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    FMA creates flexible offices within former Mexican convent

    A meditation room and an outdoor work area are available to employees at this office in Mexico, which was remodelled by architecture firm FMA within a 17th-century convent.

    The GO Headquarters is located in the historic centre of Morelia, a city in the state of Michoacán, and is arranged around a cloister at the heart of the building.
    The GO Headquarters takes advantage of a cloister space that is used as an outdoor work and dining areaThis central courtyard offers employees a space to work or relax outside, while surrounded by five planters with orange trees set against the old stonework.
    “The primary challenge of the project was to honor the original architectural elements of the building while maximizing available space,” said FMA founder Francisco Méndez.
    A coffee bar wrapped in clay tiles anchors a space for employees to relax”Moreover, careful recognition of the alterations that the convent had undergone over time was needed, distinguishing between those that were appropriate and those that were not,” he added.

    All of the interior office space is on the level above, accessed from the main entrance via the courtyard and a stairwell.
    Larger rooms feature long conference tables for desk-style workingOn this upper floor, interconnected rooms open onto the colonnaded central space overlooking the verdant enclosed garden below.
    “Moving upstairs, the work areas were conceived as living spaces with a disruptive approach,” said Méndez. “While the architectural program remains straightforward, the diversity and multifunctionality of each area are striking.”
    A variety of clay elements made by local artisans are incorporated throughout the officesLarger rooms accommodate long oak tables that offer more traditional desk-style workspace and meeting areas.
    Meanwhile, a library with lounge furniture and a large shelving system the covers a full wall acts as both a reception and a casual work area.
    A library has a full wall of display shelving and casual furnitureAnother room features a horseshoe-shaped coffee bar fronted with clay tiles and a wooden ping-pong table, where team members can gather and socialise.
    There’s also a dedicated meditation room, nicknamed “the nest”, which acoustically optimised with oak panelling and a padded floor for comfort.

    RootStudio transforms former Oaxaca convent into culinary centre

    “This tranquil space is dedicated to introspection, providing a sanctuary for individuals to rejuvenate their minds and break away from routine, thus emphasising the significance of mental and physical well-being, ultimately enhancing the quality of life and productivity of workers,” Méndez said.
    Throughout the building, lighting was upgraded to an intelligent system that adjusts according to the circadian cycle and saves energy.
    Sand-coloured plaster walls and white oak stave flooring complement the historic buildingMaterials including sand-hued plaster walls, white oak stave flooring, and furniture in warm, earthy tones complements the existing building’s palette.
    Clay lamps, planters and decorative objects crafted by artisans from Michoacán are also incorporated.
    “An emphasis was placed on natural and regional finishes to sustain a sense of warmth and harmony within the project, as well as to support local artisans and commerce,” said the architect.
    Employees have access to a meditation room lined with white oak panelsCompanies and organisations across Mexico are finding a variety of new uses for abandoned or unused convent buildings.
    In Oaxaca, RootStudio converted a historic building into a centre for celebrating the rich culinary legacy of the region – earning the project a spot of the Heritage Project shortlist for the 2023 Dezeen Awards.
    The photography is by César Belio.

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    Eight home kitchens finished with tactile brick floors

    Our latest lookbook collects eight houses from around the world that feature kitchens with tactile brick floors, including a mid-century home in the USA and a coastal dwelling in Denmark.

    Widely used for their durability and low maintenance, bricks are a long-time favourite material across the fields of architecture, interiors and design.
    They are most commonly used on walls and patios, but also popular as internal flooring because of their ability to add rich, earthy tones and tactile qualities to an interior. 
    While brick flooring may conjure up images of old rustic farmhouses, this roundup shows how they can also be adapted to suit contemporary homes around the world. 
    The examples below include those that have been arranged in herringbone format, used as a backdrop to oak cabinetry or designed to connect homes to their matching patios outside.

