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    You can still be listed in Dezeen’s guide to London Design Festival 2024

    Ahead of London Design Festival’s 22nd anniversary, there’s still time to feature in Dezeen Events Guide’s digital guide to the festival.

    The 2024 edition takes place from 14 to 22 September, inviting hundreds of thousands of people to 11 districts in the UK’s capital city.
    If you’re hosting an event as part of the festival programme – including an exhibition, workshop, product launch, talk, tour, fair or market – you can feature in our guide and festival map.
    The London Design Festival (LDF) celebrates a range of disciplines, including craft, art, architecture and fashion, as well as graphic, interior and urban design.
    There’s still time to be listed in Dezeen’s digital guide to London Design Festival 2024

    Get in touch with the Dezeen Events Guide team at [email protected] to book your listing or to discuss a wider partnership with Dezeen. There are three types of listings:
    Standard listings cost £125 and include the event name, date and location details plus a website link. These listings will also feature up to 50 words of text about the event.
    Enhanced listings cost £175 and include all of the above plus an image at the top of the listing’s page and an image in the listing preview on the festival guide homepage. These listings will also feature up to 100 words of text about the event.
    Featured listings cost £350 and include all elements of an enhanced listing plus a post on Dezeen’s Threads channel, inclusion in the featured events carousel on the right hand of the festival guide homepage for up to two weeks and 150 words of text about the event. This text can include commercial information, such as ticket prices and offers and can feature additional links to website pages such as ticket sales, newsletter signups and more.
    About Dezeen Events Guide
    Dezeen Events Guide is our guide to the best architecture and design events taking place across the world each year.
    The guide is updated weekly and includes virtual events, conferences, trade fairs, major exhibitions and design weeks.
    For more details on inclusion in Dezeen Events Guide, including in our guide to London Design Festival, email [email protected].
    The illustration is by Justyna Green.

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    Aesop store interior references Louisiana Museum of Modern Art

    The Danish bricks and narrow floor plan of this Aesop store in Copenhagen nod to the “humble” design of the nearby Louisiana Museum of Modern Art.

    Located on Kronprinsensgade in Copenhagen’s old town, the neutral-hued store was created by skincare brand Aesop’s in-house design team to complement its setting without “unnecessary flourishes”.
    The Aesop store is on Kronprinsensgade in CopenhagenThe interior takes cues from the architecture of the famed Louisiana Museum of Modern Art, completed in 1958 in Humlebæk, 35 kilometres north of Denmark’s capital.
    A long and low-ceilinged rectangular room makes up the store, which features a circular space at the back with a curved brick-clad basin.
    Danish red bricks feature throughout the interiorThis floor plan mirrors the museum’s “understated horizontal building” with its thin glass corridors, according to Aesop’s head of store design Marianne Lardilleux.

    “We were drawn to the Louisiana Museum because it was designed as a home for Danish, rather than international, modern art,” she told Dezeen.
    A backlit circular opening illuminates the curved basinDanish red brick tiles were laid across the floor by local stonemasons, arranged in a “radiating” pattern that recalls several Copenhagen landmarks, according to Lardilleux. These bricks replaced the store’s original painted concrete screed flooring.
    Stained oak timber was used to create sleek geometric shelving, which spans the length of one of the walls and provides a gallery-style display unit for neat rows of Aesop products.
    This material was also applied to the ceiling, characterised by slatted wood interrupted only by an oversized and backlit circular opening above the brick-clad basin with aged brass elements.

