Markus Andrews

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    Yinka Ilori imbues Courvoisier bar with natural beauty of Cognac region

    A wavy canopy emerges like a fountain from this pop-up cognac bar inside Selfridges in London, designed by local designer Yinka Ilori to mimic the glistening waters of the Charente river in France’s Cognac region.

    The bar belongs to cognac brand Courvoisier and was designed to capture its hometown of Jarnac and the surrounding region, where cognac brandy is made using white grapes from one of six designated “crus” or areas.
    Courvoisier has opened a pop-up bar at SelfridgesIlori wanted to bring this bucolic setting to London’s Selfridges department store, using it to inform the colours and patterns featured throughout the space.
    “I aimed to capture the essence of Jarnac – the warmth of the sun, the rippling of water, the beautiful wildflowers and the natural beauty in the surroundings,” he told Dezeen.
    “The design pays homage to the magic and nature of Jarnac, creating a space that embodies its spirit.”

    The interior was designed by Yinka IloriThe town’s location on the Charente river is the most prominent influence, seen across the pale-blue floors, the sinuous rippling pattern on the walls and, most importantly, in the bar itself.
    Here, a circular counter was topped with a wavy blue canopy that seems to pour out of a central pillar, with the same pattern continuing down onto the base.
    Ilori also designed a limited-edition VSOP bottle for the brand”I wanted people to feel like they were surrounded by water, with it flowing both above and below them, creating a sense of immersion and tranquillity,” Ilori said.
    “The design of the canopy aims to reference the effortless flow of water, making visitors feel as though they are in the midst of a serene river.”
    The bar’s scalloped countertop picks up on the sinuous shape of the waves but provides a colourful contrast thanks to its lacquered red finish.

    Yinka Ilori draws on “unapologetic” architecture of Burkina Faso for debut pop-up shop

    Another reoccurring feature throughout the space is a cartoonish flower shape that nods to Jarnac’s wildflower fields and is found across drinks stands and upholstered benches in the seating area.
    To create a visual connection between the blue waves and the buttercup-coloured flowers, Ilori incorporated a sunset gradient that fades from yellow to soft lilac and envelops several cylindrical display stands as well as the base of the bar.
    “I was struck by the gradients in the sky in Jarnac and wanted to capture this unique visual,” Ilori said.
    A wavy pattern features across the wallsThese three repeated motifs, spanning earth, sky and water, also feature in the limited-edition bottle design that Ilori created for Courvoisier’s Very Superior Old Pale (VSOP) cognac.
    The bottles are available in four different ombre colours and displayed throughout the bar, which will stay open for three weeks until 11 September.
    The same pattern is picked up in the canopy of the barThe project forms part of Ilori’s ongoing collaboration with Courvoisier as the brand’s “ambassador of joy”.
    Last year, the designer created an immersive dining for Courvoisier in New York, designed to transport diners into a surrealist interpretation of Jarnac.
    Ilori’s colourful work is often considered as part of the New London Fabulous movement and includes a colourful skate park in Lille and The Colour Palace pavilion at the London Festival of Architecture.

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    Transparency “one of the biggest beasts that we battle” says Apple retail sustainability lead

    Apple is pushing for carbon transparency in the supply chain as it aims to reduce the impact of its stores, claims the tech company’s retail sustainability lead Rebecca Cully in this interview.

    Created as the latest “evolution of the Apple Store”, Apple’s recently opened location in Battersea includes several material innovations aimed at reducing the shop’s carbon impact. These were sourced with transparency in mind, according to Cully.
    “That transparency piece is one of the biggest beasts that we battle on a regular basis,” she told Dezeen.
    “I think that’s a big reason why finding the right partners, not only in the design space but the construction space and the entire value chain, is just so critical.”
    Apple seeking partners “absolutely committed to transparency”

