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    Eight relaxing beach houses with panoramic views

    In our latest lookbook, we’ve found eight coastal homes that take advantage of wide-spanning oceanic views, from the Atlantic to the Pacific.

    Including a mid-century modern getaway home in the Hamptons and a tropical paradise in the Bahamas, each home has a unique way of providing picture-perfect scenes.
    Whether incorporating the playful elements of a cargo net or building infinity pools that almost reach the sea, each home has found a way to provide interiors that honour their settings.
    This is the latest in our lookbooks series, which provides visual inspiration from Dezeen’s archive. For more inspiration, see previous lookbooks featuring living rooms with sculptural furniture, herringbone flooring in neutral homes and tips for bathroom decorating.
    Photo by Joe FletcherPlover House, USA, by Fuse Architects

    US-based studio Fuse Architects remodelled a 1960s Californian coastal home, raising the roofline to install large windows that fill the kitchen, dining space and bedrooms with light.
    Alongside the views of Pajaro Dunes, Plover House utilises the building’s existing skylight to maximise brightness in the home, which is contrasted by the exterior dark cedar cladding.
    Find out more about Plover House ›
    Photo by Brillhart Architecture and Stephen GoettlicherPink Sands Beach house, Bahamas, by Brillhart Architecture and Garth and Darren Sawyer
    Located by Pink Sands Beach in the Bahamas, this pavilion-style home was informed by local architecture and tropical modernism, with shutters opening the indoor-outdoor living space at the front of the building to views of palm trees and the ocean.
    Brillhart Architecture and Garth and Darren Sawyer also added exposed rafters that create shadows in the room, while windows and sliding doors at the back of the house showcase the landscape and pool.
    Find out more about the Pink Sands Beach house ›
    Photo by Andres Garcia LachnerCasa Bell-Lloc, Costa Rica, by Studio Saxe
    Folding glass doors lead to a pool with an ocean view at Casa Bell-Loc, reflecting the landscape back to the L-shaped beach house by San José-based firm Studio Saxe.
    Surrounded by wood and concrete, glass panels are slotted in and around the ceiling to create additional beams of light and extend the scene.
    Find out more about Casa Bell-Lloc ›
    Photo by Ema PeterRockbound, Canada, by Omar Gandhi Architects
    Canadian studio Omar Gandhi Architects created an expansive view of Nova Scotia with a large open deck and floor-to-ceiling windows.
    The box-shaped house and steel-bordered windows were used to form picture frame panoramas of the bay, complimented by linear indoor and outdoor furniture.
    Find out more about Rockbound ›
    Photo by Marcos ZegersPrimeriza House, Chile, by Stanaćev Granados
    Geometric wooden frames complement the Chilean backdrop at this beach house by Stanaćev Granados, situated on a cypress-lined hill in Chorrillos.
    Views can be enjoyed from a cargo net installed on the house’s first floor, which connects the white wooden interiors with the darker stain used outside.
    Find out more about Primeriza House ›
    Photo by Cesar BelioCasa Mateo, Mexico, by Zozaya Arquitectos
    An infinity pool was constructed around a tree to reflect Casa Mateo’s surroundings, which is located on the Pacific coast in Zihuatanejo, Mexico.
    Sunken seats, a steel pergola attached to the concrete structure and an outdoor dining space are located next to the pool to enjoy the oceanscape.
    Find out more about Casa Mateo ›
    Photo by Rory GardinerBilgola Beach House, Australia, by Olson Kundig
    This home in Sydney’s Bilgola Beach features a penthouse-style wing with upward folding shutters and a screen-lined bridge to maximise sights of the sea.
    Designed by Seattle-based studio Olson Kundig, the building incorporates a glass door opposite the windows to provide scenic perspectives through the building.
    Find out more about Bilgola Beach House ›
    Photo by Eric Petschek and Scott FrancesLong Island beach house, USA, by Steven Harris Architects and Rees Roberts & Partners
    The sculptural pool in this holiday home by Steven Harris Architects and Rees Roberts & Partners provides height over the dunes for a panoramic view of the Hamptons coast.
    The owners wanted to incorporate mid-century modern aesthetics, which informed the shape of the pavilion pool, and the indoor and outdoor furniture.
    Find out more about the Long Island beach house ›
    This is the latest in our lookbooks series, which provides visual inspiration from Dezeen’s archive. For more inspiration, see previous lookbooks featuring living rooms with sculptural furniture, herringbone flooring in neutral homes and tips for bathroom decorating.

