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      WGNB completes colourless interior for golf supply store PXG

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      South Korean spatial design studio WGNB has completed a flagship shop for golf brand PXG in Seoul, featuring an achromatic material palette and a graphite-covered wall that leaves smudges on visitors’ clothing.

      The store is located in Seoul’s Gangnam district and was designed by WGNB to reference the graphite used to produce PXG’s golf clubs.
      WGNB has designed PXG’s Seoul flagship store”Rather than merely applying the material to every plane, we studied the characteristics of graphite itself,” the studio told Dezeen.
      “It is lighter than it appears and is an allotrope of carbon, like diamond. The graphite embeds calmness and humbleness. And, most importantly, it smudges.”
      A graphite-covered wall greets visitors near the entranceWGNB interpreted these characteristics in the pared-back forms and materials chosen for the shop’s internal surfaces and display furniture.

      At the entrances, visitors are greeted by a sculpturally engineered graphite block and a wall covered with graphite squiggles that will transfer onto hands and clothing on contact.
      Volumes of slatted steel are suspended from the ceilingA series of orthogonal volumes are suspended from the ceiling throughout the store to define various areas within the open-plan space and incorporate suspended rails for hanging apparel.
      Made using powder-coated steel slats, the volumes help to create a sense of lightness and buoyancy within the interior that is further enhanced by the cantilevered display unit at the centre of the store.
      An abstract animation that ties in with the shop’s visual language is displayed on the store’s prominent media wall instead of commercial images.

      WGNB designs all-black flagship store for fashion brand Juun.J

      The project brief called for a black interior in keeping with PXG’s visual identity. Instead of creating a monochromatic black-and-white interior, WGNB developed an achromatic design using shades of black and grey.
      “While monochromatic materials are limited to similar tones and hues, an achromatic scheme dismisses colour altogether, leaving materiality only,” the studio said.
      “We used various achromatic materials with unique textures and materiality, believing that these would emphasise the idea of shedding light on the essence of the material.”
      An abstract graphic is displayed on the central media screenThe limited material palette includes a micro-cement finish that was applied to walls and floors. These textured surfaces are complemented by engineered wood flooring, which is also used on some of the walls.
      The staircase leading up the mezzanine is finished in marble and cold-rolled steel while upstairs, a grey carpet and upholstered furniture introduce softness to the space.
      Grey carpet and upholstered furniture bring softness to the mezzaninePXG approached WGNB to design its flagship store after seeing some of the studio’s previous projects, including the all-black shop it created for fashion brand Juun.J in Seoul.
      The spatial design studio was established in 2015 and named emerging interior design studio of the year at the 2021 Dezeen Awards, with the judges commending its “interesting and different approach to retail design”.
      The photography is by Yongjoon Choi.

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      Supreme's Los Angeles flagship features its first fully floating skate bowl

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      A team of architects and designers has mixed retail with a skateboard facility for clothing brand Supreme’s Los Angeles flagship store, sited in the building that was once home to the iconic record store Tower Records.

      The overall design of the he 8,500-square-foot (790-square-metre) store was carried out through a collaboration of London interiors studios Brinkworth and The Wilson Brothers – and New York architect Neil Logan.
      The Supreme store features its first fully floating skate bowlSupreme, a Manhattan streetwear brand catering to skaters, collaborated with Steve Badgett of SIMPARCH, a New Mexico to outfit, for a fully floating skate bowl.
      SIMPARCH previously constructed four skate bowls for Supreme, including a small peanut-shaped skate bowl in the previous Los Angeles store in 2004.
      Inside, light bounces off the polished concrete walls”We had a much bigger area to work with at this location, so the design process with Supreme’s circle of experienced pool skaters took more time to nail down the final form,” Badgett told Dezeen.