    Cully explained that Apple is seeking a commitment to transparency from all its construction partners as it aims to meet the company’s wider commitment of becoming carbon neutral by 2030, which will mean not only reducing the impact of its stores, but also its products.
    “There’s so many brilliant products out there in the world, and so many incredible companies that are doing some really interesting things, but as far as innovation is concerned, if we can’t identify a partner who’s absolutely committed to transparency it’s a no-go,” said Cully.
    The Battersea Apple Store incorporated new floor materials and roof bafflesApple is working on building record-keeping of impact and transparency into all its contracts. However, Cully acknowledged that evaluating the full of the impact of all components and materials in its stores is still not possible.
    “Evaluating products by manufacturer for carbon is still very early,” she said. “And so contractually obligating our supply chain manufacturers to disclose that information as a result of award is certainly something that we are focused on right now.”
    “The entire store? I think that’s a little ambitious right now, based on where industry is at,” she continued. “Frankly, we have not gotten to the point where we’re able to control that entire supply chain.”
    “You have to prioritise. For instance, the the nuts and bolts that go into the store are not as significant as our avenues and our ceilings.”
    “Industry is pretty slow to move”
    The recently opened Battersea store, along with the reopened Tysons Corner store in the USA, are the first to use an updated set of fixtures and fittings that will be rolled out across other stores.
    These include a timber framework for its walls and room dividers, flooring bound with a bio-polymer and acoustic baffles made from biogenic material.
    “These are very visible, very large components within the store that we knew if we focused on in the original design intent were going to result in a superior outcome from a carbon perspective,” said Cully.
    The store is the latest “evolution” of Apple’s retail designs.Apple’s current strategy with its stores is to focus on the most impactful, often physically largest areas that have traditionally been the most carbon-intensive.
    “So it’s really important that we are giving clear instructions to the folks that are sourcing for us to achieve particular outcomes,” said Cully.
    “That being said, the industry is pretty slow to move in a lot of these cases. So I would say that we are targeting certain elements within the store that are traditionally very high-carbon and very resource-stressed.”
    “We are targeting those manufacturers to make sure that they understand there is an obligation to deliver on transparency that is absolutely accurate.”

    Apple reveals Battersea Power Station store as latest “evolution of the Apple Store”

    Cully also highlighted that one major way that the carbon impact was reduced at its Battersea store was the decision to locate within the redevelopment of Battersea Power Station.
    Along with the Apple Store within the former turbine hall, the technology company has placed its UK offices within the former power station.
    “Partnering on a redevelopment project of a brownfield site in and of itself has a tremendous value from the standpoint of carbon emissions avoided as a result of the existing structure,” said Cully.
    “Certainly the partnership that we have with the landlord, was highly strategic in terms of positioning Apple to locate and operate as environmentally considerate as we possibly could.”
    Apple “certainly interested in pushing industry”
    According to Cully, Apple wants to push the construction industry to be more sustainable and noted that the company’s vice president of environment, policy and social initiatives, Lisa Jackson, has said she “intends to create a playbook that other organisations can follow”.
    “We are certainly interested in pushing industry,” said Cully. “And because of scale, we have an ability to do that and hopefully pave the way to make it a little bit easier for other companies to follow suit – or at least start normalising conversations with manufacturers and industries so that you know, these things become a little bit easier or a little bit more cost effective for other folks to follow suit.”
    “There are a few organisations around the world, I think, that have the ability to invest in this space the way we have, because the market just doesn’t exist.”
    In the past Apple stores have been focused on aesthetics, but Cully believes that the refocus on sustainability and accessibility means the shops align closer with the brand’s values.
    “This evolution of the store is so much more intrinsically linked to our values – it really is approaching the epitome of Apple’s values realised through the retail store space,” said Cully.
    “We have evolved the store from kind of looking like a product, to now fully representing our values in every way that we can, within the context of the built environment itself.”
    However, store fit-outs are far from being Apple’s biggest challenge in the race for carbon neutrality. Currently, 65 per cent of the company’s emissions from its products so this thinking will also need to be replicated in it production supply chains.
    The first Apple Store opened in 2001 and there are now more than 500 around the world. Dezeen recently rounded up 10 of the latest to open.
    The photography is courtesy of Apple.
    Dezeen In Depth
    If you enjoy reading Dezeen’s interviews, opinions and features, subscribe to Dezeen In Depth. Sent on the last Friday of each month, this newsletter provides a single place to read about the design and architecture stories behind the headlines.

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    “Space that is exclusionary does not live up to its full potential”

    It’s time for equitable design to become a priority rather than an afterthought, writes Google’s Annie-Jean Baptiste.