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    Casa Yuma hotel built with “vegetal concrete” and pink bricks

    Architecture studio TAAC and interior designer Sara Skalli have created a seaside hotel in Mexico that uses traditional materials including chukum – a finish made from tree resin and limestone.

    Named Casa Yuma, the 25-room boutique hotel is located on Playa Los Naranjos, a short drive from Puerto Escondido on the Pacific coast of Mexico.
    Casa Yuma sits between a palm grove and the beachSkalli, who co-owns the hotel with friends Camille Lambert and Tim de Belloy, felt it was important for the buildings to utilise materials native to the region.
    She and the project architect, TAAC founder Ricardo de la Concha, devised a materials palette that centres around the use of chukum.
    The hotel offers 25 guest suitesDescribed as a “vegetal concrete”, this water-resistant, plaster-like material is made by combining the resin of indigenous chukum trees with limestone-based stucco.

    The material often has a strong red tone –  as seen in other new Mexico buildings like as the Xique Boutique Hotel and Tulix housing – although the colour here is closer to a pale concrete-like grey.
    Furniture and textiles were sourced from local artisansSkalli said the use of chukum was intended to create “an ambience that is both organic and sustainable”.
    “My main goal was to create an environment where elegance harmoniously blends with the surrounding nature while reflecting the warmth and authenticity of this unique land,” she said.
    The entrance is via a thatched palapa hutThe materials palette also includes “salmon pink” adobe bricks from Puebla, which form decorative screen walls, and locally sourced macuil wood, used to build furniture and joinery.
    “The use of materials of Mexican origin was of vital importance,” added De la Concha.
    Building materials include pink adobe bricksCasa Yuma is situated between the seafront and a vast grove of palm trees. It is formed mainly of single-storey buildings, with zigzagging staircases providing access to rooftop patios.
    The reception is housed inside a palapa – a traditional Mexican hut with a palm leaf roof. From here, guests are led past the bedroom suites to arrive at facilities on the beachfront.
    A beach bar is among the seaside guest facilitiesThese facilities include an open-air restaurant, co-working lounge, beach bar, swimming pool, sunken firepit area and a spa cabin.
    “The layout of the elements is based on a linear axis with a direct path from the entrance to the beach, passing through the rooms to reach a pool facing the sea,” said De la Concha.

    Ludwig Godefroy’s Casa TO hotel presents a “reinterpretation of a Oaxacan temple”

    He said the concept was for “a barefoot hotel” where guests always have the feeling of being on the beach.
    “We want to create a unique atmosphere so that guests feel comfortable in every corner of the hotel and feel like they have found a second home,” added co-owner Tim de Belloy.
    The hotel offers co-working and wellness facilitiesThe interior design follows a similar ethos to the architecture, with craft objects and textiles sourced from local makers. These include handmade wall tiles, minimal nightstands, woven rugs and striped bedspreads.
    “Most of the decorative elements come from incredibly talented local artisans and underscore our commitment to preserving regional culture,” said Skalli.
    “The aim is to offer unique spaces, where each room retains its individuality while inspiring a familiar experience.”
    A sunken firepit lounge sits alongside the swimming poolOther recent Mexican hotels on Dezeen include a hotel by Productora and Esrawe Studio on a hilly site in San Miguel de Allende and a boutique hotel coated in pink chukum and set in an artificial wetland in Puerto Escondido.
    The photography is courtesy of Casa Yuma.

