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    Sofía Betancur references nearby church for Pizzeria Della Madonna

    A neighbouring church informed the layout and design of this pizzeria in Mexico City, in which architect Sofía Betancur placed the oven in full view.

    The Pizzeria Della Madonna is located next to the Parroquia de la Sagrada Familia, a church in the city’s Roma Norte neighbourhood built in 1910.
    A halo-like stainless steel frame is one of the many religious references at Pizzeria Della Madonna”The temple reflects a mixture of neo-Romanesque, neo-Gothic, and eclectic styles,” said Betancur, who is based in Mexico City. “The semicircular arches, Corinthian columns and wooden benches arranged throughout the nave are elements reinterpreted in the spatial proposal of the project.”
    Inside the 98-square-metre, L-shaped space, the pizza oven is placed in the crossing — directly visible from the restaurant’s glass doors.
    The distressed plaster walls of the restaurant are reminiscent of an old Italian churchIts sculptural rounded form is framed by a halo-like stainless steel structure suspended from the ceiling, providing a shelf on which hot pizzas can be placed.

    Curved lines following the oven’s shape are traced across the floor, as well as on the ceiling in the form of track lighting that extends through the space.
    The dining area is laid out like a nave, with seating on either side of a central pathwayThroughout the restaurant, distressed plaster walls create the effect of eating in an old Italian church.
    “The rustic finish on the walls reveals multiple layers of paint that reflect almost a century of history of the house, which in the past housed homes and different commercial and retail projects,” the architect said.
    The open kitchen features ceramic and terracotta tilesThe dining space at the front of the restaurant is laid out like a nave, with wooden bench seating and tables on each side and a path up the middle.
    “The concept is complemented by historical, pictorial research and the symbology of the Virgin Mary and Marian architecture in Europe, from which forms, colors, materials and spatial qualities are taken up,” said Betancur.

    Studio Wok designs cavernous pizza restaurant to recall rocky coves of Sardinia

    “In this way, the proposal turns out to be a tribute to Mexican neo-colonial style and Italian religious architecture and iconography.”
    Further seating is located in the perpendicular branch, or transcept, of the “L”, where a mirrored wall at the end makes the space appear larger.
    In a “transcept”, further seating is reflected in a mirrored wallIn the kitchen area, ceramic tiles cover the wall surfaces, while terracotta tiles of a similar size and shape the front of the service counter.
    “The blend of the open kitchen and bar with the dining room translates into a balanced combination of practical and utilitarian materials typical of industrial kitchens and warm materials that provide elegance and comfort,” Betancur said.
    The restaurant is located in Mexico City’s lively Roma Norte neighbourhoodServing one of the world’s most popular foods, pizza restaurants take many forms and styles across the globe, but many feature some reference to its home country.
    In New York, Büro Koray Duman drew on Neopolitan culture for the interiors of Simo, while at Dough Pizza in Perth, Ohlo Studio used materials that evoke the “rustic sophistication” of Italy.
    The photography is by Arturo Arrieta.
    Project credits:
    Architecture: Sofía BetancurDesign team: Cesar Ávila G y Sergio Bau.Engineers: Leonel NavaVisual identity: Faena StudioConstruction: Factor EficienciaWoodwork: Taller Nacional y Solana EstudioLighting: Martín Leal

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    Markus Benesch designs Alpine home for fabled “tuntschi” doll

    A vengeful doll from an Alpine folk tale was the imagined occupant of this colourful cabin-style home created by German designer Markus Benesch at Milan design week.

    The maximalist Alpine Rising installation featured decorative Alpine-style furniture and multi-coloured wall coverings, all filled with references to life in the mountains.
    Benesch developed the design after becoming fascinated by the fabled character of the “tuntschi” doll.
    The exhibition featured Alpine-style furniture and multi-coloured wall coveringsAccording to the story, the tuntschi is fashioned out of wood, straw and cloth by herdsmen who spend the summer tending cattle on the mountain and crave female company.
    The doll comes to life, yet the herdsmen continue to objectify her. So when the time comes for them to return home, she takes murderous revenge on one of them.