      The clover-leafed sculpted wooden skate bowl has three depths and a pale surface bordered by a darker rim.
      “The previous four bowls we built for Supreme were all considerable challenges but this one was a whole different animal with its greater size and structural complexity,” Badgett said. 
      The white box store sports a red logo on the renovated billboard fascia”Our engineer, Paul Endres, figured out how to eliminate columns anywhere near the bowl so it hung from the deck structure. He was able to do that without compromising the lean, fluid, aesthetic we wanted, and it allows the bowl’s organic form to be seen unimpeded,” he continued.
      Located in the site of the former Tower Record’s West Coast store, the one-storey white box store sports a blocky red logo on the renovated billboard fascia.
      “It was such an honour to take loving care of the historic Tower Records structure while literally raising the roof to accommodate the huge levitating skate bowl,” said Brinkworth founder Adam Brinkworth.
      “The site has gone from the world’s largest record store to the world’s largest Supreme.”
      SIMPARCH created the wooden skate bowlStorefront windows between triangular columns wrap the street corner, turning the sales floor into a display case.
      Inside, steel trusses raise the original roof and open the space with skylights for an illuminated interior. Light bounces off the elevated, wooden bottom of the skate bowl, which hovers on the far side of the store.

      Brinkworth designs “honed and clean” interior for Supreme Paris store

      A metal wall was installed around the bowl to produce blurry reflection of the skaters. The wall also features a jagged black-hole art piece by Nate Lowman.
      On the main floor, clothing racks and product displays wrap around two walls. Sandstone benches were placed on the polished concrete flooring to reference a LA skatespot called the Santa Monica Sand Gaps.
      A Mark Gonzales go-kart is parked in the centre of the roomThe reserved white and grey material palette defers to art installations for colour and texture. A full-size F1 car by Mark Gonzales was parked in the centre of the room, and a colourful grim reaper mural by Josh Smith is splayed across a wall.
      The skate-in-the-store concept has become a signature for Supreme, who works with other architects to install the feature in locations across the country – such as the stilted platform in the Brooklyn store designed by Neil Logan Architect and the elevated reverberating bowl by Brinkwork in the renovated San Francisco store.
      In advance of the new opening, the Fairfax Avenue location in LA closed earlier this month after 19 years in business.
      The photography is by Blaine Davis.
      Project credits:
      Architecture: Brinkworth, The Wilson Brothers, Neil LoganDesign: Steve Badgett of SIMPARCHEngineering: Paul EndresFabrication: Steve Badget, Chris Vorhees, Clay MahnComputer modelling: Peter Eng

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      Designmuseum Denmark exhibition asks visitors to “think about what kind of future we want”

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      Designmuseum Denmark has looked at how design can shape the future through its The Future is Present exhibition, which features projects including a tubular chandelier made from cow intestines.

      Presented at Copenhagen’s recently renovated Designmuseum, the exhibition showcases a range of “speculative and suggestive” works that examine four themes titled Human, Society, Planet+ and Imagining the Future.
      The MYX Chair is a mycelium and hemp chair that has “grown” itself”Design is very much a forward-looking profession,” said exhibition curator Pernille Stockmarr. “It’s about changing the existing into something better – and what we do in the present creates the future.”
      “Living in a time with major global challenges, this exhibition wants to invite people to see and reflect on the different potentials of design in this transformation and encourage them to think about what kind of future we want,” she told Dezeen.
      100 metres of cow intestines were used to make the Inside Out chandelierAmong the pieces on show is Inside Out, a chandelier-style lamp made from 100 metres of knotted cow intestines extracted from eight cows. Designer Kathrine Barbro Bendixen aimed to explore how byproducts can be used to rethink patterns of material consumption.