    When you think about equitable design, what does it look like? In my mind, it means everyone being able to move seamlessly throughout spaces without having to think about how their identity might change their approach or reception. This includes a person’s age, race, socioeconomic status, whether they have a disability, and more.
    Equitable design is about creating a world where products, services and experiences are made for everyone and are helpful to everyone, with a particular focus on groups that have been historically marginalized. It’s about creating a world where everyone belongs.
    It’s not enough to create for one type of person
    Equitable design isn’t an afterthought. It’s imperative to ensure environments work for as many people as possible. When we do that, we create spaces that not only reflect the world around us, but create the space for innovation to blossom. When spaces are inequitable, they stunt ideation, growth and change. Non-inclusive spaces can at the least be alienating, and at most, be harmful and dangerous (hospitals come to mind).

    There are many factors that can contribute to making someone feel like they don’t belong in a space. For instance, have you ever walked into a store and felt like you were being followed or that you were unwelcome because of your race? Have you ever gone to a restaurant and found that there wasn’t enough space for your wheelchair? Have you ever gone to a movie and realized that there weren’t subtitles in your language? All of these are examples of experiences that can leave people feeling uncomfortable or unwanted.
    It’s important to be intentional about designing inclusively and being considerate of every person’s identity. All of us have bias, but we must move from intent to impact. It’s not enough to create for one type of person. We must build to reflect that world and commit to learning about experiences unlike ours in order to do so.

    DAF launches to “ensure Deaf people have a stake in architecture”

    There are several approaches to creating inclusive and accessible spaces, including being thoughtful about how a space is designed. One of my favorite examples of this is by the Magical Bridge Foundation. Their organization designs and creates playgrounds that center around inclusion across several dimensions, including ability and age. This ensures that people with a variety of identities are able to equitably enjoy the space.
    Another aspect of inclusive design in physical spaces could be the presence of adjustable lighting, which can be highly beneficial in a multitude of environments, including workspaces. Adjustable lighting could include dimmable lights or blinds/curtains to regulate the amount of natural light. This type of lighting allows individuals to modify their environment to best suit their visual needs, enhancing comfort and productivity. It can also help all skin tones show up beautifully and accurately by ensuring people have the ability to adjust to what works best for them, whereas non-adjustable lighting can fail to account for darker shades and hues.
    Spaces can also be used to celebrate identity. For many historically marginalized groups, having environments to authentically connect to is extremely important, because there’s nothing quite like being in a place that was designed with your experience in mind. For the LGBTQ+ community, these types of affinity spaces can cultivate a feeling of belonging. Another example, Black Girl Green House in Oakland, creates spaces for Black women to come together in community.
    There are many benefits to having inclusive spaces
    While progress is being made, there is so much work that needs to be done.
    Consider what a person’s experience would be in a space from end-to-end. The physical components are just one aspect of that. When they enter a space, they should be greeted warmly. There should be someone who speaks their language available to help with questions. Signage should be clear and easy to understand, agnostic of reading level. Hallways should be wide enough for wheelchairs. It’s worth co-creating with communities that may be most at the margins to ensure that you are creating an inclusive experience for as many people as possible.
    There are many benefits to having inclusive spaces. They can not only help to create a more just and equitable society, but, at an individual level, they can also help to improve well-being both physically and mentally, by reducing stress and anxiety. These spaces are able to provide people with a sense of community, belonging, and support.

    “Despite the media buzz, ‘Femtech’ is still struggling to find equality”