    This got Benesch thinking about what happens after the story finishes.
    Stui dining chairs and Hockerl stools both combine ash wood with colourful resin”I wondered, what is this doll doing when she is alone in the wintertime?” he told Dezeen. “I thought, maybe she has the time of her life.”
    One of the starting points for the design was to think about the types of pastimes that the doll might enjoy.
    The Tuntschis Chapel cabinet is based on traditional Alpine architectureOne idea was that she might ski. This resulted in swirling motifs – reminiscent of snow tracks – that appeared throughout, plus a pair of bespoke skis.
    Benesch also thought the doll might take up pottery, which led him to the work of Austrian ceramicist Florian Tanzer, founder of Vienna-based studio Luma Launisch.

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    Tanzer’s rough and enigmatic ceramics often depict unusual characters.
    For Alpine Rising, he created vases and vessels that integrate the face of the tuntschi. Some pieces had more than one face, in reference to her two-faced nature.
    The wallpaper combines images of wooden shingles with different colours and tonesBenesch and his small-production furniture, textile and wallpaper company Curious Boy created a completely custom interior for the tuntschi’s Alpine cabin.
    Divided into rooms, it was filled with farmhouse-style furniture pieces that combined traditional Alpine woodcraft with colourful motifs typical of Benesch’s designs.
    Benesch creates these patterns by inlaying wood with pigmented resin.
    The zigzag-patterned Hochzeitsschrank wardrobe was crafted from pineIn ash wood, designs on show included the cabin-style Tuntschis cabinet, the elaborate Himmibed and the playful Stui dining chairs.
    Walnut was used for the amorphous Splügen lamp, while the zigzag-patterned Hochzeitsschrank wardrobe was crafted from pine.
    Florian Tanzer created ceramics that refer to the two-faced nature of the dollFor the wallpaper and textiles, Benesch created repeating patterns using images of wooden shingles that typically clad Alpine chalets, then overlaid them with various colours and tones.
    Underlying the entire design was an idea about getting away from today’s digital world and the harmful effects it can have on mental health, and instead celebrating “an analogue lifestyle”.
    Benesch also produced hand-carved ash and walnut spoonsThis idea was emphasised by hand-carved ash and walnut spoons and a pack of custom-designed playing cards.
    “We want to disconnect from the crazy of our today’s world and reconnect more with ourselves in nature,” added Benesch.
    The exhibition formed part of the 5Vie district during Milan design week, where other exhibitions included Artemest’s L’Appartamento, a 1930s apartment redesigned by six different studios.
    Following Milan design week, we collected ten standout installations and projects on show during the week.
    Alpine Rising was on show from 15 to 21 April 2023 as part of Milan design week. See Dezeen Events Guide for more architecture and design events around the world.
    Exhibition and furniture photography is courtesy of Markus Benesch Creates. Ceramic photography is by Gregor Hofbauer.

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    Farrell Centre opens with exhibition showcasing mycelium and fake fur

    An architecture centre founded by British architect Terry Farrell has opened in Newcastle, England, with an exhibition exploring building materials of the future and “urban rooms” for local residents.

    The Farrell Centre is an exhibition gallery, research centre and community space that aims to provoke conversation about architecture and planning, both in the city and at a global scale.
    The project was instigated by Farrell, who donated his architectural archive and put £1 million towards the build.
    The Farrell Centre occupies a former department store building in NewcastleThe inaugural exhibition, More with Less: Reimagining Architecture for a Changing World, looks at how buildings might adapt to the climate crisis.
    Fake fur, mycelium and wool insulation feature in a series of installations designed to challenge traditional methods of producing architecture.