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    Barbie exhibition aims to show toy is “worthy proposition from a design point of view”

    The Barbie dolls and Dreamhouses featured in Barbie: The Exhibition at London’s Design Museum reflect shifts in visual culture over the famed toy’s 65 years.

    With over 250 objects on display, Barbie: The Exhibition opens today and examines the history of the doll since it was created by Mattel co-founder Ruth Handler in 1959.
    Barbie: The Exhibition opens today at London’s Design MuseumAccording to curator Thom, the exhibition was conceived to unpack the toy’s design influence over the last 65 years and explore the “myriad technical, aesthetic and cultural decisions that go into creating Barbie”.
    “What I would really like visitors to take away from the show, whether they’ve come as Barbie fans or Barbie skeptics but with an interest in design, is that there is actually a very complex and intentional set of design processes that go into creating the dolls and the accessories,” said the curator.
    A first-edition Barbie is included in the collection”And that intentionality does reflect the social context in which any given Barbie is being produced,” she told Dezeen at the Design Museum.

    “I want people to realise that Barbie is a worthy proposition from a design point of view,” she added.
    The show features dolls throughout Barbie’s 65-year historyCreated by architecture firm Sam Jacob Studio, the exhibition design includes iridescent colourful plinths and cylindrical toy packaging-style cases displaying past and present-day Barbies and their accompanying Dreamhouses and accessories.
    Among the collection is a first-edition, hand-painted doll from 1959, positioned next to archival footage of the earliest Barbies being manufactured in Japan. The exhibition also features Christie, the first Black Barbie designed in 1968, and the first Hispanic and Asian Barbie dolls created by Mattel.
    An entire section is dedicated to the evolution of Barbie’s hairThere is a specific section dedicated to the evolution of Barbie’s now 76 hairstyles available in 94 colours, crowned by a bespoke chandelier made of dolls’ hair.
    “In the 90s, I found that a lot of the Black Barbies had straightened hair,” said Thom. “Today, Barbies come with different hair textures.”
    “Obviously, hair play is fun. Children like to brush Barbie’s hair. But there’s more to it than that. How Barbie’s hair is represented is a way in which the importance of her is conveyed to children,” she added.
    The show highlights past and present furniture trendsBarbie dolls from the 2016 Fashionista line are also on display, which were created to include more body types and skin types. Launched last year, the first Barbie doll with Down’s syndrome also features in the show.
    “I think since the Fashionista line redesign, there has been a much more concerted effort to provide as many different visual frames of reference as possible in the doll line so that in theory, every kid can see something of themselves,” said Thom.
    “I’ve found that more recently, there’s that level of attention to cultural details,” added the curator.
    Sam Jacob Studio created the exhibition designElsewhere in the exhibition, a selection of Dreamhouses chart how architecture and furniture trends have influenced the Barbie universe.
    Designed in 1962, the first Barbie Dreamhouse is on display. Created entirely out of cardboard, the single-storey home features mid-century modern furniture similar to the designs of Florence Knoll, the late pioneer of the modern open-plan office.
    The first Barbie Dreamhouse didn’t have a kitchenWith the absence of a kitchen, the first Dreamhouse positioned Barbie as an “independent woman”, argued Thom, created at a time when it was “virtually impossible” for an American woman to gain a mortgage without a male guarantor.
    Visitors can also find the yellow-hued A-frame Dreamhouse from 1978, complete with a pitched roof and angular windows, which recalls the early work of California-based architect Frank Gehry.
    “It was a little avant-garde for its time,” reflected Thom. “The house doesn’t look very Barbie by our contemporary understanding of Barbie – no pink whatsoever – but these moments in Barbie’s design history reflect what was going on in the world of design,” explained the curator.
    Later Dreamhomes reflect more decorative architecture trendsLater architecture trends also feature in the show, with a Dreamhouse from 1995 revealing a return to more traditional American 19th-century motifs including corner turrets and decorative mouldings, with all-pink, “chintzy” sofas placed in the interior.
    “It’s this kind of colonial-style architecture with sash windows, a portico and vines climbing up the side,” explained Thom.

