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      MSMR Architects designs DL/78 workspace to double as “town hall”

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      MSMR Architects has designed a co-working office in London’s Fitzrovia that can also be used as a space for talks or exhibitions.

      DL/78 is located in 80 Charlotte Street, a new 30,000-square-metre mixed-use building designed by Make for property developer Derwent London. It is offered as an amenity to the company’s office customers.
      DL/78 is designed to be used as a workspace or event spaceMSMR Architects designed the space to be as flexible as possible, able to accommodate different types of office work and also events where Derwent London’s community can connect.
      According to the studio, DL/78 “can be adapted to serve as a town hall for hosting presentations, talks and exhibitions”.
      The space is offered to Derwent London’s office customers as an amenity”Since the pandemic, there has been a lot of talk about the future of the office,” said MSMR Architects’ associate director Kevin Savage.

      “It’s been interesting working on a project that is challenging workspace norms and starting to anticipate changing needs.”
      Curtains allow spaces to be sectioned offWith 780 square metres of floor space, the two-level DL/78 is spread over the ground and lower ground floors of 80 Charlotte Street.
      Amenities centre around a grand double-height space, which is framed on two sides by high-level windows.

      Fathom Architects designs London office with more meeting areas than desks

      Different types of furniture help to organise this space into different zones, but can all easily be moved to facilitate different layouts when required.
      Additional rooms wrap around one side of the space. These include a conference room, a series of meeting rooms, a wellness room, kitchen facilities and a public cafe operated by Lantana.
      Meeting rooms are defined by glass screensGlass screens are favoured over partition walls so that spaces can be both visually connected and acoustically private. There are also curtains, allowing certain areas to be sectioned off.
      “This space is collaborative, flexible and more domestic in feel,” said Savage. “Is that what future office space might look like?”
      Design details take cues from British Constructivist artVisually, the space is designed to reference British Constructivism, a 1950s art movement with strong links to Fitzrovia.
      This can be observed in both 80 Charlotte Street’s architecture and the interior design of DL/78, with many details designed to express structure.
      The space includes a public Lantana cafe featuring bespoke terrazzo floor tilesKey areas include the staircase, where mesh panels slot into the steel beams, and the junction between the balustrade and the exposed floor plate.
      “A challenging programme meant that there was early engagement with trades and craftspeople during the design stages,” said project architect Aaron Birch. “This allowed for a more collaborative approach, which is evident in the detail and finish which really elevates the space.”
      DL/78 is located in the Make-designed 80 Charlotte Street in FitzroviaDL/78 is the latest is a series of projects that explore how office spaces might develop in the aftermath of the pandemic, with companies having to work harder to entice people away from working from home.
      Other recent examples include a co-working space designed around wellness principles and an office with more meetings areas than desks.
      Photography is by Jack Hobhouse.

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      Gisbert Pöppler designs Berlin apartment like a “tailor-made suit”

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      Architecture and interior design studio Gisbert Pöppler has overhauled an apartment in the heart of Berlin, adding a number of one-off furnishings and custom fixtures to suit the clients’ needs.

      The apartment, which was renovated from top to bottom, occupies a glass pavilion on the roof of a 1930s residential building in the borough of Mitte.
      Gisbert Pöppler has renovated a Berlin apartment and opened up its floor plan”In this project, our clients gave us a lot of freedom,” said Gisbert Pöppler, the studio’s eponymous founder. “That, however, does not mean that we imposed our design and taste on them.”
      “A good design is like a tailor-made suit,” he added. “It should fit perfectly without being the centre of attention.”
      Teak walls visually separate the study from the lacquered walls of the entrywayThe studio reorganised the floor plan so that the main bedroom, guest bedroom and bathroom are the only areas of the apartment that are completely closed off.