    Elsewhere, three urban rooms host workshops and other events where locals can learn about the past and future of Newcastle and voice their opinions on development plans.
    The ground floor is designed to encourage people in, with glazed facades on two sides”The centre is here to bring about a better, more inclusive and more sustainable built environment,” said Farrell Centre director and Dezeen columnist Owen Hopkins during a tour of the building.
    “The belief that underpins everything we do is that we need to engage people with architecture and planning, and the transformative roles that they can have,” he told Dezeen.
    “Architecture and planning are often seen as something that’s imposed from above. We need to shift that perception.”
    Seating bleachers create an informal space for talks and presentationsForming part of Newcastle University, the Farrell Centre occupies a four-storey former department store building in the heart of the city.
    Local studios Space Architects and Elliott Architects oversaw a renovation that aims to make the building feel as open and welcoming as possible.
    The exhibition More with Less includes an installation by HBBE made from mycelium, sawdust and woolThe ground floor has the feel of a public thoroughfare, thanks to glazed facades on two sides, while bleacher-style steps create a sunken seating area for talks and presentations.
    A colourful new staircase leads up to the exhibition galleries on the first floor and the urban rooms on the second floor, while the uppermost level houses the staff offices.
    McCloy + Muchemwa’s installation is a table filled with plantsAccording to Hopkins, the launch exhibition sets the tone for the type of content that visitors can expect from the Farrell Centre.
    The show features installations by four UK architecture studios, each exploring a different proposition for future buildings.
    “We wanted to create something that expands people’s understanding of what architecture is, beyond building an expensive house on Grand Designs,” Hopkins said, referencing the popular television show.
    Dress for the Weather has created a mini maze of insulationNewcastle University’s Hub for Biotechnology in the Built Environment (HBBE) has created Living Room, a cave-like structure made by cultivating a mixture of mycelium and sawdust over a giant wool blanket.
    Next, a mini maze created by Glasgow studio Dress for the Weather aims to showcase the thermal and experiential qualities of building insulation, with varieties made from low-grade wool and plastic bottles.
    Office S&M’s installations include a silhouette of the head of Michelangelo’s David made from pink fur and a chaise longue covered in expanding foamLondon-based Office S&M proposes low-tech but fun solutions for making buildings more comfortable.
    These are represented by a silhouette of the head of Michelangelo’s David made from pink fur, a metallic space blanket, a chaise longue topped covered in expanding foam and a dichroic-film window covering that casts colourful reflections onto the floor.

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    “This whole room is about actually doing really simple mundane stuff, but in a way that is joyful and tells a story,” said Hopkins.
    In the final room, an installation by London-based McCloy + Muchemwa brings nature indoors with a boardroom table covered in plants.
    The urban rooms host events where people can learn about the development of the cityOn the floor above, the three urban rooms have been fitted out by Mat Barnes of architecture studio CAN with custom elements that make playful references to building sites.
    They are filled with historic maps, interactive models, informal furniture, display stands made from scaffolding poles, and architecture toys that include building-shaped soft play and Lego.
    In one of the rooms, planning proposals are displayed on stands made from scaffolding polesThe idea of setting up an urban room in Newcastle was the starting point for the creation of the Farrell Centre.
    A decade ago, Farrell was commissioned by the UK government to produce a report on the state of the UK’s architecture and planning system.
    One of the key recommendations in the Farrell Review, published in 2014, was to create an urban room in every major city, giving local people of all ages and backgrounds a place to engage with how the city is planned and developed.
    One urban room contains a model of a Terry Farrell-designed masterplan for NewcastleAs Farrell grew up in the Newcastle area and studied architecture at the university, he became keen to make this concept a reality in this city.
    Although the Farrell Centre is named in his honour, Hopkins said that Farrell is happy for the facility to forge its own path in terms of programme and approach.
    “He established the idea and vision for the centre, but he is happy for us to build out that vision in the way that we think is best,” added Hopkins.
    The Farrell Centre forms part of Newcastle UniversityThe director is optimistic about the centre’s potential to engage with the community.
    “Newcastle is a city like no other,” he said. “The civic pride here is off the scale. People have such a deep-rooted love of where they live.”
    “It’s amazing to be able to tap into that as a way of creating a better built environment.”
    More with Less: Reimagining Architecture for a Changing World is on show at the Farrell Centre from 22 April to 10 September 2023. See Dezeen Events Guide for more architecture and design events around the world.

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    Vives St-Laurent creates theatrical children’s boutique in Mont-Tremblant ski resort

    Harnessing soft colours and gentle curves, interior design studio Vives St-Laurent has completed a shop for children’s boutique Billie Le Kid in Mont-Tremblant – a Canadian ski resort known for its colourful architecture.

    Following on from Billie Le Kid’s first store in Montreal, the brand brought in Vives St-Laurent to create a new outpost that captured the spirit of the brand while reflecting its location.
    Vives St-Laurent designed the interiors for Billie Le Kid’s Mont-Tremblant boutiqueIts storefront was designed to resemble a theatre, showcasing the brand’s wholesome edit of children’s clothes, toys and books.
    Custom-made awnings recall the idea of a general store, while the front was repainted in a vibrant blue-on-blue palette to reflect Mont-Tremblant’s colourful charter.
    Painted tongue-and-groove panelling adds a touch of nostalgiaReferencing the facade, arched openings throughout the boutique bring a whimsical touch to the transitions between different sections.