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    A smooth timber door leads to the back-of-house area, concealed behind a sandy-coloured curtain.
    “The focus is on the warmth of the materials,” explained Lardilleux.
    “At the museum, the humble materials used – bricks, wood, white paint – come together in a way that is simple yet striking. At Aesop, we hope to design spaces that are similarly direct in their approach.”
    Stained oak was used to create the slatted ceiling”Just as every work of architecture relates to its site and context, every Aesop store is sensitive to its environment,” added the designer.
    “We are not interested in rolling out identical interiors – our surroundings have always inspired us.”
    Since the first Aesop outlet was designed in St Kilda, Melbourne, in 2003, the brand has opened hundreds of global stores that respond to their settings.
    Recently, architect Jakob Sprenger installed 1920s plaster medallions above a sculptural sink as the centre of a Paris store while design studio Odami chose minty green interiors for a location in Los Angeles.
    The images are courtesy of Brian Buchard.

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    Danielle Brustman designs Harbour Early Learning facility to “inspire delight and joy”

    Bold colours and graphic elements that represent the sea and sky add personality and context to the interiors of this Sydney children’s centre by Australian designer Danielle Brustman.

    Brustman was responsible for the interior package of the Harbour Early Learning educational facility, which is situated in the city’s Vaucluse suburb and aims to connect children with educators, nature and the broader community.
    The brief for the project called for a high-quality facility arranged over three levels with a focus on design integrity and the well-being of both the children and staff.
    Danielle Brustman has designed the interiors of Sydney’s Harbour Early Learning facilityBrustman employed oversized graphic elements throughout the spaces to help stimulate the imaginations of the children and create thematic experiences that respond to the building’s harbourside setting.
    “I wanted the design to inspire delight and joy for the people occupying the spaces,” the designer told Dezeen.

    “I also wanted to create a healthy space using environmentally sustainable and quality materials that would stand the test of time and toddlers!”
    The educational children’s centre responds to the building’s harbourside settingBrustman worked closely with architects SJB and Supercontext, as well as with landscape designer Fiona Robbe and signage experts Citizen to deliver a range of bespoke indoor and outdoor play and learning spaces that reflect the client’s educational philosophy.
    The building’s external and internal spaces were designed to reference the surrounding nature, with large openings framing views of the neighbouring mature fig trees.
    The interior was heavily influenced by the building’s seaside context, with each room given a specific theme including the Sky room, Sunset room, Rainbow room, Under the Sea room and Boat room.
    Oversized graphic elements and large openings frame neighbouring mature fig treesThe themes lend the rooms a unique character whilst reinforcing the thoughtful layout of spaces, with water-based elements on the ground floor and sky references on the upper floor.
    Graphic details were used throughout the interior to complement architectural features, including the arched windows and circular skylights.

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    Marmoleum flooring and carpet inlaid with geometric shapes also feature alongside bespoke murals depicting simplified elements like waves and clouds.
    The raw materials and neutral tones used for the exterior give way to more vibrant hues inside the building.
    Murals, marmoleum flooring and carpet inlaid with geometric shapes depict seaside waves and cloudsBrustman selected colours that she said have “a slightly muddied feel to them” to maintain consistency and a connection to nature.
    “It was important that the colour and materials palette was unique in each room but there was also a cohesive thread throughout,” she added. “The palette was designed to be enjoyed by both children and teaching teams.”
    Materials that appear on the building’s exterior, such as raw concrete and pale wood, recur in the reception area where they contrast with colourful elements that help with wayfinding and circulation.
    Primary colours, including a vibrant blue staircase, inform a palette enjoyable to children and teaching teamsThe primary hues in this space reference the work of Dutch abstract painter Piet Mondrian, while the blue staircase in particular evokes the colours of Sydney Harbour.
    Wherever possible, Brustman chose furniture that was designed and made in Australia, focusing on pieces that are robust enough to handle being used by children.
    Many of the furnishings have a graphic quality to them, including the Love benches by designer Daniel Emma, the stacked-cone pendant light by designer Edward Linacre and the Big Friendly sofa designed by CJ Anderson for Dowel Jones.
    Graphic furnishings are featured throughout the interior design, including the Love benches by Daniel EmmaBrustman is based in Melbourne and specialises in residential interior design and commercial design for the education, hospitality and retail sectors.
    The designer’s previous projects include a children’s centre in Melbourne featuring similar graphic elements in various pastel hues and a hair salon decorated using the client’s signature yellow colour.
    The photography is courtesy of Harbour Early Learning.