      Faroe Islands-based fashion brand Guðrun & Guðrun created Vindur, a ruffled dress with exaggerated bell sleeves made of woven silk and machine-knitted milk yarn sourced from dairy production waste.
      The brand worked with textile designers Amalie Ege and Charlotte Christensen and Lifestyle & Design Clusters to create the garment, which was made using a “traditional technique used during the inter-war period when resources were in short supply and waste was transformed into value,” according to the Designmuseum.
      A group of designers created a dress made from dairy wasteMore conceptual works include Beyond Life, a collection of biodegradable paper foam urns by designer Pia Galschiødt Bentzen with detachable pendants containing seeds that can be grown.
      “Beyond Life unites death, loss, and remembrance with the awareness that we humans are part of nature’s endless circle of life,” said Stockmarr.
      Also on show is Library of Change, a “map” of dangling acrylic foil cards charting current trends and technologies, inscribed with questions for visitors such as “would you leave the city for better connection?”
      Beyond Life is a collection of biodegradable paper foam urnsStockmarr explained that the exhibition aims to communicate “the breadth of design” by including works that vary in scale, purpose and medium.
      “Their ability to inspire, start conversations and make visitors reflect was a priority,” she said.
      “I didn’t want the works to be too-defined solutions for the future, extreme sci-fi visions, utopias or dystopias, but exploratory works. Some are collaborative research projects and others provide foresight into design methods, handicrafts and creative experiments.”
      Library of Change is a project that encourages visitors to question the future of designAlongside the various projects in the exhibition, artefacts from the Designmuseum’s own archive that highlight past ideas for the future are also on display.
      One of these designs is the three-wheeled vehicle Ellert, Denmark’s first electric car developed in the 1980s by engineer Steen Volmer Jensen.
      Ellert was Denmark’s first electric carLocal studio Spacon & X created the exhibition design for The Future is Present with the aim of reflecting its themes.
      The studio delineated the show’s various zones using modular bioplastic dividers that snake through the exhibition space and worked with natural materials including eelgrass, which was used to create acoustic mats to manage noise in the museum.
      Objects are arranged on custom tables and plinths made in collaboration with sustainable material manufacturer Søuld, while Natural Material Studio created a mycelium daybed for the show.

      OEO Studio uses materials in a “playful way” for Designmuseum Denmark cafe and shop

      Stockmarr explained that the show is meant to be a call to action and empower people to reflect on their individual roles in determining the future of design.
      “By asking more questions than giving answers the exhibition wants to inspire visitors,” reflected the curator.
      “The show acknowledges that it is not only designers, architects, craftspeople and experts, but all of us who are participating in shaping and designing the future by the questions we ask and the choices and actions we take today.”
      The Future is Present was designed by Spacon & X to be an immersive experienceSimilar recent exhibitions that explored the climate impact of materials include a show at Stockholm Furniture Fair that visualised the carbon emissions of common materials such as concrete and The Waste Age – a London exhibition that addressed how design has contributed to the rise of throwaway culture.
      The Future is Present is on display at Designmuseum Denmark from 19 June 2022 to 1 June 2023. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world.

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      Running brand On models London trainer store on “shoppable science museum”

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      Swiss brand On has opened its first UK shop on London’s Regent Street, complete with steel fixtures and a robotic arm.

      For its debut outpost in the United Kingdom, On aimed to showcase the science and technology behind its running shoes and clothing.
      On has opened a trainer store on London’s Regent Street”Our concept was a shoppable science museum in the sense that one of the main things we want to share is that what we do is science-based,” said On’s head of brand environments Nicholas Martin.
      It is performance-run culture that is infused into everything we do.”
      The store’s ground floor is defined by three circular steel tables, used to display the brand’s latest products.

      The store contains three circular steel tablesEach of the tables, which can be raised and lowered, is surrounded by a curved steel wall that can be rotated to create a variety of layouts within the store.
      The table at the store’s entrance also holds a robotic arm that mimics the action of running to showcase On’s running shoes.
      The upper floor houses steel shoe cabinets”The first thing you actually see is our robotic arm,” Martin told Dezeen. “We want people to touch and explore. So you kind of get to see the movement.”
      “And then we also try to add different layers of storytelling,” he continued. “So you can compare the different shoes.”
      On describes the cabinets as a “magic wall”The first floor is defined by a pair of steel cabinets, described by On as a “magic wall” that runs the length of the store.
      It contains all of On’s products in all available sizes so that customers can instantly try on trainers.
      “Our goal was to revolutionise the way shoe try-ons happen,” said Martin. “At our stores, we let the product speak for itself. Our technology is something you feel once you put a product on.”