    Rounded corners were used to soften the edges of the display cabinets, adding character and creating a playful and welcoming atmosphere.
    Integrated display cabinets provide plenty of storageBianco Carrara marble was used on top of the checkout counter to convey a sense of timeless luxury, while moss-coloured velvet changing room curtains reference the theatre concept and bring softness and tactility to the space.
    The polished concrete floor was a practical choice, as the low-maintenance material allows skiers to visit the store in their ski boots.
    Bianco Carrara marble covers the store’s counterPainted tongue-and-groove panelling was added to give the boutique a touch of nostalgia.
    “We combined classic and contemporary materials to create a harmonious yet unique ambience,” Vives St-Laurent’s interior designer Léa Courtadon told Dezeen.
    Courtadon said she chose the store’s calming colour palette of stone beige and sage green to create “a whimsical mood that recalls the playful world of childhood while maintaining sophistication and ensuring the products stand out”.

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    Sturdy vintage Canadian furniture was chosen to draw on the idea of the general store and family home. Long wooden refectory tables were repurposed as displays for toys and clothing, adding visual interest while paying homage to the brand’s Canadian heritage.
    A row of vintage frilled-glass pendant lights creates a feature above the counter.
    “The lamps’ rippled globes resemble ballerina tutus, adding a delicate touch to the overall design,” Courtadon said.
    Rounded corners give the storage units a playful edgeIn contrast, the main lighting system with its matt white finish was chosen to blend seamlessly with the store’s high ceiling. The railing system allows for precise positioning to highlight different items within the display cabinets.
    Vives St-Laurent used baskets for storage to contribute to the nostalgic, homespun aesthetic as well as offering a practical way to store and display plush toys.
    Changing rooms are hidden behind velvet curtains”They create an impression of abundance and allow children to interact with the toys, promoting a sense of independence and autonomy,” said Courtadon. “It all contributes to a playful and engaging atmosphere that’s ideal for a kids’ store.”
    Since its founding in 2018, Vives St-Laurent has completed a range of projects across Canada. Among them is a tactile home in Montreal with a grey-heavy colour scheme.
    The photography is by Alex Lesage.

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    Studio Vaaro reconfigures House M using built-in storage volumes

    For the renovation of a house in Toronto’s West End, local firm Studio Vaaro added minimally detailed millwork to form kitchen cabinetry, the staircase and a feature bookcase in the living room.

    Studio Vaaro’s overhaul of House M, a three-storey detached property that had been renovated and extended multiple times over the years, involved reconfiguring the layout to remove the awkward subdivided spaces.
    The ground floor of House M is partitioned by storage volumes laid out in a diamond formation”Our clients were a professional couple with two young children, who were looking for flexible and resilient spaces that could accommodate their home offices, overnight guests, and the changing needs of their growing children,” said the studio.
    “We, therefore, developed a spatial concept based on ‘functional volumes’, in which well-proportioned spaces are partitioned by blocks of storage and service functions.”
    The pale blue-grey volumes provide additional storage space for the kitchenThese built-in storage blocks partially partition four rooms on the ground floor while keeping an open flow between them.

    Laid out in a diamond formation, all are coloured pale blue-grey to highlight their function against the otherwise white walls.
    In the kitchen, oak cabinetry contrasts with the marble countertops”The large amount of built-in storage ensures the rooms themselves are free of clutter and ready for use,” said Studio Vaaro. “In line with the family’s personalities, colour and playful details abound.”
    In the entryway is a coat closet that hides the view of the living room behind, where an oak bookcase sat atop a teal powder-coated fireplace covers almost an entire wall.
    Bleachers are built into the oak staircase, offering a display area or extra seatingA powder room is placed between this space and the kitchen, also forming additional cabinet and counter space within its volume.
    Further kitchen storage sits in front of the dining room, and another closet is tucked under the doglegging staircase.
    On the first floor, the bedrooms are accessed through deep portal doorways”A ‘mixing bowl’ at the centre of the plan, at the base of the stairs, visually and physically connects all four spaces,” the studio said.
    Both the entry and the dining room volumes are pulled away from the home’s exterior walls, allowing additional views between rooms.
    The portals are coloured dusty pink and the kids rooms are also colourfulThe remaining built-in furniture is oak to match the flooring that runs throughout, including kitchen millwork and the staircase, which incorporates oversized bleachers for displaying kids’ artwork or creating extra seating during a party.
    A white metal “picket” guardrail, softened with rounded details, allows light to pass down from the upper levels.