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    Buckingham Palace’s chinoiserie interiors revealed following five-year renovation

    Porcelain lions, nine-tiered pagodas and a lotus-shaped chandelier feature in Buckingham Palace’s newly refurbished east wing, which has opened to the public for the first time in its 175-year history.

    The east wing at London’s Buckingham Palace, which opened this month, houses a series of decadent interconnected rooms including the centre room, which leads to the palace’s famed balcony overlooking the Mall.
    Buckingham Palace’s east wing has opened to the public for the first time in its historyOriginally built by Edward Blore between 1847 and 1849 to “provide space for Queen Victoria’s growing family”, the wing encloses what was previously a U-shaped courtyard, according to the Royal Collection Trust.
    After five years of restoration work by the trust’s curators and conservators, involving the temporary removal of over 3,500 artworks and other objects, the wing has opened to the public as part of the palace’s State Rooms tours that take place every summer.
    The centre room features a lotus-shaped chandelierIt reveals an interior filled with King George IV’s 18th-century chinoiserie designs, which were transferred to Buckingham Palace after the 1850 sale of his seaside retreat – Brighton’s Royal Pavilion. Prince Albert oversaw the original decoration.

    The centre room features an oversized lotus-shaped chandelier finished in glass and lacquer, illuminating a large carpet with geometric floral patterns. Visitors can also find a pair of 18th-century Chinese imperial silk wall hangings.
    Nine-tiered Chinese pagodas feature in the yellow drawing roomA duo of Chinese pagodas with nine ornate tiers characterise the yellow drawing room, named for its sunny drapes and sofas, which includes hand-painted wallpaper that was “painstakingly” cleaned and conserved by the team.
    A “kylin clock” – complete with turquoise porcelain lions and a tiny Japanese hotei, or god of luck – also sits on the room’s gold-trimmed mantlepiece.
    There is also a clock decorated with porcelain lionsElsewhere in the wing, the 240-foot principal corridor spans the entire length of the palace and has a bright red carpet. Ebonised cabinets feature Japanese panels, which contrast with the various royal paintings by historical European artists such as Thomas Gainsborough and Franz Xaver Winterhalter.
    Striking motifs including dragons and gilded curtain poles can be found throughout the wing.
    Ebonised cabinets line the principal corridor”The pavilion’s contents – which reflected King George IV’s love of Asian art and design – were transferred to the east wing, inspiring the Chinese-themed decor of its principal rooms,” said the Royal Collection Trust.
    Visitors to the palace’s state rooms can also see the recently unveiled portrait of King Charles III, painted by Jonathan Yeo in bright red hues, housed in the ballroom.

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    The refurbishment is part of a longer 10-year reservicing programme at the palace, which includes improvements to the palace’s electrical cabling, plumbing and heating systems that have not been updated since the 1950s, according to the Royal Collection Trust.
    Architect Thomas Heatherwick designed a sculpture containing 350 trees and erected it outside Buckingham Palace to mark the late Queen Elizabeth II’s platinum jubilee in 2022.
    Visitors can also see Jonathan Yeo’s recent portrait of King Charles III in the palace’s ballroomAfter her death, writer Stefan Simanowitz and architect Antonio Pisanò also proposed a memorial garden that would have seen part of the palace’s gardens converted into a “natural sanctuary” for the public.
    The photography is by Peter Smith. 

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    Estudio Ebras and Hause Möbel create live-work concept with VR and desert-influenced spaces

    This space with futuristic “virtual reality” style LED strip lighting was designed by Argentinian firm Estudio Ebras and furniture brand Hause Möbel to be used as both a home and an office.

