surrounded by plants, and a row of tall trees in the centre – continuing the botanical theme from inside.

Yellow and white-striped seating running along a brick wal — Plants behind the yellow and white-striped seating continue the botanical theme from inside

A separate entrance from the street leads guests between tall columns clad in dark blue-purple iridescent tiles into the alley-like space.

“It was important that the space had depth and a quality of experimentation,” said Paolo Ferrari, founder of his eponymous firm. “Daphne is truly an active experience of discovery, where guests can uncover thoughtful and innovative details throughout.”

Columns of blue-purple iridescent tiles form a gateway into an alley-like outdoor terrace — Columns of blue-purple iridescent tiles form a gateway from the street into the alley-like outdoor terrace

The designer’s earlier projects in Canada have included a lake house with wood and granite interiors, and a showroom for a development in Ottawa that appears more like a home than a sales gallery.

Other recent additions to Toronto’s dining scene include Prime Seafood Palace, which features a vaulted-wood interior by Omar Gandhi Architect.

The photography is by Joel Esposito.

Reference

Interior Design

Home Studios uses local materials to renovate Northern California hotel

By Zarkon Group,10/02/2024

Brooklyn-based Home Studios has turned a conference centre in Northern California back into a luxury hotel, as originally intended by the property’s founder: the inventor of the radio.

The Lodge at Marconi sits on a 62-acre site next to Tomales Bay, within the picturesque Marconi State Historic Park – a 1.5-hour drive up Highway Route 1 from San Francisco.

Double-height lounge space with large windows and a red striped sofa — Home Studios created a variety of lounge areas across Lodge at Marconi to provide an informal atmosphere

Designed for Nashville-based company Oliver Hospitality, the hotel occupies a historic property that was first built by Guglielmo Marconi, an Italian physicist who invented the radio in 1896.

“Home Studios found inspiration in the property’s storied history – particularly in the pioneering spirit of Guglielmo Marconi, who worked with a New York-based engineering company to build the property’s initial building, a luxury hotel, in 1914,” said the design team, led by Oliver Haslegrave.

Hotel reception counter clad in oxblood-coloured tiles — The reception counter is clad in oxblood-coloured tiles from Heath Ceramics

It took 17 months to overhaul the complex of blackened-wood buildings, which are topped with mono-pitched roofs of different heights and opposing directions.

The architecture is similar to that of The Sea Ranch Lodge further up the coast, which reopened in 2022 after its own extensive renovation.

Dining room featuring brick flooring, blue-green tilework and eclectic contemporary furniture — The Redwood Dining Hall features brick flooring, blue-green tilework and eclectic contemporary furniture

Home Studios looked to the iconic site – famed for its modernist style and sensitive land planning – for cues when developing the Lodge at Marconi’s 45 guest rooms and suites, which occupy freestanding buildings across the wooded site.

“Borrowing design language from Sea Ranch’s ‘living lightly on the land’ credo, the rooms blend into the environment and boast a tranquil and peaceful atmosphere,” the team said.

A series of coloured wooden cubes mounted on a wall above banquette seating and dining tables — Artworks in the restaurant, including a series of coloured wooden cubes, were created in collaboration with Lukas Geronimas Giniotis

The hotel complex is made up of eight indoor and outdoor spaces, laid out “like a summer camp” to accommodate different activities in each area.

In the reception block, guests arrive to a series of lounges and other communal spaces that create a more informal setting than a traditional hotel lobby.

Bright guest suite with a double bed, day bed and blue lounge chair — The bedrooms are bright and airy, with materials and colours that subtly reflect the hotel’s natural surroundings

A check-in counter is fronted with oxblood-coloured tiles by Heath Ceramics, which was founded in nearby Sausalito.

More of the company’s tiles, this time in blue-green hues, line the lower walls of the restaurant known as the Redwood Dining Hall.

Shower with colourful patchwork of tiles from the 1960s — Three of the guest room bathrooms feature original tiles that date back to the 1960s

Red bricks are laid in a basketweave pattern across the floor, contrasting with the bright blue bases of the custom dining tables, while warm cedar panels and beams cover the ceiling.

A mural comprising four-panel linen screens and a series of wood cubes mounted on a wall was made in collaboration with California-based artist Lukas Geronimas Giniotis.

The guest rooms are bright and airy, with the colours of the natural surroundings subtly reflected in the furnishings.

Some have cosy loft spaces, while larger suites feature a dedicated workspace and sitting area.

Buildings clad in blackened wood and topped with monopitched roofs — The accommodations are split across several buildings clad in blackened wood and topped with monopitched roofs

“Northern California’s rugged environment served as a design influence, and is reflected in the natural woods and earth-tone textiles that adorn each room and weave together a cohesive connection throughout the property,” Home Studios said.

“Three guest room bathrooms feature original tile dated to the 1960s when the hotel served as a rehabilitation facility known as Synanon.”

Wooden chairs surrounding a fire pit with blackened wood buildings in the background — The property includes multiple outdoor areas for gatherings and events

Across the property, the indoor spaces are afforded scenic views of the forest and the water through large windows.

A variety of gathering and event spaces are available to guests both inside and out, including wooden chairs positioned around fire pits among the landscape designed by Bay Area firm Dune Hai.

View through the trees to Tomales Bay at sunset — Lodge at Marconi sits atop a hill overlooking Tomales Bay in Northern California

This is Home Studios’ third hotel project, following the Mediterranean-influenced Alsace hotel in Los Angeles and the boutique Daunt’s Albatross motel in Montauk.

The firm’s other recent projects include a revamped bar and restaurant on Nantucket, an Italian eatery close to Harvard University and a townhouse renovation in Fort Greene, Brooklyn.

The photography is by Brian W Ferry.

Reference

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