    Kartell recreates pink Philippe Starck-designed chairs to seat both humans and Barbies

    Shifts in fashion over the years are also acknowledged in the show, with various displays documenting Barbie’s many looks. There is a doll with a cropped hairstyle wearing a tiny version of a dress from the late designer Yves Saint Laurent’s 1965 Mondrian Collection, while a host of more “everyday” Barbie garments were arranged within a bright pink cabinet.
    Although Thom explained that the exhibition has been in the works for a few years, as opposed to a response to last year’s high-grossing Barbie film directed by Greta Gerwig, the show features a pair of fluffy pink mules and the multicoloured roller-skating look worn by actor Margot Robbie in the movie.
    “We had a fascinating, kind of informal chat with the set designers about their process,” said the curator.
    Select pieces from last year’s Barbie film were also includedShe also explained why the museum sought the exhibition design of Sam Jacob Studio.
    “We wanted to work with Sam because we felt that his aesthetic, which is obviously very pop-inspired, very playful and colourful, would be a great fit for how Barbie has been presented over the years.”
    “Almost all the objects in the show are tiny,” added Thom. “So we wanted to design something that gave her a sense of presence, and almost in some cases monumentality.”
    “We needed to come up with a design that worked with that, but also augmented it,” she explained.
    The show aims to present “Barbie as a reflection of culture””The idea that Barbie is a reflection of culture I find interesting,” considered Thom, who noted the inclusion of various dolls in the exhibition designed with specific “careers” – Barbie has had over 250 of them in her history.
    “Because it does suggest that her meaning, or meanings, are in the eye of the beholder – the eye of the consumer. And I think that’s one of the reasons for her longevity,” continued the curator.
    “I think there can be a tendency to write things off that might be feminine-coded or child-orientated, as being somewhat lesser when it comes to design,” she added.
    “Barbies are toys – they are mass-produced. They are designed first and foremost to be played with. But that doesn’t negate the possibility that they are important objects.”
    The photography is by Jo Underhill.
    Barbie: The Exhibition is on display at the Design Museum from 5 July 2024 to 23 February 2025. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world.

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    Neuhäusl Hunal coverts interwar cinema into “morning to night” dining venue

    A neutral colour palette unites the restaurant, bar and shop within a former interwar cinema and 19th century stables in Prague, which has been converted by local studio Neuhäusl Hunal.

    Named Alma, after the cinema that used to occupy the site, the 800-square-metre space was renovated by Neuhäusl Hunal.
    Understated lighting accentuates the original features of the cafe spaceThe ground floor was converted into a restaurant alongside a cafe, wine bar, wine shop and garden area, while the basement level contains a bar – which doubles as a nightclub – a function hall, a fermentation room and a room dedicated to wine tasting.
    A colour palette dominated by sober, earthy tones was used to instil a laid-back yet refined atmosphere, which is the hallmark of all of operator Kro’s locations. As well as uniting various functions and purposes, the design scheme ties various architectural styles together, as the site contains a myriad of structures from a range of time periods.
    A wine shop is found on the ground floor”The Alma project is housed in three buildings – the many-times-rebuilt classicistic house and the former stables in the courtyard date back to the 19th century,” Neuhäusl Hunal told Dezeen.