    The temporary Green Home Office project was created for the Casa FOA 2024 architecture and design exhibition in Córdoba, Argentina, inside an under-construction building complex named Pocito.
    At the Green Home Office, an immersive workspace features a grid of LED lights to mimic a virtual reality environmentEstudio Ebras was presented with a windowless space to transform into a flexible environment designed to facilitate both living and working, using furniture from Argentinian brand Hause Möbel.
    Entry to the 110-square-metre space was through a low, warmly lit antechamber that offered options to turn left into a compact workspace, or right into the larger central area.
    Entry to the exhibition was via a compressed, warmly lit antechamberThe dark, “immersive” office was panelled with wood veneer squares between strips of LED light that formed a grid across the walls and floor.

    “The immersive space features a luminous grid that simulates the grid of virtual reality,” said Estudio Ebras. “On one side is a desk, and on the other, a chaise lounge for resting and transporting us to a natural environment in virtual reality.”
    The space was divided into the immersive office and a larger room decorated in desert huesReached via a short cork-floored corridor, the living space featured peach, orange and rust hues that created a contrasting desert-like aesthetic.
    “Upon entering the central area, a change in scale is perceived due to its dimensions and height,” Estudio Ebras said.
    The larger space was designed for both living and working, and echoes the desert-like climate of CórdobaIn place of windows, the designers worked with a light artist to install illuminated, elongated pill-shaped panels behind translucent floor-to-ceiling curtains.
    The light panels displayed sunset colours, while soil and dried plants ran around the perimeter to evoke “a mountainous, wild, and arid landscape typical of the area”.
    Suspended over a dining or meeting table was a light fixture with rings of LEDs insideCurved-edge surfaces flowed into one another, such as a kitchen counter that swooped down from one wall and extended along another.
    In the centre of the room was a large table that could be used for either dining or meetings, accompanied by four orange chairs on castors.
    A separate space with sliding glass partitions was intended for video calls or quiet contemplationOverhead, a rough-textured fixture housed concentric rings of LEDs that gradually ascended inside the structure.
    At the end of the room, a bench was suspended from the ceiling, shaped to frame the trio of “window” lights behind.

    Eight home offices with stylish set-ups for remote working

    A separate space for quiet contemplation or taking video calls was tucked behind the entry corridor wall and closed off by sliding glass panels.
    This small room was lined with cork and furnished with a purple two-seater sofa. “The acoustic box allows for privacy to make a call, work with a laptop, or, within a home-like setting, provides recreational space,” said Estudio Ebras.
    The installation also included a bench that hung from the ceilingAs the project’s name suggests, it was designed with sustainability in mind, and a carbon footprint analysis was conducted throughout the design, exhibition and dismantling processes.
    To offset the installation’s footprint, native trees were planted in nearby Cerro Champaquí with the help of local nonprofit organization Fundación Sembradores de Agua.
    In place of windows, panels illuminated to mimic a sunset were installed behind translucent curtainsRecently completed projects in Córdoba include a house with weathering steel screens, a home lifted above a sloped site and  an office building wrapped in perforated metal.
    The photography is by Gonzalo Viramonte.
    Casa FOA 2024 took place 3 May to 2 June 2024 in Córdoba. For more events, exhibitions and talks in architecture and design visit Dezeen Events Guide.

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    Ten interiors with exposed structural ceiling beams

    Living spaces that make a feature of pre-existing beams are the focus of this lookbook, which includes examples of apartments and homes that showcase integral structural elements made from wood and metal.