    This is the latest in our lookbooks series, which provides visual inspiration from Dezeen’s archive. For more inspiration, see previous lookbooks featuring conversation pits, autumnal living rooms and lavish members’ clubs.
    Photo by Carlos NaudeHacienda Granada, USA, by Working Holiday Studio
    Working Holiday Studio sought to create a “hacienda vibe” for this mid-century home that it overhauled in Los Angeles.
    Among the alterations was a revamp of the kitchen, which involved adding a floor of warm terracotta bricks handmade in Tijuana, Mexico, arranged in a herringbone format.
    They contribute to a warm and earthy aesthetic in the room, which is enhanced by dark green plaster walls and wooden joinery and furniture.
    Find out more about Hacienda Granada ›
    Photo by Agnese SanvitoGallery House, UK, by Neil Dusheiko
    Chunky reclaimed bricks extend down from the lower half of the walls of this kitchen and continue out across its floor.
    Designed by architect Neil Dusheiko for his father-in-law, the terracotta lining forms a backdrop to a wall of storage built from oak that displays ceramics, glassware and framed pictures.
    Find out more about Gallery House ›
    Photo by Jonas Bjerre-Poulsen of Norm ArchitectsFjord Boat House, Denmark, by Norm Architects
    Handmade ceramic bricks are inlaid across the floor of this kitchen, which Danish studio Norm Architects created at the Fjord Boat House in Denmark.
    Married with warm oak finishes and a custom washi-paper pendant lamp, the textured flooring is intended to contribute to a warm and cosy atmosphere.
    “A refined abundance of warm textures and hues are used throughout, creating a deep sense of cosiness and comfort,” said Norm Architects.
    Find out more about Fjord Boat House ›
    Photo by David SouthwoodArklow Villa III, South Africa, by Douglas & Company
    During their renovation of a century-old house in Cape Town, architects Liani and Jan Douglas revamped the kitchen with a tactile material palette that includes brick flooring.
    The terracotta floor continues onto the adjoining patio and is teamed with a structure of exposed South African pine and bespoke wooden units finished with green marble counters.
    Find out more about Arklow Villa III ›
    Photo by Chris WhartonVinyl House, UK, by Benjamin Wilkes
    Elongated bricks are arranged in a herringbone formation across the floor of the Vinyl House extension, recently completed by British studio Benjamin Wilkes in London.
    Designed to help connect its kitchen area to the matching patio outside, the earthy flooring is complemented by warm wooden cabinetry and off-white terrazzo countertops.
    Find out more about Vinyl House ›
    Photo by Prue RuscoeBudge Over Dover, Australia, by YSG
    Terracotta brick was teamed with aged brass and tactile plaster across the interior of Budge Over Dover, a house in Australia renovated by YSG.
    Bricks line much of the ground floor, including its textured kitchen that is complete with a chunky prep counter made with a veiny marble countertop.
    Find out more about Budge Over Dover ›
    Photo by Jonas Bjerre-PoulsenHeatherhill Beach House, Denmark, by Norm Architects
    Norm Architects also opted for brick flooring in the kitchen of Heatherhill Beach House, a wooden holiday home on the Danish coast. It was designed as a contemporary twist on the traditional brick flooring found in Denmark.
    “The bricks are placed side by side instead of in the traditional pattern and have minimal cuts – instead, the grout size changes minimally to achieve a homogenous and harmonious look,” the studio explained.
    Find out more about Heatherhill Beach House ›
    Photo by Fred HowarthCamberwell Cork House, UK, by Delve Architects
    A floor that acts as a continuation of the brick paving outside features in the open-plan kitchen of Camberwell Cork House, conceived by Delve Architects in London.
    Its design formed part of a wider strategy for the home that sought to better connect it to its garden. This is also achieved by introducing large green-framed windows that enhance sight lines and maximise natural light.
    Find out more about Camberwell Cork House ›
    This is the latest in our lookbooks series, which provides visual inspiration from Dezeen’s archive. For more inspiration, see previous lookbooks featuring conversation pits, autumnal living rooms and lavish members’ clubs.

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    Armourcoat launches Limewash paints for “environmentally conscious” interiors

    Promotion: surfaces brand Armourcoat has launched a range of textured and eco-friendly paints for interiors, designed to celebrate the distinctive look and feel of traditional limewash.