      Instead of walls, living spaces are now demarcated by different materials. In the study, surfaces are overlaid with teak while the entryway is panelled in red-lacquered wood.
      “The original plan was classic: hallway, room, room, room,” Pöppler explained. “We turned it into an open village.”
      The clients sourced the limestone used for the kitchen’s relief wallIn the kitchen, Gisbert Pöppler collaborated with the clients to design a simple geometric relief wall. This was crafted from a pale grey limestone that the owners sourced during a trip to Verona, Italy.
      The space is finished with an olive-green prep counter and mint-coloured cabinetry, both tailor-made to accommodate the owners’ selection of pots and pans.
      Bespoke storage cupboards hold the clients’ belongingsThe cane-inlaid storage cupboards that run throughout the apartment are also bespoke.
      Inside there are several shoe cubbies and shallow drawers, perfectly sized to hold the client’s array of shirts. The interior of the storage unit is lined with orange Formica, as the clients wanted it to be durable and easy to clean.

      Point Supreme Architects uses colour to define different functions in Athens apartment

      More unique details appear in the guest bathroom, which features a rounded washbasin made of white-glazed lava stone from Sicily’s Mount Etna. In contrast, dark oakwood was used to construct the basin’s base.
      The bathtub is set inside a deep wall niche clad in South American marble, with a dropped ceiling giving this space a cosier feel.
      A custom sink made from lava stone can be found in the guest bathroomThe ceiling in the living room was also lowered and covered with stainless steel panels.
      “One could assume that metal seems cool but it is the contrary,” Pöppler said. “The hazy reflections in the steel give the room a sense of height and have a comforting warmth to them.”
      Stainless steel lines the living room’s ceilingBespoke furnishings in the living room include the pentagonal white oak table in the breakfast nook and the formal wooden dining table, which Pöppler says has an “elaborately designed” underside.
      “We knew that the owner of the house often lies on the carpet listening to music, so we didn’t want him looking at a technical construction,” he said.
      The dining table was also made bespokeGisbert Pöppler isn’t the only studio to forgo off-the-shelf furnishings in its projects. Dutch practice i29 recently created a custom storage system for an Amsterdam apartment to accommodate the client’s extensive compilation of artworks and books.
      And in San Francisco, architect Jamie Bush filled a residence with an eclectic mix of custom furniture and vintage finds to make it look as if the owners had collected the pieces themselves.
      The photography is by Robert Rieger.

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      Michaelis Boyd unveils apartments inside Battersea Power Station

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      Architecture studio Michaelis Boyd references the 1930s and 50s in its design for apartments in London’s newly redeveloped Battersea Power Station.

      The London-based studio has planned the layouts and finishes for 253 apartments in the former power station, which is currently being redeveloped by architecture firm WilkinsonEyre.
      These include 119 in Switch House East, which has just opened, 98 in Switch House West, which was completed in May 2021, and a further 36 located in the yet-to-complete Boiler House.
      The show home features Heritage 33, one of two materials palettes developed for the flatsTo make the most of the available space, Michaelis Boyd developed more than 100 different apartment layouts.
      For the fixture and finishes, the studio developed two distinct materials palettes for the homes, referencing different aspects of the building’s history and architectural character.

      The first palette, called Heritage 33, takes inspiration from the 1930s, the decade when the power station was built.
      All homes feature Crittall-style glazed screens and dual-aspect windowsDark chevron-patterned flooring references the parquet found in the space known as Control Room A, which at one stage was responsible for poviding a fifth of London’s electricity.
      Bathrooms feature glazed tiles, inspired by tiles found in the power station director’s staircase, while walls are finished in subtle colour shades.
      The Heritage 33 palette takes its cues from the 1930sA second palette, called Heritage 47, offers a more contemporary feel, combining 1950s details with a modern industrial warehouse aesthetic.
      The style is more minimal, with lighter toned wood flooring and pale walls.