    Long wooden cabinet runs through slender Borden house by StudioAC

    On the first floor, two parallel volumes separate the children’s rooms at the front of the house and the primary suite at the back from the central corridor.
    These create both storage for the rooms, and deep doorway portals that are highlighted in dusty pink.
    Skylights in the stepped angled roofs bring extra light into rooms at the rear, including the primary bathroomCarefully considered details include recesses for the door handles, allowing the doors to open the full 90 degrees without banging into the wall.
    Work and study spaces in the attic are minimally furnished, though feature built-in desks that step up to form shelves behind.
    Study spaces in the attic also feature built-in furnitureSkylights in the stepped, angled roof planes on all three floors bring extra light into the dining room, primary bathroom, and the stairwell.
    Other Toronto homes that have undergone extensive renovations to make them better suited for their occupants include a 14-foot-wide house where pale woodwork forms storage to make more space, and another “disguised as a gallery” – both designed by StudioAC.
    The photography is by Scott Norsworthy.
    Project credits:
    Team: Aleris Rodgers, Francesco Valente-Gorjup, Shengjie Qiu.

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    Eight brutalist Mexican interiors that prove concrete doesn’t have to feel cold

    Raw concrete surfaces are softened by timber and plenty of daylight inside these Mexican houses, rounded up here as part of our latest lookbook.

    Many of these brutalist interiors leave their concrete shells exposed and their cavernous rooms largely unadorned.
    But freed of the constraints posed by frigid temperatures, they also create a greater connection to the outside, whether overlooking Puerto Escondido’s wave-swept beaches or nestled in the bustling metropolis of Mexico City.
    Here, concrete surfaces help to create a sense of seamlessness between indoor and outdoor spaces – often separated only by removable partitions – while unfinished natural materials, such as wood or stone, are brought into the interior.
    This is the latest in our lookbooks series, which provides visual inspiration from Dezeen’s archive. For more inspiration see previous lookbooks featuring homes with exposed services, primary-coloured living spaces and houses with outdoor showers.

    Photo by Rory GardinerCasa Alférez, Cañada De Alferes, by Ludwig Godefroy
    Tucked away in the forest outside Cañada De Alferes near Mexico City, this brutalist holiday home has a board-formed concrete shell.
    This is left on display throughout its entire interior, all the way down to the bedrooms (top image) and the double-height lounge (above).
    To bring a sense of homeliness to its otherwise spartan living spaces, architect Ludwig Godefroy added warm wooden floors and lush pops of green – as seen across upholstery and lighting fixtures.
    Find out more about Casa Alférez ›
    Photo by Onnis Luque and Fabian MartinezLa Casa del Sapo, Playa Zapotengo, by Espacio 18 Arquitectura
    The kitchen of this seafront home – set right on Oaxaca’s Zapotengo beach – can be merged with its neighbouring patio using a wide wooden folding door.
    All-around concrete helps to underline this fusion, while also serving a practical function in the form of a kitchen island and matching shelves.
    Find out more about La Casa del Sapo ›
    Photo by César BéjarThe Hill in Front of the Glen, Morelia, by HW Studio
    Reminiscent of the Hobbit houses in JRR Tolkien’s Lord of the Rings, this sunken home is nestled into a hillside in the forests of Michoacán in central Mexico.
    The building’s interiors are defined by its concrete vaulted ceilings, which can be seen in every room, while log benches and full-height glazing provide a visual link to the woodland outside.
    Find out more about The Hill in Front of the Glen ›
    Photo by Rory GardinerCasa Mérida, Mérida, by Ludwig Godefroy
    Mayan architecture and craftsmanship informed the design of this otherwise brutalist house in Yucatán state, which is considered the capital of the indigenous civilisation.
    The home’s perimeter walls, for example, have joints covered in stone splinters that take cues from the design of Mayan pyramids and temples. These are left exposed on the interior alongside the concrete ceilings, creating a rich medley of architectural references.
    Find out more about Casa Mérida ›
    Photo by Rafael GamoPachuca Apartments, Mexico City, by PPAA
    Concrete slabs pave both the patio and living spaces in this Mexico City house to create a sense of continuity, only separated by a full-height glass wall that can be completely pushed open.
    On the interior, the rough concrete finishes are contrasted with details in American white oak, among them a long dining table as well as a staircase with treads that slot into a huge bookshelf.
    Find out more about Pachuca Apartments ›
    Photo by Dane Alonso and Mariano Renteria GarnicaCasa UC, Morelia, by Daniela Bucio Sistos
    Neutral colours and tactile materials are found throughout this home in the city of Morelia, including raw concrete ceilings and floors finished in a honey-toned tropical timber called caobilla.
    In the library, the same wood was also used to form integrated shelves and a huge porthole window that can be pivoted open and closed like a door.
    Find out more about Casa UC ›
    Photo by Sandra PereznietoCasa Aguacates, Valle de Bravo, by Francisco Pardo
    Mexican architect Francisco Pardo repurposed the pinewood formwork used in the process of constructing this concrete house to form a series of partition walls throughout the home.
    The resulting interior layout is simple and fluid and centres on an open-plan kitchen, dining area and living room that open up onto a sunken garden.
    Find out more about Casa Aguacates ›
    Photo by Rory GardinerZicatela, Puerto Escondido, by Emmanuel Picault and Ludwig Godefroy
    Set in the small surf town of Puerto Escondido, this weekend home accommodates its main living areas inside a covered patio and is made almost entirely of concrete.
    The only exceptions are the doors and sliding louvred wood screens that can be used to open the space up to the gardens on either side, as well as a few sparse furnishings such as the low-slung dining table, which is made from a cross-sectioned tree trunk.
    Find out more about Zicatela ›
    This is the latest in our lookbooks series, which provides visual inspiration from Dezeen’s archive. For more inspiration see previous lookbooks featuring homes with exposed services, primary-coloured living spaces and houses with outdoor showers.