      Running brand On creates zero-impact mountain hut in Swiss Alps

      Contrasting the steel fixtures, the store’s walls were finished in natural clay sourced from Cornwall, which was applied by hand.
      On the ground floor and in the basement-level event space, the walls are painted in a muted shade of grey while on the upper floors, they are finished in green.
      The cabinets contain all sizes of On’s shoes”Swiss engineering means for us loving technology and the natural world,” said Martin. “Technology makes the store look sleek, nature helps us to give the store a more imperfect and warmer look.”
      “The store green is a nod to the legendary British racing green – a colour culturally saturated in movement, speed and engineering,” he continued.
      The store is On’s first in the UKFounded in 2010, On is known for its lightweight running shoes and is reportedly the fastest-growing running brand worldwide. Its stores form part of On’s wider efforts to build its brand internationally.
      “They offer a space for our fans, community and new customers to explore and get to know the brand,” said Martin. “We see the store as a media channel that connects our fans with the brand.”
      On previously created a reflective mountain cabin in the Swiss Alps to mark the launch of its first hiking shoe.
      All photography courtesy of On.

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      Trewhela Williams adds louvred oak facade to London mews house

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      Architecture office Trewhela Williams has completed a minimalist renovation of a mews house in north London, adding a bespoke timber facade to animate its street-facing elevation.

      The home, which is set in the Belsize Park Conservation Area, originally featured a disused garage that took up a sizeable portion of the floor plan on the ground floor and blocked off any connection to the street outside.
      Trewhela Williams has renovated a mews house in north LondonTrewhela Williams was brought on board to optimise the home’s ground floor and convert the garage to provide additional living space.
      The project focused on opening up the dark and insular interior to views of the quiet mews at the front and a small private courtyard in the rear.
      The studio created bespoke timber louvres to animate the home’s exteriorExisting walls enclosing the garage were removed to allow this space to be incorporated into an open-plan living area that now extends across the full depth of the property.

      The former garage door was replaced with a facade crafted from white-oiled oak that retains the proportions of the old door but provides greater visual interest when viewed from the mews.
      The oak louvres were angled to provide privacy while also letting light into the house”The existing garage doors along the street create quite a closed and guarded frontage,” Trewhela Williams told Dezeen. “We wanted to create something that’s visually animated and provides a more open and engaging elevation.”
      Angled oak fins positioned in front of the large window function as a brise soleil, allowing daylight to enter and providing limited views of the street from inside while maintaining privacy.
      A small courtyard is located at the rear of the propertyFrom the entrance to the mews, the fins appear to form a solid wooden volume covering the window. But their geometry seems to shift and becomes more permeable as people approach the house.
      The bespoke joinery forms a pared-back structure comprising simple planes, volumes and edges that was influenced by the minimalist wooden sculptures of American artist Donald Judd.
      The interior has a minimal material paletteTrewhela Williams specified a frameless glazing unit with concealed fixings to enhance the sculptural simplicity of the carpentry.
      The windows include an espagnolette mechanism that allows them to tilt to facilitate cross-ventilation through the house or pivot open so the family’s pets can go outside.

      Echlin uses broken-plan layout to create spacious interiors within London mews house