    “The Alma cinema – which houses the restaurant today – was completed in 1924.”
    “There was no significant interior work to react to – except, of course, for the original historic structures and vaults, which we wanted to let shine,” the studio continued.
    The restaurant has both wooden and metallic furnishingsRepeated elements found throughout the interiors include unobtrusive lighting fixtures, which serve to provide task and ambient lighting as well as to highlight the space’s original features, and tiled walls, which gradually darken from a light beige in the cafe to a dark tone in the subterranean bar.
    In contrast with the overall muted interiors, graphic designer Jan Horčík created a bold wayfinding system characterised by chunky uppercase lettering displayed on illuminated light boxes.

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    “The sober interior is complemented by funky lightboxes, which illuminate it with their novel colours, formulations and graphic design,” said the studio.
    “Alma works from morning to night: the day starts in the cafe, lunch and dinner can be sorted out in the restaurant, and then move on to the wine bar for a drink – this naturally corresponds to their designed character, colour, and atmosphere,” it continued.
    “Logically, we treat brand-new constructions and historic ones differently – an interesting problem arises in the transitions between these spaces.”
    The bar has an intimate atmosphere thanks to its vaulted ceilingNeuhäusl Hunal has completed a number of projects in the Prague, including an apartment for a sculptor that doubles as a workshop.
    Other recent adaptive reuse projects published on Dezeen include a guesthouse in Transylvania that used to be a church and a city hall inside a former maritime structure in the Netherlands.
    The photography is by Radek Úlehla.
    Project credits:
    Client: Alma PragueBuilding contractor: AversProject documentation: LZ atelierGraphic design: Jan HorčíkArt blacksmith: Peter Demek (DEMO Works)Lighting supplier: BulbCeramic tiling supplier: KeraservisGastro: Kitchen PlanPlants: Pokojovky

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    Will Gamble Architects modernises London Victorian house with “soft minimalism” interiors

    UK studio Will Gamble Architects has extended and modernised a Victorian house in south London, using curved shapes and a palette of natural materials to create a calm and minimalist aesthetic.

    The clients – a married couple looking to create their forever home – asked Will Gamble Architects to oversee the transformation of the semi-detached house in Putney into a serene sanctuary.
    Architecture firm Proctor & Shaw initially developed the planning drawings before Gamble’s studio was appointed to develop a cohesive interior design service throughout the home, including technical drawings and revised spatial layouts for the upper floors.
    Will Gamble Architects has extended and modernised a south London Victorian houseTo fufil the clients’ request for increased space, a rear and attic extension was added.
    “We were keen to maximise space and light as much as possible through clever design solutions,” architect Will Gamble told Dezeen.

    “This was particularly relevant over the upper floors where the brief called for four bedrooms and three bathrooms which a conventional layout couldn’t accommodate.”
    Gamble’s “soft minimalism” approach is defined by gentle tonal huesGamble applied an approach he described as “soft minimalism” throughout the interiors, utilising a restrained palette of textural materials to ensure consistency across all floors.
    “Soft minimalism is defined by curved lines, gentle tonal hues, natural materials and carefully curated spaces,” said the architect. “This aesthetic allowed us to deliver a highly bespoke project tailored to our clients’ needs.”
    Muted colours enhancing the “soft minimalism” aesthetic include whites and pinksArched niches, curved walls and a bespoke staircase with semi-circular landings, circular spindles and a turned-oak rail contribute to an aesthetic defined by a gentle geometry.
    Muted colours including warm whites and soft pinks provide a soft and coherent backdrop, while more textured materials including pippy oak and richly veined marble add personality to some of the spaces.