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    Halleroed mixes French and Japandi influences inside L/Uniform’s Paris boutique

    In the arty Paris district of Saint-Germain-des-Prés, Stockholm design studio Halleroed has designed a new boutique for French bag and luggage brand L/Uniform.

    Taking cues from the brand’s simple, rational approach to design, Halleroed design lead Ruxandra Halleröd created a series of backdrops that allow the products to “pop out in a beautiful way”.
    Halleroed has designed a boutique for L/Uniform in ParisThe boutique is comprised of two rooms that drawing on L/Uniform’s French heritage alongside a mixture of Japanese and Scandinavian design traditions – also known as Japandi.
    The first room was designed to nod to the vernacular of the traditional French marketplace, with stepped display furniture and rustic materials, such as walls papered in woven raffia.
    In the first room, bags are hung from integrated wooden hooks”It reminds us of L/Uniform’s use of French canvas on its more functional bags, but on a bigger scale,” Halleröd told Dezeen.

    “We used a Shaker-inspired approach where bags are hung from hooks. There’s an association with everyday market life because some of these bags are specifically made for bringing to the market.”
    To create a striking visual contrast with the natural textures of this space, Halleroed added a monolithic display table in deep burgundy with a high-gloss finish.
    Glossy red details feature throughout the store in finishes and furnishingsThe second room is more “elegant and eclectic”, according to Halleröd. Here, L/Uniform’s leather handbags are displayed against a palette of soft pink and green, featuring an olive-coloured velvet sofa and pistachio display cabinet alongside tactile elements like the handwoven jute-and-wool carpet.
    The same glossy red finish from the first room is also reprised – in this case applied to two exposed pipes, around which Halleroed has constructed a low timber cabinet.
    Pistachio display cabinets provide additional storage”We worked with colour, texture and material as one entity, creating contrast and also unity,” said Halleröd.
    Around the counter, Halleroed added cedar cladding “for a Japanese look and feel”.