    Creating inclusive spaces allows everyone to thrive and tap into their creativity no matter where they are: in the workplace or in the world. Creating inclusive spaces means developing an environment where everyone feels welcome and respected, regardless of their background, identity, or beliefs. There are many parallels between creating inclusive products and inclusive spaces. Space, in fact, is a physical product that people will interact with, utilize and connect with.
    Space that is exclusionary does not live up to its full potential. Better decisions and ideas come from dissent, friction and multiple perspectives getting to a solution that is nuanced and multifaceted. The outcomes are better for everyone when you create spaces where groups that have historically been at the margins feel like they have agency to speak their truth.
    When creating inclusive spaces, products or experiences, you must always ask: who else? Who else should be involved? Whose voice needs to be a part of the process? As designers, developers, marketers, and creators, we have an opportunity to create products and services that make people feel seen.
    We must admit that we don’t know everything, and ensure that we include diverse perspectives
    In order to do that, we must admit that we don’t know everything, and ensure that we include diverse perspectives, particularly from people who have been historically marginalized, at key points in the process — ideation, research, design, testing, and marketing. This means being humble, asking questions, and letting those with the lived experiences guide the way. Center the experiences of historically marginalized communities, and build with them, not just for them.
    It’s not enough to build something you would like, because you don’t represent the world. When we broaden our perspective and bring in other perspectives, we design, create and innovate for everyone.
    The photo is by Red John via Unsplash.
    Annie Jean-Baptiste is head of product inclusion and equity at Google and founder of the Equity Army network. Her first book, Building for Everyone, is published by Wiley.
    Dezeen In Depth
    If you enjoy reading Dezeen’s interviews, opinions and features, subscribe to Dezeen In Depth. Sent on the last Friday of each month, this newsletter provides a single place to read about the design and architecture stories behind the headlines.

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    Studio Besau-Marguerre designs colour-block foyer for Hamburg’s MK&G museum

    German practice Studio Besau-Marguerre has overhauled the entrance hall of Hamburg’s MK&G design museum, using colours to guide visitors through the space.

    The brief was to create new zoning in the foyer for better wayfinding and orientation while setting the tone for the rest of the museum with a friendly and welcoming atmosphere.
    Studio Besau-Marguerre has overhauled MK&G’s foyer”We wanted to create a place that allows visitors to relax and draws them into a world of art and design with a new colour scheme and improved acoustics,” Studio Besau-Marguerre told Dezeen.
    “We wanted it to be a place of tranquillity and warmth, in contrast to the hustle and bustle outside the museum.”
    Deep blue ticket counters were designed to draw attentionThe Museum für Kunst und Gewerbe, or MK&G for short, was built in the late 19th century and previously had a plain white foyer with the ticket office and cloakrooms hidden away out of sight, leading to confusion amongst visitors.

    “Due to the architectural details, the huge emptiness and the reverberant acoustics, the space looked like a large railway station hall and had no quality of stay,” the studio said.
    Rooms are painted in progressively darker shades of terracottaIn order to improve visitor flow and create an inviting atmosphere, the area was reorganised in collaboration with German firm SWP-Architekten, resulting in a straightforward and intuitive guidance system.
    The new interior concept is marked by the use of contrasting, bold colours – a signature feature of Studio Besau-Marguerre’s work.
    For this project, the studio developed a unique colour scheme that structures the space using three main tones: vibrant blue, bright yellow and shades of terracotta.
    Cobalt blue seating features in the lounge areasMK&G visitors are now greeted by two bright blue ticket desks upon entry – with the surrounding walls painted in a matching shade for emphasis – while the rest of the room is finished in white.
    “Here, visitors first arrive, catch their breath and get their bearings,” the studio said.
    From there, museumgoers are intuitively led into the two adjoining lounges and cloakrooms, where walls are painted in progressively darker shades of terracotta to draw visitors into the rooms.
    The media lounge provides a space for reading books and magazinesYellow acts as an accent colour found across curtains, acoustic elements and storage lockers, while blue reappears to highlight the seating areas.
    “For the colour concept, we were inspired by the historic colour scheme of the coffered ceiling in the vestibule that visitors notice before they enter the main foyer,” the studio said.
    “We thought it would be nice to reference the historical colours and interpret them in a contemporary way. In this way, we refer to the history of the building and the colours feel natural.”

    Tate Modern’s Corner cafe revamped to be less “Herzog & de Meuron-y”