    Named Limewash, the collection by Armourcoat is intended as a surface coating suited to both residential and commercial interiors.
    It has a soft matt appearance in 45 shades of limewash – a mix of lime and water used for coating walls – but has a less chalky and more durable finish than traditional forms.
    Armourcoat has launched a range of textured and eco-friendly paintsArmourcoat Limewash is composed of a mix of carbon dioxide-absorbing slaked lime, clay mineral kaolinite, water, mineral pigments and natural plant additives, ensuring it is free from solvents and Volatile Organic Compounds (VOCs).
    According to Armourcoat, this ensures the paint aligns it with “top-level environmental and health accreditation” in the architecture industry.

    The brand claims it is the only paint of its kind with Environmental Product Declaration (EPD) and Health Product Declaration (HPD) documentation, making it suited to projects striving to obtain the BREEAM and LEED sustainable building certifications.
    It is available in 45 shades”Here at Armourcoat we believe material transparency is fundamental to designing beautiful interiors that have minimal impact on our planet,” said creative director Duncan MacKellar.
    “Our goal as creative manufacturers is to reduce both embodied carbon and environmental toxins, and ultimately drive sustainable innovation within the built environment,” added MacKellar.
    “With our Environmental and Health Product Declarations, architects and designers can be confident that all Armourcoat finishes align with efforts to create environmentally conscious, healthy interiors.”
    It is intended to celebrate traditional limewashBenefiting from the properties of limewash, Armourcoat’s collection has a “naturally high alkalinity owing to its slaked lime”, a critical ingredient which makes it resistant to bacteria and mould. It is also non-combustible.
    Limewash is the latest addition to Armourcoat’s collection of surface finishes developed by the brand to offer “sustainable luxury finishes” to architects and designers around the world.
    To find out more about Limewash and Armourcoat, visit the brand’s website here.
    Partnership content
    This article was written by Dezeen for Armourcoat as part of a partnership. Find out more about Dezeen partnership content here.

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    YSG adds 1970s-style elements to Sydney’s Superfreak cafe

    Australian studio YSG has added carpet-lined seating, cork flooring and high-gloss green paint to the Superfreak cafe in Sydney.

    Located in the city’s Marrickville suburb, the space was converted from an ice cream factory into a pilates studio, which is located at the rear and the Superfreak cafe on the street front.
    YSG has completed interiors with 1970s motifs for the Superfreak cafe in SydneyDrawing on a relaxed 1970s-style aesthetic, YSG opted for a colour palette of pale sandy yellows, avocado greens and deep earthy brown tones.
    Contributing to the retro feel are checked brown and green cafe curtains, as well as vintage furniture pieces including a low, tile-clad wooden table and timber dining chairs sourced from online marketplace 1stDibs.
    A semi-enclosed lounge-like seating area is off to the left of the entranceTo the left of the entrance, a large U-shaped timber banquette made with maple joinery marks out the main seating area It was upholstered in soft brown carpet material often associated with 1970s interiors.

    The deep wrap-around, bench-style seating has inbuilt storage and an integrated plinth containing a record player and vinyl storage cavity.

    YSG creates “eccentric beats of nostalgia” in Byron Bay seaside home

    “Our clients wanted a space where locals felt like they could hang out,” YSG director Yasmine Saleh Ghoniem told Dezeen. “Also, they wanted to welcome pilates students to stretch out comfortably post-class.”
    “A key component was to build sunken lounge-like seating via banquettes that created a cosy enclosure,” she continued.
    Banquette-style seating with maple timber joinery is upholstered in a plush brown carpet materialReplacing the previously all-white decoration, YSG used glossy green paint for the walls and ceiling surrounding the timber service counter.  A statement lamp crafted by American artist Autumn Casey sits on top of the wooden counter.
    “Possessing a child-like expression of a classic Tiffany lamp, we granted it pride of place by the entrance beside the coffee machine,” said Ghoneim.
    Elsewhere, the cafe is illuminated by an array of rice paper lanterns and vintage sconces paired with an angular wall lamp by Olivia Bossy.
    The ceiling and walls surrounding the service counter are painted in a high-gloss greenThe same brown carpet material used for the lounge seating was also added to the exterior of an open kitchen counter and the tops of its high stool seats.
    Above the counter, the ceiling and suspended storage shelves were painted in a high-gloss green.
    Brown carpet material also lines the top of the bar stoolsA mural of a leafy green garden scene by Creative Finish was painted across concealed storage and refrigeration space behind the bar, with a gold-toned corner mirror feature off to the side.
    While the clients initially intended to continue the brown carpet for the floor, YSG opted for cork flooring instead due to the nature of the space as a hospitality setting.
    “Prioritising tonal and textural interest, we laid spongey caramel-hued sealed cork underfoot, also aiding the acoustics,” said Ghoneim.
    The facade of the building was also painted greenTaking cues from the interior concept, the building’s facade was painted green with a street-side coffee hatch cutout incorporated for takeaway orders.
    Other projects by YSG recently featured on Dezeen include a seaside home renovation in Byron Bay and a suburban home in Sydney finished with sumptuous materials intended to evoke a boutique hotel feel.
    Photography is by Phillip Huynh.