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    The new staircase was illuminated by an oval roof light that continues the theme of gentle, round forms. The roof light casts natural light deep into the floor plan and is openable to allow stack ventilation to naturally cool the interior.
    Bespoke joinery brings functionality and visual interest to rooms including the main bedroom, where a headboard unit made from pippy oak provides additional storage as well as concealing the en-suite shower room.
    Textured materials like pippy oak and richly veined marble add flare to certain spacesThe bespoke bed and headboard with integrated wardrobes are centrally located within the room to maximise the available space. The en suite contains a pair of marble-clad vanities either side of a walk-in shower.
    Pippy oak was used elsewhere in the house for furniture including bedside tables and built-in storage. The wood’s distinctive knots and knot clusters stand out whilst complementing the other natural materials.
    “The ‘cats paw’ pattern of the pippy oak adds a decadence to the otherwise muted material palette,” Gamble added. “We used this unique material in key areas to help establish a hierarchy across the spaces throughout the project.”
    A pippy oak headboard unit in the main bedroom conceals the en-suite shower roomAs part of the renovation project, the building’s historic fabric was thermally upgraded to reduce energy consumption and create a more comfortable environment. A home automation system was also incorporated that minimises visible light switches and contributes to the uncluttered, minimalist interiors.
    According to Gamble, the owners were interested in “achieving a high-quality finish driven by an acute attention to detail”, which led to a highly bespoke project tailored to their exact requirements.
    Will Gamble established his London-based studio in 2018 after working for architectural practices Farrells and Francis Philips Architects. The office specialises in sensitively retrofitting existing buildings through contemporary architectural interventions.
    The studio’s previous projects include a home built within the ruins of a 17-century parchment factory in Northamptonshire and a glass-walled extension to a Georgian house in Leicestershire.

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    Paradis Apartment offers design-led stays in Belgian seaside town

    The founders of design PR agency Club Paradis have transformed an apartment in Ostend, Belgium, into a design-led vacation home where almost everything is for sale.

    Available for holiday stays, meetings or photoshoots, Paradis Apartment is filled with furniture, accessories and artworks by the likes of Muller Van Severen, Destroyers Builders and Nathalie Du Pasquier.
    Paradis Apartment features a bay window overlooking the Ostend seafrontBusiness and life partners Albane Paret and Micha Pycke bought the apartment for their own holiday home, but soon realised it could double as a show space for contemporary design.
    Following a complete refurbishment, the couple filled the rooms with works by friends and colleagues, including some by designers, brands and galleries represented by Club Paradis.
    The living room features Muller Van Severen’s Pillow Sofa and a carpet by Christoph Hefti”We have always been drawn to beautiful things, craftsmanship and art, but it wasn’t until we bought the flat last summer that an idea grew to do something more than just decorating and renting it out,” Paret told Dezeen.

    “Talking to people in our network, the idea of placing objects and works of art in it, to show them off to best advantage, was born,” he said.
    “We wanted to create an inspiring place where you see beautiful things and feel inspired.”
    Muller Van Severen’s Wire C # 1 wall cabinet will be a permanent fixtureThe couple have a personal connection with Ostend. The seaside town, situated between Bruges and the French border, is where Paret grew up.
    They bought an apartment overlooking the sea, with characterful period details including a grand bay window, herringbone parquet flooring, decorative crown mouldings and a marble fireplace.
    A custom kitchen by Atelier Ternier features an undulating hardwood wall unitThe renovation opened up parts of the apartment that were previously separate, with a grand open-plan room now serving as a living room, dining space and kitchen.
    The space features a custom-designed kitchen by Atelier Ternier, combining a precisely crafted island in brushed stainless steel with an undulating wall unit in lacquered sapele hardwood.
    The apartment contains two bedrooms, including one with a double bedOther standout pieces in this room include Muller Van Severen’s squishy Pillow Sofa and gridded Wire C # 1 wall cabinet, and statement carpets by textile artist Christoph Hefti.
    Paret and Pycke plan to change the furniture over time, swapping some pieces out to make room for new ones.