    A selection of soft, warm and tactile materials – including wood, wool and hand-tufted carpets – complements the colourful interiors while improving the acoustics of the open space.
    Studio Besau-Marguerre designed a number of custom furniture pieces for the space, including the checkout counters, but was also keen to source pieces from up-and-coming German designers.
    “It was important for us to use furniture from young manufacturers and designers who work sustainably and with high-quality materials,” the studio said.
    Some of these are displayed on a blue-painted timber table by StattmannThis includes the cobalt-blue sofas and matching pouffes in the lounges, which were made by Berlin design brand Objekte unserer Tage.
    “The sofas harmonise wonderfully with the round arches of the architecture and are a perfect mix of artistic object and inviting, cosy seating landscape,” said Studio Besau-Marguerre.
    Yellow acoustic panels feature in the cloakroomsIn the media lounge, where books and magazines are on display for the reading pleasure of visitors, the oblong table and matching stools are by Frankfurt furniture brand Stattmann.
    “The surface of the tables and stools is treated with a wax that creates a wonderful feel and is very durable,” said Studio Besau-Marguerre.
    “All the furniture plays with the rounded and soft design language, as well as warm, natural materials, thus contributing to a harmonious, cosy atmosphere.”
    Storage lockers are finished in a matching hueNot every detail of MK&G’s original interior was scrapped. The studio also retained the huge glass chandelier in the centre of the foyer that British artist Stuart Haygarth designed specifically for the space in 2018.
    “It was clear from the start that the luminaire had to stay and would fit in wonderfully with our concept,” the studio said. “It is very exciting to see how it benefits from the new interior design.”
    Digital displays advertise the museum’s changing exhibitionsStudio Besau-Marguerre, which was founded by Eva Marguerre and Marcel Besau in 2011, was also responsible for designing the interiors of another key cultural building in Hamburg – Herzog & de Meuron’s £163-million Elbphilharmonie concert hall.
    Elsewhere, the duo created the exhibition design for Christien Meindertsma’s solo show Beyond the Surface at the Vitra Design Museum in Basel, conceived to illustrate the designer’s approach to material research.
    The photography is by Brita Sönnichsen.

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    Studio Varey Architects celebrates natural light in Notting Hill house renovation

    London firm Studio Varey Architects has simplified this Victorian terraced house to create a light-filled home in Notting Hill, with timber-framed skylights designed to catch the sun.

    Set in the Westbourne Conservation Area, Huron House has belonged to its current owners for the last 25 years.
    Huron House is a renovated Victorian terrace in west LondonThe overhaul of the 19th-century building started as a simple ground-floor renovation to replace the kitchen and improve the connection between the house and its garden.
    However, exploratory works showed the four-storey property to be in bad structural condition, which demanded major improvement works but also gave the owners an opportunity to reimagine their period home.
    Decorative oak beams frame the skylight in the extensionThe new brief to Studio Varey Architects included a full house renovation and interior design, with special emphasis on the bathrooms as well as custom joinery and the rebuilding of the 1990s rear extension to create a new open-plan kitchen and dining room.

    “Our goal was to create an open-plan living space and bring lots of natural light into the ground floor, helping it to feel more inviting and better suited to entertaining friends and family,” the studio told Dezeen.
    A simple white staircase leads upstairsThe property sits on a rough east-west axis, giving it the potential to achieve great light levels throughout the day, with the sun moving from the back of the house in the morning to the front in the afternoon.
    “We wanted to ensure this natural light was captured through the architecture and design of the spaces,” the studio said.
    On the ground floor, Studio Varey Architects removed a structural post that supported the building but divided the back wall.
    A skylight illuminates the top-floor bathroomThis has been replaced with a steel frame, which allowed the studio to introduce slimline aluminium sliding doors that now run along the whole back of the property.
    An existing skylight in the flat roof here was enlarged and framed with oak beams, pulling more light into the centre of the hybrid kitchen-dining space.
    “Natural light cascades into the back of the house, while the introduction of oak beams created a feature that plays with the light as it travels through the property,” the studio said.

    Office S&M uses colour and geometry to create Graphic House in London

    The whole staircase was replaced and positioned further away from the home’s large rear windows, creating a lightwell funnels sun into the lower floors.
    On the top floor, an existing bathroom was fully renovated. Situated in the middle of the top floor it featured no windows save for a small skylight, meaning that light levels were totally inadequate.
    Here, Studio Varey Architects cut back the ceiling to create a multifaceted surface clad in birch plywood – its colour knocked back with a wash of soft white – to bounce light around the space.
    The ceiling was cut back to allow more light into the interior”We created a splayed ceiling that increased the height of the space, allowing for the playful integration of materials to emphasise the new angles,” the studio said.
    “Naturally finished birch ply, leading from the skylight down into Tadelakt walls, beautifully captures sunlight creating a special warmth in the space.”
    Oak forms bookcases in the sitting romWhite oak can be found throughout the house in the form of built-in joinery from bookcases and wardrobes, as well as in the feature beams of the extension.
    “We wanted to simplify the material palette and keep it light, both in appearance and number of elements we used,” the studio said.
    “This was done to emphasise the quality of the materials themselves, highlight the craftsmanship of the work and establish a visual link between the interior spaces throughout the home.”
    Oak joinery features in the primary bedroomPolished concrete, used for the floor at ground level, is underlaid with underfloor heating and provides a durable surface that is easy to clean for the owners after walking their dog.
    Other recently renovated houses in London include Sunderland Road House by 2LG, which features pastel-painted corniced ceilings, and Graphic House by Office S&M, which is defined by graphic shapes and bold hues.
    The photography is by Taran Wilkhu.