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    Wax Atelier showcases objects made from tree-based waxes, resins and dyes

    A design studio that specialises in beeswax has curated a London Design Festival exhibition revealing how living trees can provide materials for design objects.

    Wax Atelier is behind The Abney Effect, a treasure trove of objects and material experiments made using bio-based waxes, resins, oils, fibres and dyes, all sourced from unfelled trees.
    The Abney Effect showcases waxes, resins, oils, fibres and dyes made from treesThe exhibition is on show at Wax Atelier’s new workshop space on the edge of Abney Park, a historic London cemetery that doubles as a woodland nature reserve.
    Highlights include lamps made from pine resin, wood-derived wax crayons and a series of scented waxes created from different parts of orange trees.
    The show includes objects, textiles, scents and material experimentsDesigner and Wax Atelier co-founder Lola Lely said the setting was the starting point for the show.

    Located in Stoke Newington, Abney Park first opened in 1840 as an arboretum. It once contained 2,500 species of tree – more than even Kew Gardens has today – including a rosarium with over 1,000 varieties of rose.
    “That was the inspiration,” Lely told Dezeen during a tour of the show.
    “Besides oxygen, paper and wood, loads of things are derived from trees. We wanted to create a retrospective of those things.”
    Wax Atelier is exhibiting aromatic wax made from different parts of an orange treeThe show includes experiments from Lely’s own design studio and products that she and Wax Atelier co-founder Yesenia Thibault-Picazo have produced together.
    But it also spotlights other designers and studios working with tree-based materials, in an attempt to foster collaboration.

    Ten must-see installations at London Design Festival 2024

    “We all have a synergy in terms of craft, experimentation and innovation, but often we work in our own bubbles,” said Lely.
    “We wanted to create opportunities for dialogue. If people are working with the same materials, maybe it can unlock something.”
    Wax Atelier collaborated with Jacob Marks to produce pine-resin lampsWax Atelier is exhibiting aromatic wax collections made from the orange tree’s flower, leaves, fruit and bark. The studio has also created a new version of its wax linen flowers, based on roses.
    A collaboration with designer Jacob Marks resulted in the pine-resin lamps, while CQ Studio is showing how it turns bio-resin into sequins.
    Playfool’s Forest Crayons are made from different varieties of waste woodThe Forest Crayons were developed by design studio Playfool using waste lumber. Different varieties of wood produce different colours, revealing the spectrum of shades that exist in nature.
    A wall cabinet reveals experiments by Dutch potter Arjan Van Dal, investigating how wood ash can be used to create a glass-effect glaze for porcelain.
    Arjan Van Dal has created porcelain glazes from wood ashVietnamese fashion brand Kilomet 109 is showcasing a range of materials it uses in its garments, including padding material derived from Sharon fruit and buttons made from coconuts.
    Other eye-catching exhibits include Jamie Quade’s Grown Sundial, crafted from a fallen tree, and Lely’s Kabuto Lights, folded pendant lamps made from naturally dyed Japanese mulberry paper.
    CQ Studio creates sequins from bio-resinFounded in 2017, Wax Atelier has its main studio in nearby Walthamstow.
    The Abney Effect is the first exhibition that the studio has hosted in its new workshop space, Labs, which was gifted by Hackney Council and the custodians of Abney Park as a space for research and community engagement.
    Lely’s Kabuto Lights hang above exhibits from Vietnamese fashion brand Kilomet 109The exhibition is part of the Dalston to Stokey Design District, one of several districts in London Design Festival.
    The show programme includes a series of interactive events, including a sundial-making workshop and a tour of Abney Park’s trees with a local ecologist.
    Jamie Quade’s Grown Sundial stands outside the exhibition”The showcase’s setting in Abney Park creates a sense of curiosity, connecting objects and materials with their natural surroundings in a way that we hope feels both new and familiar or unfamiliar,” said Lely.
    “By including ecological walks and preserving natural elements, the showcase ties design to environmental awareness, emphasising the importance of harmonising design with nature and fostering a deeper appreciation for sustainability.”
    Other London Design Festival events include the Craft x Tech exhibition at the V&A showing designers, including Sabine Marcelis, who have collaborated with Japanese master artisans.
    The exhibition photography is by Sara Hibbert.
    The Abney Effect runs from 16 to 22 September as part of London Design Festival. Visit Dezeen Events Guide for a guide to the festival and other architecture and design events taking place around the world.