      Glass elevator for Battersea Power Station revealed in new visuals

      “The residences have a refined industrial quality to them,” said Michaelis Boyd co-founder Alex Michaelis.
      “We wanted to create interiors that would reference the power station’s rich history but also stand the test of time, for the ultimate experience of modern city living.”
      Chevron-patterned flooring references the original parquet in the power station’s Control Room AIn both palettes, details are designed to complement the building’s architecture. Kitchen tiles echo the exposed brick walls, while copper details nod to the more industrial elements.
      Glass screens and doors take their cues from traditional Crittall windows, allowing plenty of light to filter through the homes and offering residents more flexibility in their living spaces.
      Copper details pay tribute to the building’s industrial historyResidents also have access to a large rooftop garden located above one of the building’s historic turbine halls.
      “Looking forward into 2022, there continues to be a focus on the importance of outdoor space and a connection with nature,” said Michaelis.
      Glazed tiles reference the design of the power station director’s staircase”At Switch House East, large Crittall screens and dual-aspect glazed windows were designed to make use of natural daylight, encouraging flow between spaces and offering views out onto the riverside and landscaped courtyards and terraces, bringing the outdoors in,” he continued.
      “The open-plan layouts of these loft-style apartments also remain more relevant than ever, as we continue to design versatile spaces that will lend themselves to news way of living, working, eating and relaxing from home.”
      Switch House welcomed its first residents in JanuaryThe Grade II* listed Battersea Power Station was designed by Giles Gilbert Scott. It was in use from 1933 until 1983, and has been abandoned ever since.
      Numerous designs were proposed for the building over the years. Architect Terry Farrell suggested converting it into a park, football club Chelsea wanted to turn it into a stadium and Rafael Viñoly designed a skyscraper to sit next door.
      Homes with the Heritage 47 palette, like this one in Switch House West, have a more minimal aestheticWilkinsonEyre’s design will turn the turbine halls into a shopping centre, while other parts of the building will contain restaurants, events spaces and offices, including Apple’s London campus.
      The iconic chimneys will be refurbished, with one set to contain a glass viewing elevator.
      The photography is by Taran Wilkhu.

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      Ten eateries with nostalgic retro interiors

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      A decadent 1920s-style restaurant and a pastel-hued cafe informed by the playful symmetry of Wes Anderson movies are included in our latest lookbook, which collects ten eateries featuring retro design.

      The stylish details in these projects range from dark-cherry wood panelling and bulbous sconce lights to pops of bright red colour similar to that found in 1950s American diners.
      In other projects, the designers maintained the original design features found in the cafes and restaurants – such as vintage ceiling beams or reclaimed furniture – to create retro interiors that still feel modern.
      This is the latest in our series of lookbooks providing curated visual inspiration from Dezeen’s image archive. For more inspiration see previous lookbooks showcasing self-designed homes by architects and designers, modernist open-plan living rooms and interiors with cosy conversation pits.
      Top: photo is by Derek Swalwell. Above: photo is by Mikael LundbladCafe Banacado, Sweden, by ASKA 