      The studio applied a pared-back material palette with a focus on tone and texture to create a minimalist interior scheme.
      Walls and ceilings are rendered with a subtly textured Danish plaster that is complemented by the warm Douglas fir flooring and terrazzo tiles speckled with marble aggregate.
      Textured plaster walls and Douglas fir flooring finish the interior spacesA worktop made from cloudy white Mugla marble extends along the full depth of the property – from the entrance hall and storage area at the front to the galley kitchen, dining space and snug towards the rear.
      “Whilst the interior is pared back and displays the traits of minimalism in its simplicity, there is real harmony and beauty in the details,” Trewhela Williams explained.
      “There are very few materials and details within the home, so each one has been meticulously chosen to harmonise and create a space that feels warm and calm rather than being cold or sterile.”
      The kitchen worktop is made from cloudy white Mugla marbleAn existing courtyard at the back of the house is now visible and accessible through an enlarged opening, which fills the full height and width of the rear elevation.
      A minimal pivot door can be opened to create a seamless connection between the interior and the courtyard that also functions as a lightwell drawing daylight into the adjacent living spaces.
      The courtyard is paved with large-format concrete tiles and is enclosed by walls covered with natural clay plaster, harmonising with the textural palette of the interior.
      A pivot door opens onto the external courtyardThe courtyard houses a simple linear bench and a cylindrical plant pot, with their geometric forms providing visual structure while a lone acer tree adds a burst of colour.
      Despite being situated in a conservation area, the bold design for the new facade was complimented by the local planning authority, which said it provided a positive precedent for neighbours considering similar conversion projects.
      A bench and circular plant pot add geometric forms to the courtyard”It was a big relief,” said Trewhela Williams. “A lot of conversion and extension projects focus on the rear of the property but here we were working on the front so we had to tread very carefully.”
      “Thankfully the planners were very supportive,” the studio added. “We’ve also been contacted by some of the neighbours about doing something similar with their properties, so there is an appreciation for what we’ve achieved here.”
      Previously, the studio has created an extension to an Edwardian house in north London featuring a brick wall that extends out from the kitchen into the garden.
      The photography is by Lorenzo Zandri.

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      Jialun Xiong balances contrasts at “retro-futurist” restaurant in Los Angeles

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      LA-based furniture designer Jialun Xiong has completed her first restaurant interior in the city for 19 Town, achieving a retro-futurist look by pairing soft hues and metallic surfaces.

      Serving Chinese fusion food, the 19 Town restaurant is located in an industrial area close to Downtown LA.
      Upon entry to 19 Town, diners are met at a stainless steel and Formica counterThe name is a play on words from a phrase in Mandarin, signifying a venue that has food and wine according to Xiong, who is originally from Chongqing.
      She used a variety of materials and her own furniture designs to give the space a sense of “lavish restraint”, through the combination of minimal forms and rich details.
      Designer Jialun Xiong aimed to create “high-drama interiors” through the use of contrasting materials”Crafted with rigorously minimal forms balanced by rich materials like Venetian plaster, silver, and leather, the restaurant’s high-drama interiors create an elevated dining experience where connection around food takes centre stage,” said a statement on behalf of Xiong.

      The 4,200-square-foot (390-square-metre) restaurant is divided into five areas, which include the main dining space, a bar and lounge, and three private rooms.
      Glass block partitions define the spacesEach space is designed with its own identity, including the entry, featuring a custom brushed stainless steel and Formica reception desk.
      Behind, the wall is covered in Venetian plaster and plywood cabinets offer storage, while a series of circular Vibia pendant lights hang above.
      Xiong used multiple pieces from her Building Blocks collection to furnish the restaurantGlass block partitions define the perimeter of the main dining area, comprising a central seating area with round tables, and custom banquettes made from brushed stainless, green leather and vinyl.
      “Overlooking an open kitchen, the main dining space evokes an aura of retro-futurism,” said the team.
      The main dining room features custom stainless steel banquettesThe lounge is located on one side and the screened bar is situated on the other – both continuing the same design language as the central room, but with their own twist.
      Xiong used multiple pieces from her Building Blocks collection to furnish these spaces, such as a silver powder-coated metal bench with off-white leather upholstered seats.

      Golden light fills Dumpling Lab in Manhattan by Dreamscript Lab and Un-group

      Other items also combine industrial and natural materials, creating a balance between soft and hard, shiny and matte, and heavy and light.
      A variety of lighting designs with disc-shaped elements are installed throughout, adding to the retro-futurist appearance.
      The restaurant has three private dining rooms, all with a restrained aestheticThe private dining spaces are decorated using a monochromatic palette and a restrained approach, with green providing a subtle injection of muted colour.
      The overall result is a series of “balanced spaces where furnishings, lighting, and spatial volumes are considered together as a total composition”.
      The bar also features custom furnishingsMinimalism has become an increasingly popular style choice for Chinese restaurants, both in China and around the globe.
      Others include a hotpot restaurant with thick stucco walls in Qinhuangdao, a muted monochrome space in Ontario, and an eatery featuring stainless steel, brass and polycarbonate in Manhattan.
      The photography is by Ye Rin Mok.