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    Sabine Marcelis and Ini Archibong among designers to collaborate with Japanese artisans

    A sound-emitting egg sculpture and a samurai chest of drawers feature in a series of objects made by designers in collaboration with master artisans from Japan’s Tohoku region, on show for London Design Festival.

    Designers Sabine Marcelis, Ini Archibong, Studio Swine, Yoichi Ochiai, Michael Young and Hideki Yoshimoto all participated in the Craft x Tech initiative, with the results now on show at the V&A.
    Azusa Murakami and Alexander Groves of Studio Swine created a contemporary Sendai-Tansu chest (main image)Each designer was paired with a different artisan and asked to apply their expertise to a contemporary work.
    “Craft x Tech is more than an exhibition; it’s a celebration of cultural collaboration and innovation,” said designer and engineer Hideki Yoshimoto, who initiated the project.
    Sabine Marcelis produced tables with a high-gloss finish”By showcasing these exceptional works, we hope to inspire new dialogues and creative expressions within the design community and beyond,” said Yoshimoto.

    Marcelis’ contribution saw her work with artisans from Akita, who specialise in the Kawatsura Shikki style of lacquerware, to create high-gloss finishes.
    Marcelis collaborated with a lacquerware artisan from AkitaRenowned for her colourful Candy Cube furniture, the Dutch designer explored a similarly minimal aesthetic. The use of lacquer gives these pieces their distinctly shiny finish.
    Also working with lacquer, American designer Archibong collaborated with Tsugaru-Nuri specialists from Aomori. The result is a sculpture that emits sounds in response to movement.
    Ini Archibong created a sound-emitting egg sculptureAzusa Murakami and Alexander Groves of Studio Swine created a contemporary version of the Sendai-Tansu chest of drawers, specific to the city of Sendai, which traditionally would be crafted for samurai warriors and merchants.
    The British-Japanese duo created a geometric design that takes cues from Japanese block prints and metabolist architecture.

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    Just like with the traditional chests, the drawers are completely airtight, so closing one drawer causes another to open.
    Hong Kong-based designer Michael Young used the ironware techniques of Iwate’s Nambu-Tekki artisans to create tables with intricate legs, decorated with patterns based on cherry blossoms.
    Michael Young created tables using Iwate’s Nambu-Tekki ironware techniquesThe traditional Japanese tea room was the starting point for Japanese artist Yoichi Ochiai, who was invited to work with Oitama Tsumugi silk.
    The textile forms a red see-through cube with tree branches suspended at its centre.
    Yoichi Ochiai used Oitama Tsumugi silk to create a contemporary teahouseThe final addition comes from Yoshimoto himself, who created a floor lamp utilising Tohoku’s oldest pottery traditions.
    The design combines distinctive glazed elements with precisely cut resin and metal.
    Hideki Yoshimoto created a floor lamp utilising Tohoku’s oldest pottery traditionsMaria Cristina Didero curated the exhibition, which was presented in Tokyo and Basel before coming to the UK for London Design Festival.
    “This project is a testament to the limitless possibilities that arise when traditional craftsmanship meets modern technology,” said Didero.
    Craft x Tech is on show at the V&A from 14 September to 13 October 2024 as part of London Design Festival. Visit Dezeen Events Guide for a guide to the festival and other architecture and design events taking place around the world.