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    Alabama hotel by Avenir Creative occupies three historic buildings

    US studio Avenir Creative has completed the renovation of a historic hotel in Montgomery, Alabama, restoring a trio of buildings in accordance with local heritage.

    Close to the riverfront, the 117-room Trilogy Montgomery has reopened following an extensive overhaul by Chicago-based Avenir Creative.
    Trilogy Montgomery’s airy lobby features whitewashed brick walls and eclectic furnitureThree buildings — two early 20th-century warehouses and a Greek revival mansion built in 1851 — were combined to create a seamless interior flow totalling 72,000 square feet (6,690 square metres) while retaining the character of each.
    “With a commitment to honoring Montgomery’s past while embracing a bright future, the hotel offers a welcoming, inspiring, and inclusive space for all,” said Avenir Creative.
    The Montgomery House Bar pulls from the region’s jazz heritageThe new main entrance was created into a four-storey, red-brick building on Coosa Stree, where guests arrive into a spacious lobby that leans fully into the warehouse aesthetic.

    Tall ceilings with exposed wooden beams, whitewashed brick walls, exposed services and ductwork, and metal-framed partitions all add to the industrial aesthetic.
    The Kinsmith restaurant is decorated with deep blue-green hues across richly patterned wallpaper and textilesThe wooden reception counter, which looks like a giant vintage speaker, is positioned in front of a large library shelving unit with a rolling ladder.
    A mixture of antique and contemporary furniture creates an eclectic feel that continues into the adjacent atrium lounge.
    The portion of the hotel housed within a Greek revival mansion is ornately decorated”Designed as a homage to the region’s multicultural history, elements throughout the hotel pull from materials and motifs important to the city,” Avenir Creative said.
    “The back wall of the front desk has a wood pattern inspired by church window architecture as the King Memorial Baptist Church where Martin Luther King Jr was the pastor is a large part of the community.”
    A muted colour palette of greens and grey in the guest bedrooms is contrasted by brighter accent chairs and carpetsThe guest rooms have lofty ceilings and full-height windows, with those on the upper floors enjoying views across the city.
    A muted colour palette of greens and grey in the bedrooms is contrasted by brighter accent chairs and carpets, while flooring is either maple or pine and works by local artists adorn the walls.
    On the roof, an expansive terrace called Waterworks offers plenty of casual outdoor seating among potted plantsOver in the mansion portion of the hotel, which was originally built for a prominent local merchant, Corinthian column capitals and ornate plasterwork lend a very different aesthetic.
    The hotel’s restaurant, Kinsmith, is decorated with deep blue-green hues across richly patterned wallpaper and textiles, while the bar interior blends olive green leather banquettes, purple velvet curtains and sand-hued walls – all colours also found in the stone bar counter.

    The Eliza Jane hotel takes up seven historic warehouses in New Orleans

    “The Montgomery House Bar pulls from jazz influences with chandeliers that resemble trumpets and lush fabric banquettes that create a cozy jazz lounge environment,” said Avenir Creative.
    Hallways feature checkered floors, and a gallery of vintage photographs and artworks runs up the staircase. Various meeting rooms with gilded mirrors and chandeliers also occupy this section of the hotel.
    The Trilogy Montgomery occupies three buildings, including a red-brick former warehouse where a new entrance was created during the renovationsOn the roof, an expansive terrace called Waterworks offers plenty of casual outdoor seating among potted plants, as well as craft beers and Southern-influenced small plates.
    Dark-toned furniture matches the building’s exterior and a pergola from which string lights are hung.
    The adjacent Greek revival mansion houses the hotel’s restaurant, bar and event spacesAcross the American Deep South, former warehouses in what are now considered prime tourist locations have slowly been transformed into hotels that retain the original industrial character.
    In New Orleans, the The Eliza Jane Hotel occupies a series similar structures close to the historic French Quarter.
    The photography is by Wade Hall.