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      Eight residential interiors with sociable split-level living areas

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      Our latest lookbook collects eight homes that feature split-level living areas, from a humble apartment in Mexico to a vast brutalist-style house in Bali.

      Split-level areas are often seen in residential homes, where architects separate different spaces using short flights of steps to make interiors feel expansive and interesting, whatever their size.
      Listed below are eight examples of the technique from around the world.
      This is the latest in our lookbooks series, which provides visual inspiration from Dezeen’s archive. For more inspiration see previous lookbooks featuring homes with broken-plan layouts, atriums and sliding doors.
      Photo by Rasmus NorlanderHaus am Hang, Germany, by AMUNT

      Designed by German architecture office AMUNT, this cross-laminated timber house on a hillside in the Black Forest is organised to maximise internal sunlight.
      The ground floor is split into three levels, with an entrance space on the top level, a kitchen and dining space on the middle level, and a lounge tucked into the lowest area.
      Find out more about Haus am Hang ›
      Photo by Tommaso RivaA Brutalist Tropical Home, Indonesia, by Patisandhika and Daniel Mitchell
      The 512-square-metre A Brutalist Tropical Home in Bali, by architect Patisandhika Sidarta and designer Daniel Mitchell, has a double-height living room flanked by split levels that were modelled on Ray Kappe’s modernist Kappe Residence in Los Angeles.
      “To be able to see spaces from angles that you could not in a conventional house with walls gives a completely different sense of space and feeling,” Mitchell said.
      The multi-level layout displays books, records and a speaker system and leads down into an open-plan kitchen/dining area.
      Find out more about A Brutalist Tropical Home ›
      Photo by Fabian MartinezCasa Tres Árboles, Mexico, by Direccion
      Mexican studio Direccion replaced walls with split levelling to make the social spaces of this weekend retreat in Valle de Bravo feel more connected in a renovation project.
      The black microcement floor of the double-height entrance hall – itself sunken from the street – gives way to soothing wooden floorboards via a single step down into the lounge, dining and kitchen space.
      Find out more about Casa Tres Árboles ›
      Photo by Gilbert McCarragherFrame House, UK, by Bureau de Change
      The ground floor of Frame House cascades down terrazzo steps, from the kitchen at the front of the home to a dining area and onto the lounge at the rear.
      London studio Bureau de Change aimed to “create a coherent journey through all spaces” in its renovation and extension of the Victorian terraced home in south London.
      Find out more about Frame House ›
      Photo by Julian WeyerVilla E, Denmark, by CF Møller
      This family home in Aarhus designed by CF Møller Architects sits on a sloping site, so it was divided into four distinct blocks separated by short flights of steps.
      A kitchen and dining room leads onto a sitting room, which in turn is adjacent to the utility areas, hobby room and garage, all connected by the same herringbone oak flooring.
      “The concept of dividing the building into ‘four small houses’ that could be moved between each other offered the solution and at the same time divided the villa into different family and living zones,” said the studio.
      Find out more about Villa E ›
      Photo by Shinkenchiku ShaHouse in Takatsuki, Japan, by Tato Architects
      Tato Architects’s House in Takatsuki takes the concept of split levels to the extreme. The three-storey Japanese home is spread across 16 different floors that residents traverse via wooden blocks, shelves and other pieces of furniture instead of staircases.
      “The idea is to create a sense of expansion inside a small house, so that you would find yourself on top of a rooftop in one moment, and tucked beneath a floor in another,” explained studio founder Yo Shimada.
      Find out more about House in Takatsuki ›
      Photo by Taran WilkhuKnightsbridge mews house, UK, by Echlin
      Three simple steps divide the living room from the kitchen and dining area in this west London mews house that was remodelled by local firm Echlin into a broken-plan layout.
      A generously sized, built-in L-shaped sofa helps to demarcate the separation, while a low wall that continues along one side of the sitting area from the kitchen floor helps to emphasise that sunken feeling.
      Find out more about this Knightsbridge mews house ›
      Photo by César BéjarDomus Peepem, Mexico, by Kiltro Polaris, WEWI, and JC Arquitectura
      Apartments inside this block, designed by Kiltro Polaris, WEWI, and JC Arquitectura and located in a traditionally working-class area of Cancún, have a compact layout that sees the kitchen, living and dining area separated from the sleeping area by a tall wooden step.
      The step stands out as a softer element among the polished concrete finishes of the walls and floors.
      Find out more about Domus Peepem ›
      This is the latest in our lookbooks series, which provides visual inspiration from Dezeen’s archive. For more inspiration see previous lookbooks featuring homes with broken-plan layouts, atriums and sliding doors.