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    Nicemakers renovates Swiss chalet interiors with mid-century modern furniture

    In the village of Adelboden in Switzerland, Amsterdam-based Nicemakers has transformed the interiors of The Brecon, a hundred-year-old chalet, into a secluded retreat.

    The intention for the 18-room chalet, called The Brecon, was for it to be “like a high-end version of your own home,” Nicemakers head of design Lottie Lorenzetti told Dezeen. The studio wanted the hotel rooms to feel like guest rooms in someone’s home.
    Rooms at The Brecon have been styled to feel like guests are staying in “a home away from home””We set out from the very beginning with the intention of not creating another clean, minimal, Swiss hotel aesthetic,” Lorenzetti added.
    The client, hotel operator Grant Maunder, wanted to create “a hideaway which feels like a dream home”.
    Across the common spaces, 18 rooms and four suites of the boutique hotel, Nicemakers worked with Maunder to fulfil the brief by creating a series of intimate and characterful interiors with a domestic feel.

    On entry through a bespoke wooden revolving door, the open-plan lounge space progresses into dining and living areas, featuring a sofa tucked away in a secluded nook.
    A two-seater sofa is tucked in a dimly lit nook off the main living areaThe interiors throughout are decorated with wooden panelling and integrated bookshelves, free-standing lamps and mismatched mid-century modern furniture.
    Mantel pieces and coffee tables display a collection of objects, candles and incense holders, statement one-off ashtrays and magazines that were chosen to add to the domestic feel.
    Nicemakers worked with Amsterdam’s Bisou Gallery to select relevant and personal artworks for the walls of The Brecon.
    Coffee tables are filled with homely items like boardgames, candles and matchesTimber, stone, leather and wool, in an earthy palette chosen to complement the hotel’s mountain surroundings, have been used throughout the interior scheme.
    On the ground floor, Nicemaker placed a few casual breakfast tables by an open kitchen to evoke the sense of being a guest in someone’s spacious home.
    The spa, which has a sauna, steam and treatment rooms, and the infinity pool on the terrace looking down the valley to the Engstligen waterfalls, were finished at the scale of a generous private residence, the studio said.
    A crazy-paving entrance space leads through to the open kitchenThe unusual concept for the retreat – in a small town with several more traditional hotels – was executed with a mid-century modern design approach.
    The resulting interiors contrast with the traditional chalet style found in Switzerland.
    Other unusual design details include the repeated use of crazy paving indoors; in the elevators and entranceway, on bedroom balconies and around the pool area.
    Unusual paving has been used around the hotel interiors and exteriors”The crazy paving was a hugely labour-intensive design element – it took a long time to lay and needed a skilled person who came from Wales to do this,” Lorenzetti said.
    Continuing the family affair, all the ceramic crockery was handmade in Wales by Andréa Anderson, who is married to the client Grant Maunder.
    The rooms do not feature mini bar fridges, but rather a variety of cabinetsOriginally Nicemakers had plans for bespoke mini bar cabinets, bedside tables and the same armchairs in each room.
    However, the studio concluded this would have gone against the hotel’s domestic concept.
    “You wouldn’t have a mini bar fridge in your own guest room at home,” explained Lorenzetti.

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    This decision meant that – instead of using the same suite of bespoke elements throughout the hotel – individual items could be sourced and curated for each room.
    “[This] gave the rooms a much more collected, rather than manufactured, feel”, Lorenzetti said.
    An original fireplace was preserved in the new spa areaNicemakers’ design was also informed by some of the original elements from the 1950s and ’60s heyday of the building, which was originally built in 1914.
    Textured plaster, the original red mosaic tiles in the stairwell and the mottled glass all draw from the history of the site. A pre-existing fireplace in the spa was also preserved.
    Vintage and new items were sourced from all over Europe, especially vintage markets in Italy, the UK, the Netherlands and France.
    The palette of the scheme was chosen to reflect the natural surroundingsThe mix of patterns and details was intentional.
    “[We wanted] to imitate a collected mix of items, to steer away from the classic minimal and clean, expected, Swiss aesthetic”, Lorenzetti concluded.
    Other projects in Switzerland recently featured in Dezeen include a 1960s chalet in Zinal renovated by Giona Bierens de Haan Architectures and an extension to a school in Aeschi by Haller Gut Architekten.
    The photography is by Michael Sinclair.