      Design influences from Anderson’s movies collide with Cuban aesthetics at Cafe Banacado, an all-day breakfast cafe in Stockholm by architecture studio ASKA.
      Known for his playfully retro sets, American filmmaker Anderson’s visual style typically includes bold symmetrical layouts similar to the geometric built-in sofas and custom tables reflected in a large mirror at the Stockholm eatery.
      Find out more about Cafe Banacado ›
      Photo is by Felix SpellerMaido, UK, by Child Studio
      Local design office Child Studio converted a London former post office into a sushi restaurant featuring interiors that reflect the late modernist building’s 1960s style.
      The eatery’s retro elements include dark-cherry wood panelling, a glass-block wall and a soft blue coffered ceiling that hangs above rows of Mies van der Rohe’s iconic MR10 chair, which hug petite circular tables.
      Find out more about Maido ›
      Photo is by Niveditaa GuptaElgin Cafe, India, by Renesa
      Chunky blocks of emerald-green granite sourced from Udaipur, India, take centre stage at Elgin Cafe, a restaurant in Punjab that was built on what was once dilapidated farmland.
      Architecture and interior design studio Renesa was informed by “the feel of the outdoors,” adding curved wicker chairs and various potted plants to the all-green space, which celebrates bold maximalist design.
      Find out more about Elgin Cafe ›
      Photo is by Francis AmiandAbstinence, France, by Lizée-Hugot
      Abstinence is an elegant Parisian eatery that features materials commonly found in traditional French brasseries, including low-slung lacquered seating and wooden panels adorned with sconce lights.
      The project is the first by local studio Lizée-Hugot and also has tubular steel furniture and other elements that recall 1970s interior design, such as birdseye maple and olive and tan leather.
      Find out more about Abstinence ›
      Photo by Nicole FranzenThe Harvey House, USA, by Home Studios
      Created to evoke “the golden age of train travel,” a Wisconsin former rail baggage-claim building was transformed into a retro restaurant that takes cues from the 1930s and 1940s supper club culture in the midwestern state.
      Brooklyn-based Home Studios combined a mixture of dark wooden furniture, decadent tiling and tactile upholstery with the space’s original design features, which include vintage ceiling beams and sliding doors.
      Find out more about The Harvey House ›
      Photo is by Derek SwalwellThe Budapest Cafe, Australia, by Biasol
      The Budapest Cafe in Melbourne is another eatery informed by Anderson’s films, which have a whimsical style that nods to retro design.
      Local studio Biasol designed the space as an ode to Anderson’s 2014 feature film The Grand Budapest Hotel, with soft pink interiors and quirky architectural motifs that evoke the filmmaker’s playful symmetry and nostalgic colour palette.
      Find out more about The Budapest Cafe ›
      Photo is by Mikko RyhänenJackie, Finland, by Studio Joanna Laajisto
      Named after the song Jackie by late musician Scott Walker, this Helsinki bar, which also serves food, was created after designer Joanna Laajisto was given a soundtrack of 1960s and 1970s Italian lounge music and 1970s French cosmic disco by the bar’s owner to gain an idea of his vision for Jackie.
      “The dark green walls and ceiling with long tan leather sofas take you away, maybe to a bar in Milan in the 1970s,” explained Laajisto. “A Pipistrello table lamp designed by Italian architect Gae Aulenti in 1965 reinforces the illusion.”
      Find out more about Jackie ›
      Photo by Nicholas WorleyPiraña, UK, by Sella Concept
      Retro signage and red banquette seating pay homage to the interiors of 1950s American diners at Piraña, a restaurant in London by Sella Concept.
      Bold shapes and colours persist throughout the space, including a bespoke jade terrazzo floor, a bar lined with curved timber slats and an abundance of red accents resembling the colour palette of traditional diners. Circular lamps match the round cafe tables and add a playful geometric detail.
      Find out more about Piraña ›
      Photo is by Maha Nasra EddéMimi Kakushi, UAE, by Pirajean Lees
      British firm Pirajean Lees channelled the spirit of Japan’s 1920s jazz age in this richly textured Dubai restaurant that was converted from a nightclub.
      The studio maintained a party theme at Mimi Kakushi through the placement of beaded curtains and mirrored tables that refract light, while a bespoke stained-glass window adds a touch of colourful glamour.
      Find out more about Mimi Kakushi ›
      Photo is by David DworkindCaffettiera Caffé Bar, Canada, by Ménard Dworkind
      1970s-style Rubik’s Cube mirrors and a floor tiled to look like checkerboard Vans trainers stars at Caffettiera Caffé Bar, a coffee bar in downtown Montreal.
      Canadian studio Ménard Dworkind mounted curved mirrors onto faux-wood plastic laminate panels, while framed photos of iconic 1990s supermodels line the walls, aiming to connect customers through a sense of shared nostalgia.
      Find out more about Ménard Dworkind ›
      This is the latest in our series of lookbooks providing curated visual inspiration from Dezeen’s image archive. For more inspiration see previous lookbooks showcasing domestic gyms, modernist living rooms and kitchen extensions.