    Beams are parts of a building’s structure that serve as support for ceilings, roofs and upper floors. Depending on the area’s vernacular and the structure’s age, they manifest in a variety of shapes and materials, from wooden beams that still resemble logs and tree trunks to machined steel beams.
    While beams can be concealed by installing dropped ceilings, contemporary designers often choose to celebrate and highlight them, incorporating them into interior design schemes as a reminder of a building’s origins.
    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 shimmering zellige tiles and living rooms furnished by statuesque pieces of furniture.
    The photo is by Roberto RuizPalau apartment, Spain, by Colombo and Serboli Architecture

    Hefty trunk-like wooden beams span the ceiling of this apartment in Barcelona by local studio Colombo and Serboli Architecture.
    Their rustic presence is accentuated by the otherwise sleek and polished interior, with uplights installed on top of the wardrobe literally highlighting them in the bedroom.
    Find out more about Palau apartment ›
    The photo is courtesy of Colleen Healey ArchitectureRenovation on Logan Circle, USA, by Colleen Healey Architecture
    A ceiling composed of X-shaped, white-rendered braces crowns this kitchen in a Washington DC house renovated by local studio Colleen Healey Architecture.
    The unusual, original feature provides support to the floor above, and adds to the industrial atmosphere created by the raw and painted brick walls.
    Find out more about Colleen Healey Architecture ›
    The photo is by Alex BaxterBarn at the Ahof, the Netherlands, by Julia van Beuningen
    Architectural designer Julia van Beuningen installed a plywood spiral staircase into the open-plan living space of this barn conversion.
    The naturally patterned plywood element joins a combination of both squared-off, machined wooden beams and age-warped timber beams, which support the first floor and thatched roof.
    Find out more about Barn at the Ahof ›
    The photo is by Salva LópezCasa Vasto, Spain, by Mesura
    Spanish studio Mesura turned this industrialised factory building in Barcelona into an apartment-cum-gallery space, dominated by an undulating vaulted ceiling.
    The fins that make up the structure are an example of vernacular construction techniques developed in the 19th century and create a sculptural effect that chimes with the new function of the space.
    Find out more about Casa Vasto ›
    The photo is by Yevhenii AvramenkoKyiv attic apartment, Ukraine, by Yana Molodykh
    Wooden planks and steel beams intercross on the ceiling of this attic apartment in Kyiv by Ukrainian designer Yana Molodykh.
    Despite the heaviness of the materials above, the interior has a light, airy appearance thanks to warm wooden furniture, neutral upholstery and diaphanous curtains.
    Find out more about Kyiv attic apartment ›
    The photo is by Fabian MartinezCasa Tres Árboles, Mexico, by Direccion
    A succession of dried fronds arranged in a chevron pattern is visible between cylindrical exposed beams in this house in Valle de Bravo by Mexican studio Direccion.
    The ceilings contribute to the sepia-like colour scheme apparent throughout the interiors, which is broken up by dark grey and terracotta elements.
    Find out more about Casa Tres Árboles ›
    The photo is by Lorenzo ZandriHouse by the Sea, UK, by Of Architecture
    Designed by London-based practice Of Architecture, this lofty open-plan living space in a house in Cornwall has a bright and airy atmosphere
    The whitewashed beams are studded with spotlights, light fittings, exposed services and square skylights, creating a functional yet clean ceiling scape.
    Find out more about House by the Sea ›
    The photo is by BoysPlayNiceMasná 130, Czech Republic, by ORA
    The 500-year-old chamfered wooden beams were retained in this Renaissance-era house renovated by Czech architecture studio ORA.
    The carved beams have a glossy, polished finish and are intersected by a thicker central beam decorated by more elaborate carved detailing, including a centrally-positioned roundel.
    Find out more about Masná 130 ›
    The photo is by Yevhenii AvramenkoDzen House, Ukraine, by Shovk
    Japanese and Ukrainian aesthetics meet in this house designed by architecture studio Shovk situated on the outskirts of Kyiv, which has a cosy living room capped by a series of slimline wooden beams.
    Wooden planks sit atop these structures, and together they match the thick window surround and create a grounded and cosy interior brightened by a broad, pale sofa and cool-toned walls and floors.
    Find out more about Dzen House ›
    The photo is by José Hevia105JON, Spain, by Vallribera Arquitectes
    Inside this modernised terraced house in Barcelona, Spanish studio Vallribera Arquitectes created a contrast between original features and newly inserted elements.
    The old roof, which is covered in red-coloured tiles, and the new mezzanine, lined with oriented strand board, both feature prominent structural beams – the former is supported by whittled tree trunks and the latter with metal struts picked out in blue paint.
    Find out more about 105JON ›
    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 shimmering zellige tiles and living rooms furnished by statuesque pieces of furniture.