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      Anastasiia Novikova gives monochrome makeover to artists' apartment in Kyiv

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      Parisian decor flourishes feature throughout this apartment in Kyiv, outfitted with black-and-white living spaces by Ukrainian designer Anastasiia Novikova.

      Renovated just before the start of the Ukraine war, the apartment is located on the third floor of a five-storey residential building erected in 1912.
      Anastasiia Novikova has reinstated stucco inside a 1912 apartment in KyivAfter its previous owners had completely ripped out all of the original stucco, doors and floorboards, Novikova wanted to restore the home’s historic charm – particularly in the living room.
      “When I saw the large empty room with its four-metre-high ceiling and four big windows, I immediately came up with a picture of how it would look in the future,” she said.
      “I wanted to make the walls, the floor, ceiling and windows like they were in the past and implement some modern furniture, light and art.”

      A vintage French mirror and fireplace mantel were added for decorationThe living room was freshened up with a lick of white paint while stucco was reinstated on its ceiling.
      “I created a few sketches, then a Ukrainian craftsman sculpted them entirely in one-to-one scale out of plasticine,” explained Novikova. “After that, they made it from plaster.”
      The kitchen features jet-black cabinetryElements of the stucco design are based on an ornate Napoleon II-era gilded mirror that’s mounted on a wall at the far end of the room, directly above a vintage Louis XV fireplace mantel.
      Novikova included these decor features to bring a slightly Parisian feel to the apartment as the owners – a pair of artists – love visiting the French capital.
      Grey tones permeate the principal bedroomThe living room is otherwise occupied by an L-shaped grey sofa, a selection of contemporary artworks by Ukrainian artists and an old piano that’s played at family parties.
      The adjacent kitchen was fitted with jet-black cabinets and a matching breakfast island. From the centre of the island extends a white marble dining table, accompanied by chairs with olive-green velvet seats.

      Yana Molodykh refurbishes attic apartment with views over Kyiv

      The apartment’s largely monochromatic colour scheme continues into the principal bedroom, where the walls, curtains and curved headboard are all a shade of putty grey.
      Textural interest is added by a shiny brass pendant lamp that’s been suspended over one of the side tables and a cane-inlaid bench that sits at the foot of the bed.
      Its ensuite bathroom is almost entirely lined with white marbleThe ensuite bathroom is housed inside a separate volume in the corner of the room, lined inside and out with panels of white veiny marble.
      Brighter shades appear in the children’s bedrooms – one of which is finished in sage green while the other is blush pink with mustard-yellow accents.
      Brighter colours were applied in the children’s bedroomsNovikova connected the two rooms via a small mezzanine, where the kids can hide away to play, read and nap throughout the day.
      The apartment is among a number of residential projects that were completed in the Ukrainian capital just before the start of the war and are now finally starting to be published.
      A cosy mezzanine connects the two kids’ roomsMakhno Studio finished Mureli House, an all-beige dwelling with intricate ceramic walls on the city’s outskirts, while designer Yana Molodykh reconfigured an attic apartment to allow for more storage and natural light.
      The photography is by Yevhenii Avramenko.

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