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      Transatlántico exhibition “forms a bridge” between Latin American and European design

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      Brutalist furniture by Rick Owens, a shaggy pink sofa and ethereal lighting feature in Transatlántico, an exhibition of Latin American and European sculptural design presented by Galerie Philia in Mexico City.

      Transatlántico brings together furniture and ornaments by emerging Latin American designers from Mexico, Peru, Colombia, Argentina, Venezuela, Puerto Rico and the Dominican Republic.
      Top: a wall hanging by Mexican studio Caralarga. Above: Pietro Franceschini presents his Waldo sofa, among other seatingTheir pieces are presented alongside work by leading European designers such as Pietro Franceschini and Pierre De Valck, some of whom are showing in Mexico for the first time.
      “The aim was to create an authentic, specialised event around the Latin American design scene and its very distinct identity, but also include new collections by European designers,” Transatlántico co-curator Alban Roger told Dezeen.
      “We wanted to establish a dialogue between the two continents, with both their own distinctive styles but also strong inter-influences.”

      Carob wood furniture by Cristián Mohaded features in the exhibitionIn line with this theme, a shaggy pink “yeti” sofa by St Petersburg-based artist Vladimir Naumov for Missana Lab is included alongside delicate carob wood furniture by Argentinian designer Cristián Mohaded, who explores carpentry using native materials from his birth country.
      An ethereal light named Ghost Pendant was crafted by Mexican designers Héctor Esrawe and Emiliano Godoy and Los-Angeles born designer Brian Thoreen, using handblown glass, silicon tubing and LED lights.
      Vladimir Naumov offers a shaggy pink sofaOther pieces include dark-coloured brutalist furniture by Paris-based American fashion designer Rick Owens that is made from a mixture of bronze and camel skin, as well as Mexico City-based Platalea Studio’s playful Happiness Bench formed from three curvy slabs of pink and brown terrazzo.
      “We reached out to talents we believe in and who fell within our criteria of sculptural design,” explained co-curator Jorge Brown, with regard to how Galeria Philia selected the participating designers.
      “Our main criteria was the originality of their design exploration but also their creative research on various materials and sculptural techniques.”

      Mario García Torres curates design exhibition in Mexico City house

      According to Galerie Philia, sustainability was also a factor in Transátlantico’s curatorial ethos.
      This is reflected in pieces such as a series of delicately woven wall hangings by Mexican artisanal studio Caralarga, which are crafted using raw cotton yarn and discarded fabric waste.
      Ghost Pendant is a light by Héctor Esrawe and Emiliano Godoy and Brian ThoreenColombian designer Alejandra Aristizábal also presents textile wall hangings that resemble jumbo rolls of sewing thread, although hers are made from fique – a natural fibre from the Andean region that has historically been used to create ropes and hammocks.
      “Transatlántico is founded on the idea of forming a transatlantic bridge between the contrasting cultural and artistic worlds of Europe and Latin America, identifying how we establish a creative discourse across the social boundaries associated with the geography that divides us,” said Galerie Philia co-founder Ygaël Attali.
      Rick Owens presents a selection of brutalist bronze furnitureWith galleries in Geneva, New York City and Singapore, Galerie Philia is an international contemporary design and art gallery that also presents group exhibitions at temporary spaces around the world.
      Previous Galerie Philia exhibitions include a furniture show in Manhattan’s Walker Tower and an exhibition presenting emerging Italian designers’ responses to Rick Owens’ work in Milan.
      Happiness Bench is playful terrazzo seating by Platalea StudioThe photography is courtesy of Galerie Philia.
      Transátlantico is on show at House of Kirschner’s gallery space, Avenida Ejército Nacional 676, in Mexico City from 8 to 12 February 2022. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world.

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