    TypeO Loft is a shoppable Swedish holiday apartment designed for the “new normal”

    They describe the apartment as “a moving, versatile and evolving project”.
    “It’s not a gallery, nor a showroom or a shop, but a curated space where the works and objects are put to everyday use, away from the sacredness of the museum and the white cube,” said Paret.
    A quilted silk blanket by Rooms Studio adorns one wallAlthough many of the works are by Belgian designers and studios, there are a few additions from further afield.
    These include a quilted silk blanket by Georgian design duo Rooms Studio, which is presented as an artwork, plus accessories and textiles from Danish brands Hay and Tekla.
    The second bedroom features bunk bedsBelgian design gallery Maniera, a Club Paradis client, is one of the main contributors. Other partners include up-and-coming studio Coseincorso and Ghent-based Lerry Ceramics.
    “It’s a very personal project,” said Paret. “We chose objects and furniture from artists, designers, craftspeople and galleries that we know, which is why a lot of pieces are from Belgian designers.”
    “Every choice we made was based on a feeling, an attraction to a certain object or designer.”
    Danish brands Hay and Tekla provided accessories and textilesThe apartment sleeps five across two bedrooms, including a main room with a double bed and a second room featuring bunk beds.
    Paret and Pycke plan to use the space throughout the year, depending on when it is booked out.
    The apartment is the vacation home of Albane Paret and Micha PyckeThroughout the house, styled shelves feature books and magazines from their personal collection.
    “If we come for a weekend, it has to be well thought out for us too,” Paret added.
    The photography is by Frederik Vercruysse.

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    Jakob Sprenger embellishes Aesop store with salvaged plaster medallions

    Austrian architect Jakob Sprenger has installed 1920s plaster medallions above a large sculptural sink as the centre of skincare brand Aesop’s store in Paris.

    Located within a residential neighbourhood in the district of Ternes in Paris’ 17th arrondissement, Sprenger designed the store to “create a feeling of simple domesticity”.
    The space was designed around four 19th-century painted gypsum ceiling medallions that the team found during the initial stages of the project.
    The flooring was made from reclaimed French tomette tilesThe baroque-style medallions were originally made in 1923 for the now-demolished Hotel de la Guilonniere in central Paris.
    They were placed directly above a sculptural sink that sits at the centre of the triangular store.

    “At first, we weren’t sure how to incorporate them, but their artistic quality and provenance immediately caught my attention,” Sprenger told Dezeen.
    The medallions were attached to the ceiling and one of the wallsAs is typical of most Aesop stores, the sink can be used by customers to trial and test the brand’s products.
    Above the sink, a large elliptical cut-out in the ceiling was designed as a frame for both the sink and the medallions above.
    “The triangular floorplan with a wide south-facing facade has a rather unusual geometry but allows for an impactful arrangement of functions and exciting perspectives,” explained Sprenger.

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    The design team organised the space into two “differently proportioned” sections, with the primary sales area at the front of the store and the billing and checkout nook at the back.
    Sprenger explained that the two sections were “flanked by softly rounded geometries, harmonising the visual tension of the triangular room with narrow corners”.
    Millwork and accent walls across the store were painted in burgundy-red lacquerBurgundy-toned window bays were created at either end of the space, where there is seating for customers.
    Adjacent to one of the windows is a fragrance armoire, where customers can test the brand’s perfume range.
    The checkout nook has a curved counterThe billing and checkout nook was created as an intimate space painted in burgundy red lacquer, featuring visible brush strokes.
    Candles and incense are displayed on recessed shelves on one side of the nook.
    Recessed shelves display the brand’s candles and incense rangeAccording to Sprenger, the main design challenge was amending the facade, which was added in the 1990s.
    The design team aimed to create an “inviting ambience” by adding textile awnings and lacquered paneling above a plinth clad in lutecian sandstone.
    An alabaster-coloured Aesop street sign contrasts the dark background of the facade.
    The facade features a plinth of lutecian sandstoneSprenger previously designed Aesop stores in Rome and Salzburg.
    “Our mission is to create lasting values that resonate meaningfully with their surroundings,” he explained.
    “We approach every project as a unique entity embedded in its historical, architectural and cultural context,” Sprenger said.
    Aesop stores recently featured on Dezeen include an outpost in Seoul informed by traditional Korean pavilions and another covered in mint green materials in Los Angeles.
    The photography is by Ludovic Balay.