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    Lucas y Hernandez Gil adds playful shapes and “warm and friendly” colours to Madrid apartment

    Local studio Lucas y Hernandez Gil has renovated and decorated this 19th-century Madrid apartment with their own colourful furniture.

    The studio headed by Cristina Domínguez Lucas and Fernando Hernández-Gil Ruano redesigned the interior of the historic property for a young couple with two babies and two dogs.
    The apartment had been renovated previously and had lost its original character, so the studio aimed to add personality while meeting the specific needs of its current owners.
    Lucas y Hernandez Gil arranged the home around a library that also acts as an entrance hallThe adapted floor plan organises the spaces into areas that overlook either the street or an internal courtyard at the centre of the apartment block.
    A small entrance hall leading to a long corridor was replaced with a large library that forms the new heart of the home. This space was a request from the clients who are keen readers and have a large book collection.

    The library provides access to the living room, kitchen and bedrooms, with its location at the centre of the plan with no external windows creating a protective environment for the books.
    The main living space is connected to the library by a pair of doorsLarge openings leading from the library to the connecting rooms emphasise the transition from one space to the next while removing the need for internal hallways.
    The doorways were lined with a bold wood veneer created by designer Ettore Sottsass for ALPI in the 1980s.
    Materials include wooden parquet flooring, whitewashed walls and bold wood veneer liningAccording to the studio, the portals playfully reinterpret “the solemnity of the doors of bourgeois houses”, with their scale and materiality creating a focal point whilst maintaining an open and fluid connection between the spaces.
    “The openings provide a representational element to signify the importance of the space one enters,” Lucas told Dezeen. “They also reference palatial houses that gave much importance to the transitions between rooms.”

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    There are a total of five doorways around the library’s perimeter, including one that leads to a cloakroom and study by the entrance and two angled openings that connect with a large living and dining room.
    Two further doorways at the far end of the space connect with the principal bedroom and with a small hallway that provides access to the children’s bedroom, a toilet, bathroom and the kitchen.
    The pale green kitchen contains the studio’s furniture
    The material palette applied throughout most of the house comprises wooden parquet flooring, whitewashed walls and joinery that lends the spaces a traditional feel.
    These familiar elements contrast with contemporary details including curved and folding shapes that add visual interest to the interior.
    “We used curves to avoid sharp edges in the circulation areas,” Lucas explained. “They are friendly shapes that express seclusion and comfort in order to balance small rooms.”
    A wooden unit has a stainless steel worktopColour is used to differentiate spaces within the home, including the green kitchen and bathrooms featuring pink Portuguese marble set against a render chosen to evoke the colour of skin.
    The pale green hue used in the kitchen is described by the architects as “a warm and friendly colour that is balanced by the cabinets”.
    A bespoke wooden unit topped with a stainless steel worktop is suspended from the wall to give it a lightweight feel, while a curved red dining table and accompanying chairs were chosen from the studio’s chosen own furniture brand, Kresta Design.
    “The kitchen is designed as a play of opposites between materials and shapes,” explained Lucas. “It’s as if the whole kitchen were a large cooking utensil, combining a friendly wooden handle with a technical metal finish.”