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    Eight renovated mid-century homes that marry period and contemporary details

    From a modernist villa in Beverly Hills to a flat in one of Brasília’s iconic Superquadra apartment blocks, the mid-century renovations in this lookbook are a masterclass in updating a period home while retaining its distinctive character.

    Originally constructed in the post-war period between 1945 and 1969, mid-century homes have proved enduringly popular due to their prescient emphasis on natural light, clean lines, open floor plans and humble materials such as wood, stone and concrete.
    The renovations below see many of these original features retained and restored, supplemented with contemporary additions such as double-height ceilings and furniture by the likes of Tadao Ando and Mario Bellini.
    This is the latest in our lookbooks series, which provides visual inspiration from Dezeen’s archive. For more inspiration see previous lookbooks featuring art deco homes, sunny yellow interiors and serene bedrooms with striking natural views.
    Photo by Jack LovelCity Beach Residence, Australia, by Design Theory

    Australian studio Design Theory looked to preserve the “considerable mid-century charm” of this home on the coast of Perth during its renovation (top and above), remaining true to the rich palette of natural materials found in the original design.
    Contemporary furniture and lighting with gently curving forms were chosen to soften the rigorous lines of the original architecture and prevent the interiors from feeling like a period pastiche.
    Find out more about City Beach Residence ›
    Photo by An PhamBrandaw Residence, US, by 180 Degrees Design + Build and CBTWO Architects
    A new double-height living room with a pitched roof and full-height glazing was added to modernise this 1960s home in Phoenix, creating sightlines up and out towards nearby Camelback Mountain.
    Modernist touches remain on the interior in the form of plentiful wood panelling alongside finishes and furnishings in muted primary colours ranging from teal to mustard-yellow.
    Find out more about Brandaw Residence ›
    Photo by James O DaviesHampstead House, UK, by Coppin Dockray
    This house in Hampstead was originally designed by British architect Trevor Dannatt in 1960 as London’s answer to the post-war Case Study Houses built by the likes of Richard Neutra and the Eameses in California.
    When renovating and extending the property for a growing family, local studio Coppin Dockray contrasted vintage and contemporary furniture for a “domestic, lived-in” feel, with pieces ranging from a Togo chair to Mia Hamborg’s Shuffle table for &Tradition.
    Find out more about Hampstead House ›
    Photo by Gerhard HeuschBeverly Hills villa, US, by Heusch
    Historical images helped architecture firm Heusch to restore this Beverly Hills villa to its former glory and reverse some of its “unfortunate transformations” over the years.
    Existing terrazzo floors on the ground floor were restored and complemented with fluted glass details and dark timber furnishings, both new and old, including Ando’s cantilevered Dream Chairs and a bookshelf by Italian architect Augusto Romano from the 1950s.
    Find out more about Beverly Hills villa ›
    Photo by Justin ChungPalermo house, US, by OWIU
    California studio OWIU retained several original elements during the renovation of this 1955 home in LA’s San Rafael Hills, among them the glass-block walls and wooden ceiling beams, which were exposed from under false ceilings and sanded down to reveal their natural colour.
    These were contrasted with more neutral contemporary elements such as pale oak flooring and walls coated in Venetian plaster, with assorted lights by Isamu Noguchi and George Nelson – one of the founding fathers of American modernism.
    Find out more about Palermo house ›
    Photo by Joana FranceBrasília apartment, Brazil, by Debaixo do Bloco Arquitetura
    This apartment is located inside Brasília’s historic Superquadra 308 Sul, the first “superblock” apartment complex constructed as part of architect Lucio Costa’s 1957 master plan for the new Brazilian capital.
    Local studio Debaixo do Bloco Arquitetura cut open the building’s exposed concrete walls, opening up its layout to meet the needs of a modern family while preserving period details such as the building’s distinctive white breeze-block screens and its granilite flooring.
    Find out more about Brasília apartment ›
    Photo by Ingalls PhotographyMalibu Surf Shack, US, by Kelly Wearstler
    When interior designer Kelly Wearstler turned this 1950s beachfront cottage in Malibu into a bohemian retreat for herself and her family, she retained the original wood-panelled walls and selected finishes that were “hand-crafted, rustic and raw” to match the existing material palette.
    The interiors feature abundant planting, alongside an eclectic mix of period-agnostic furnishings including a 1980s green marble table by Bellini, paired with a plaster-covered Caféstuhl chair by contemporary Austrian designer Lukas Gschwandtner.
    Find out more about Malibu Surf Shack ›
    Photo by Rafael SoldiGolden House, US, by SHED
    Seattle architecture firm SHED had to make several aggressive interventions when renovating this 1950s building in nearby Shoreline, which was originally constructed as a family home but had previously been divided up to serve as a retirement home.
    Working around the existing post-and-beam structure, the studio updated the interior to maximise views of the Olympic Mountains and Puget Sound while enlarging the kitchen and reorganising it around a central island.
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    This is the latest in our lookbooks series, which provides visual inspiration from Dezeen’s archive. For more inspiration see previous lookbooks featuring art deco homes, sunny yellow interiors and serene bedrooms with striking natural views.