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    Archmongers celebrates “raw beauty of brutalist concrete” in Trellick Tower apartment refresh

    Newly exposed concrete walls are paired with a matching terrazzo in this sensitive home renovation by London studio Archmongers in North Kensington’s Trellick Tower.

    Led by architects Margaret Bursa and Johan Hybschmann, Archmongers reworked a duplex apartment on the 23rd and 24th floors of the listed 31-storey tower block.
    Archmongers has renovated a Trellick Tower apartmentThe design stays true to the original layout and materials palette but some small adjustments help to emphasise the building’s brutalist character.
    Bursa and Hybschmann chose to expose the coarse concrete aggregate walls, while new fixtures and surfaces are made from industrial-style materials in complementary tones.
    Materials were chosen complement the newly exposed concreteThe effect is most striking in the kitchen, where the speckled brown and cream terrazzo sits alongside brushed stainless steel counters, white cabinets and matt-black linoleum flooring.

    Archmongers designed the home for a client who divides their time between London, Italy and Switzerland.
    “Our client was looking for a refurbishment which was true to the simplicity and modesty of the original fit-out,” Bursa told Dezeen.
    Matt-black linoleum provides flooringThe aim, she said, was to embrace “the raw beauty of brutalist concrete” and emphasise “the use of honest materials in every intricate detail”.
    “The contemporary update is drawn from the original architecture,” she said.

    Trellick Tower apartment revamped to resemble “cool concrete loft”

    “We exposed the in-situ cast concrete walls in the living spaces and on the stairs, adding material richness to the interiors and linking to the course aggregate concrete of the exterior facade.”
    Completed in 1972, Trellick Tower was designed by Hungarian-British architect Ernö Goldfinger and famously features a separate staircase tower connected to the apartment floors by enclosed bridges.
    A secondary doorway was replaced with an internal window to create extra storageArchmongers made few changes to the apartment layout, which they described as “very efficiently designed”.
    The largest intervention closed up a secondary doorway that previously led through to the kitchen, instead creating an internal window above additional storage and counter space.
    The same material palette features in the living roomAn adjustment was also made on the upper level, where some of the space from the cloakroom was reallocated to make room for an extra shower.
    In bathrooms on both floors, tap and shower fittings sourced from Italian manufacturer Fantini Balocchi provide flashes of bright red and yellow that reference the coloured tiles found throughout Trellick Tower.
    Bathrooms feature white tiles with putty-coloured grout and brown terrazzo”The communal hallways of Trellick Tower each have a different tiled colour theme, which inspired our use of colour,” Bursa explained.
    Warm tones emanate from other surfaces in these rooms, including a terrazzo with the tone of walnut wood and white tiles outlined by putty-coloured grout.
    Tap and shower fittings provide flashes of bright red and yellowThe Trellick apartment is the latest in a series of mid-century renovations that Archmongers has completed and not the first to feature in a famous estate.
    Past projects include reworks of a duplex in the 1950s-built Golden Lane Estate and an apartment in the Barbican, as well as a revamp of a 1960s terrace.
    A new hand-carved walnut handrail was added to the staircaseHere, the building’s Grade II* listing meant that Archmongers was required to retain the original metal lightswitches, even though they couldn’t be certified after the electrics were rewired.
    “There are now two sets of light switches; one new and one original but no longer working,” Bursa said.
    Other sensitive additions include a new hand-carved walnut handrail for the staircase, which runs parallel to the modernist-style metal and timber balustrade.
    The duplex is located on the 23rd and 24th floors of Trellick Tower”Preserving the architectural integrity of the building was paramount,” Bursa added.
    “The Trellick Tower project serves as both an homage to the building’s historical significance and a timeless update that elevates its legacy to new heights.”
    The photography is by French + Tye.

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