    The children’s room has an undulating wall and a curved ceiling panel that add character to the space.
    Bespoke cabinetry was decorated with a hand-painted wallpaper featuring imagery of the eldest daughter and pineapples and trees.
    Bathrooms display pink Portuguese marble chosen to evoke the colour of skinLucas and Hernández-Gil Ruano founded their architecture and design practises in 2007 after graduating from Madrid’s ETSAM school of architecture. The studio’s recently completed projects include a bar with colour-blocked areas designed to create different atmospheres and the transformation of a 1970s bungalow into a kitsch home incorporating a multipurpose greenhouse.
    The photography is by José Hevia.

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    Sophie Goineau adds “wave-like” timber ceiling to Malibu beach house

    Interior designer Sophie Goineau has renovated a family beach home in Malibu, California, adding a wave-like ceiling and maximising the panoramic ocean views from the living spaces.

    Goineau initially set about helping a young family that she met in Mexico incorporate stylish spaces for their kids into the house, but the project quickly turned into a full overhaul.
    Sophie Goineau took advantage of the Malibu home’s vaulted ceilings to create a wave-like wooden feature overheadBuilt in 1965 and remodelled at the turn of the millennium, the house’s exterior had to remain untouched in accordance with strict Malibu zoning laws.
    Inside, however, multiple walls were opened up to allow light from the expansive windows and skylights to flood all of the spaces.
    The main living space was opened up and can now fully utilise the sliding doors onto the terrace”Some rooms were divided by walls, there was no light coming through,” said Goineau. “We had to use all existing openings — sliding doors and skylights in vaulted ceilings — but there was no rhythm. What could we do here to create a harmonious vibe?”

    With the main entry points reconfigured and many of the internal partitions removed, the offset T-shaped building now benefits from more light and improved flow.
    The lounge area features black seating by ATRA and a media unit that echoes the slatted ceilingThrough the main volume of the dwelling, Goineau installed a dramatic curved ceiling composed of thermally modified ash wood in four layers.
    The effect is designed to mimic a “breaking wave” and not only directs the eye to the ocean view but also partially obscures the skylights from the bright overhead sun.
    A skylight over the entryway is partially shaded by the ceiling slats”The light here, while beautiful, is very strong, but we didn’t want to ruin the existing skylights with shades,” said the designer.
    This ceiling feature is most prominently expressed in the spacious open-plan kitchen, dining and living space, which has large windows on two sides and glass doors that opens onto a terrace.
    A large, teak front door continues the same visual language as the ceilingNeutrally decorated with white oak floors, clay plaster and micro-cement wall finishes, the social space is dotted with several black accents.
    These include the large Beluga sofa and armchairs from ATRA, the Gio Ponti dining table and chairs, and metal shelving suspended from the ceiling over the kitchen island.

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    “It is all a visual reference of naturalist materials,” Goineau said. “The dark materials chosen highlight the contrast between dark and light in nature, and all the pieces marry so well with everything else in the house.”
    A media unit that disguises the TV echoes the wooden strips of the ceiling and the kitchen cabinetry at the other end of the room.
    The primary bedroom at the end of the main volume opens onto the terraceAt the opposite end of the building’s T is the primary bedroom, which also opens to the terrace furnished with various soft seating options.
    Rather than a full dividing wall, a tall partition acts as a headboard extension and separates the sleeping area from a large dressing room.
    A tall partition separates the primary bedroom from the dressing roomThe entrance hall sits at an angle to the home’s main volume and continues the striped effect again across the teak front door positioned below another slatted skylight.
    Contemporary sculptures by Sébastien Léon and paintings by Damien Chabauty are displayed in this space and along the corridor that connects the remaining rooms.
    The terrace features multiple soft seating areas for the family to enjoyMalibu’s beachfront is lined with impressive properties, including Kelly Wearstler’s home adorned with “rustic and raw” decor and a building by Tadao Ando that musician Ye recently stripped back to its structure.
    Goineau is based in nearby Los Angeles and has previously refurbished a mid-century house in Beverly Hills in collaboration with Enclosures Architects.
    The photography is by Virtually Here Studios.

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