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    Odami creates textured minty interior for Aesop Palisades Village store

    Mint green materials cover this store for skincare brand Aesop, which Toronto studio Odami designed for the Palisades area of Los Angeles.

    The Aesop store opened at the end of 2022 in the Palisades, a verdant corner of the city northwest of Santa Monica where several seminal modernist houses are located.
    In the center of the store are stainless steel sinks for testing the brand’s products”Aesop Palisades Village takes inspiration from its natural surroundings, as well as the area’s vernacular architecture, where local buildings are delicately perched within a cascading landscape of lush ridges and valleys,” said Odami.
    “Most notably, this includes celebrated local architect Ray Kappe’s own residence, a critical reference for the project.”
    Planters with tropical foliage are placed behind the sink and along the side wallThe same shade of pale green is used across the walls, ceiling, floors, display stand bases, and a sink for testing products in the centre of the store.

    The velvet curtain and upholstery fabric is matched to the microcement surfaces, resulting in a monotone texture throughout the small shop.
    Textured microcement surfaces and velvet curtains match to create a uniform effectBehind the full-height curtains, Aesop’s distinctive brown bottles are presented on shelves built using reclaimed walnut wood.
    The dark wood is also used for countertops, individual shelves, and a storage unit that sits below a large product display set into one wall.
    The mint-green curtains open to reveal more products displayed on reclaimed walnut shelves”Gently placed amongst this unfolding landscape, the various storage and display requirements are resolved as long horizontal planes, composed of either reclaimed wood or stainless steel, to create an interplay of levity and mass,” Odami said.
    The sinks, which are lined with stainless steel, face a planter brimming with tropical foliage – a feature repeated perpendicularly along the adjacent side wall.

    Victorian balusters pattern surfaces at Aesop Yorkville store by Odami

    A skylight above the flora brings in extra natural light into the space, while a low bench offers customers a place to sit and pause.
    “Together, the design for Aesop Pacific Palisades aims to create a biophilic environment, elevating the ritual of self-care through the presence and evocation of nature,” said Odami.
    A bench is provided for customers to sit and pauseThe Toronto studio was founded in 2017 by Spanish architect Aránzazu González Bernardo and Canadian designer Michael Fohring.
    The team has completed a wide range of projects, from residential and restaurant interiors to a furniture collection, as well as another Aesop store located in Toronto’s Yorkville neighbourhood.
    The store is located in Los Angeles’ Palisades neighbourhoodAesop is renowned for the interiors of its stores, which each have a distinctive design relating to their location.
    Recently completed include an outpost in London’s Marylebone that’s organised to reference a bookshop, and another in Cambridge, England that features handwoven bulrush shelves.
    The photography is by Rafael Gamo.
    Project credits:
    Client: AesopDesign: OdamiGeneral contractor: Precise Contractor IncFabrication: Dayone DesignsArchitect of record: WORD Design x ArchitectureEngineering: RKM Consulting Engineers Inc

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