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    This is mirrored across the shop with details such as a rice-paper pendant light by Isamu Noguchi and chairs by George Nakashima, as well as cedar table lamps with rice-paper shades created by a Japanese cabinetmaker.
    Gallic influences are reflected in the lighting by Pierre Chareau and Charlotte Perriand and the bush-hammered limestone floor, which according to Halleröd has a “calm, vintage touch that for us is very French”.
    Travertine floors and stone counters bring a sense of refinement to the spaceHalleroed also brought Swedish elements into the mix, reflecting the studio’s own approach.
    “With our minimalist Scandinavian mindset, we prefer to work with fewer elements and materials but in a conscious and precise way,” said Halleröd.
    “Working with wood and craft is something that I think is common for both Japan and Sweden, while we think of the warm tones here as being both French and Japanese.”
    Timber joinery nods to Japanese and Scandinavian craft traditions”Many of the items in the store were handmade specifically for the space, which was important for us since we believe that this reflects the L/Uniform mentality and approach,” she added.
    Since it was founded in 1998, Halleroed has completed a number of high-end boutiques around the world.
    Among them are an Acne Studios store in Chengdu and various outposts for Swedish streetwear brand Axel Arigato in Berlin, Paris, Copenhagen and London.
    The photography is by Ludovic Balay

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    Formation Association transforms series of buildings for Phillips Los Angeles

    Los Angeles architecture studio Formation Association has turned an assemblage of buildings in West Hollywood into a new home for London-based auction house Phillips.

    The West Coast headquarters for Phillips opened in October 2022 and includes three showrooms, a patio and offices created from a set of disparate structures on Santa Monica Boulevard.
    The new Phillips Los Angeles combines several different structures, including a historic doorway that was preservedFormation Association preserved many of the existing architectural elements of the eclectic collection of buildings, ensuring that each section retained its identity.
    “We started with idiosyncratic conditions and buildings layered with history,” said studio co-founder John K Chan, who led the project. “We wanted to keep that sensibility. The building is a varied palimpsest, with traces of the past appearing within the new facade.”
    An oculus punctures the curved overhang above the main entranceThe entrance to the 3,182-square-foot (296-square-metre) showroom is on an acute street corner, beneath a curved canopy clad in grey stucco.

    “This rounded marquee, punctuated by an overhead oculus, evokes the automobile-oriented Streamline Moderne era,” said Formation Association.
    Another circular cutout was created in the first gallery, exposing wooden beams that were painted silverThe textured stucco is contrasted by smooth trowelled plaster that covers adjacent surfaces, intended to add a Southern California identity to the building.
    On the east elevation, the team retained the sheet metal siding and an old doorway of a historic facade.
    Oak floors throughout the building match those found in Phillips’ other international locationsThis side of the building also includes a tall, narrow window through which Phillips can move large artworks in and out.
    Along the south facade, the architects added recessed windows cut at angles into the thickened perimeter wall, which allow more light into the galleries.
    The tallest space in the building, Showroom C, will be used to showcase larger artworks and sculptureInside, the three gallery spaces are laid out in sequence. Upon entry is Showroom A, which features a soffit ceiling and wide baseboards to evoke a residential space.
    A second oculus punctures the ceiling, exposing wooden beams painted silver as a nod to the work of Californian architect Richard Neutra.
    Steps and a ramp lead up to an office space that’s also used for client meetingsThe smallest gallery, Showroom B, is accessed through an open portal, and Showroom C is reached through a similar threshold.
    With a ceiling over 15 feet (4.5 metres) tall, this gallery is used for displaying larger artworks and sculptures.

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    All three spaces feature oak floors that match those found in all of Phillips’ international locations.
    “With the interplay of light and oak wood floors across the three subsequent showrooms, we were thinking about the cadence of an irregular enfilade,” said Chan. “Each of the three galleries has a distinct proportion that we wanted to leverage.”
    At the back of the building is a patio enclosed by grey-stained plywood wallsFrom Showroom C, a couple of steps and a ramp lead up to a small office used for client meetings.
    At the back of the building is the covered patio, enclosed by walls made from plywood that was stained grey to match the exterior stucco.
    Phillips Los Angeles opened in October 2022The opening of Phillips Los Angeles follows over a decade of continual growth for the city’s arts scene, which has seen galleries like Hauser & Wirth and The Future Perfect set up shop, and an annual edition of the Frieze Art Fair introduced.
    Formation Association is led by Chan and partner Grace U Oh. As well as completing a variety of institutional, residential and commercial projects, the studio has contributed several times to a program organised by the Architects for Animals charity that asks LA-based architects to design shelters for the city’s homeless cats.
    The photography is by Eric Staudenmaier.
    Project credits:
    Design team: John K Chan, Nick Miuccio, Carlo ‘CJ’ Guzman, Jay Lee, Colin JacobsStructural engineer: Nous EngineeringMEP engineer: Engineous GroupLighting designer: Fisher Marantz StoneLandscape designer: Ochre

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