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    CLB Architects takes “residential” approach for Jackson Hole Airport

    Fireplaces, warm lighting and large windows offering views of the Teton Range are among the features at the renovated and expanded Jackson Hole Airport in Wyoming, which is the only commercial airport within an American national park.

    Located in the mountainous Grand Teton National Park in the western part of the state, the airport dates to the 1930s and has undergone various changes over the decades.
    Jackson Hole Airport dates back to the 1930sAround 2009, it received a major update by the Denver office of global studio Gensler, with Jackson-based CLB Architects serving as the local associate architect.
    In more recent years, CLB has served as the design architect for a series of renovations and additions spanning five phases. Miller Dunwiddie, a Minneapolis firm, served as executive architect.
    The project was designed to tie into the landscapeThe project was designed to tie into the landscape and “facilitate the flow of 21st-century travelers”, while also adhering to strict area and height limits imposed by the national park.

    The facility is the only commercial airport located within a US national park, according to the federal agency that oversees the parks.
    A new restaurant/bar was included in the renovationThe work included a new restaurant/bar, an expanded holding area, two additional gates, a gift shop and an updated baggage claim area with retail space — all held within the L-shaped terminal totalling 125,000 square feet (11,613 square metres).
    “Design decisions facilitate an easy and stress-free travel experience, with open floor plans and clear sight corridors, as well as abundant glazing that frames the airplane runways and Teton Mountain range beyond,” said CLB Architects.
    Interior finishes are a mix of earthy and industrial materialsInterior finishes are a mix of earthy and industrial materials, including polished concrete, quartzite and timber – all meant to stand up to heavy use, as 800,000 travelers pass through the airport each year.
    For the structural system, the team paired lightweight steel with Douglas fir glue-laminated beams and rough-hewn log columns. The structural supports are meant to have “an elegant and minimal presence”.
    Fireplaces were incorporated to make the airport feel like a “residential space”In addition to the natural light that flows in through large windows, the terminal has downlights, uplights and LED accents that create a feeling of warmth.
    “Indirect up-lighting creates an evocative, atmospheric quality that contrasts with the usual cold, fluorescent lighting of institutional airport spaces,” the team said.
    CLB Architects created a “living room” for travellers awaiting their flightsThroughout the facility, the team blended elements of residential design into the travel hub.
    “It was our intent to make the experience feel more like a residential space rather than a commercial one,” the team said.

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    On the northern side of the terminal, where passengers wait to board their planes, the studio created a “living room” with comfy furniture, commissioned artwork and a monumental fireplace.
    Glazed walls are lined with polished concrete benches with leather seat cushioning, where visitors can watch aircraft take off and land. The waiting area also features a grab-and-go concessions counter and a casual restaurant with a fireplace.
    The terminal is designed to be highly flexibleThe terminal is designed to be highly flexible, so rooms can be reconfigured as needed. To that point, the airpot has an underground area of approximately 3,000 square feet (279 square metres) that was envisioned as a “versatile flex space”.
    CLB had two additional projects underway at the airport – a private terminal and three hangar structures.
    Other US airport projects include the ZGF-designed expansion to the Portland International Airport, which features a massive timber roof, and plans for a highly sculptural air-traffic-control tower in Columbus, Indiana, designed by Marlon Blackwell Architects.
    The photography is by Matthew Millman.
    Project credits:
    Design architect and architect of record for phases 3-7: CLB ArchitectsCLB team: Kevin Burke (partner), Cary Lakeman (senior project manager), Steve Jakub (project manager)Executive architect for phases 3-7: Miller DunwiddieInterior design: TruexCullins (restaurant and hold room)Contractor: Wadman CorporationCivil consultant: JviationGeotechnical engineer and well design: Nelson EngineeringStructural engineer: KL&AMechanical, electrical, plumbing, technology engineer: Michaud, Cooley, EricksonLighting: Helius Lighting DesignFood service: The Marshall AssociatesLife, safety, accessibility: Jensen HughesAcoustic engineer: Wave EngineeringClient: Jackson Hole AirportOwner’s representative: KLJ Engineering

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