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      Luke Edward Hall stirs print and colour inside Hotel Les Deux Gares in Paris

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      A clashing mix of pea-green walls, leopard-print furnishings and candy-striped beds feature in this hotel that British designer Luke Edward Hall has completed in Paris.Hotel Les Deux Gares is tucked down a narrow street in Paris’ 10th arrondissement, set between two of the city’s major train stations – Gare du Nord and Gare de l’Est.

      The hotel’s entrance lobby. Top image: one of the hotel’s olive-green guest bedrooms
      The five-storey building had been left vacant for a number of years, but when Luke Edward Hall was brought on board to design the interiors, the focus wasn’t on making the rooms seem more contemporary.

      Hall instead set out to fashion an “anti-modern” aesthetic that nodded to a Paris of the past.

      Chintzy wallpaper and leopard-print furniture decorate the lobby
      “I love listening to stories from the past and feeling as though I’m entering another, more elegant era,” explained Hall, who is based in London.
      “I always begin my projects by leafing through old books and magazines; then, I visit galleries and museums. I allow myself the time to dream and invent stories.”

      Breakfast and coffee is also offered to guests in the lobby
      The hotel is entered via a vivid lobby, where Hall has created a riotous collision of pattern and colour. The lower half of the walls have been painted pea-green, while the upper half has been covered in chintzy, pale blue wallpaper with a maroon-coloured motif.
      Black-and-white chevron flooring runs throughout.

      Headboards have a candy-striped pattern
      Guests can sit back on the room’s plush sofas – one of which is completely upholstered in leopard print fabric, the other is cobalt blue with bright-red fringing. There’s also a couple of striped pink-satin armchairs arranged beneath a portrait that Hall painted himself.
      “I really wanted this space to feel above all joyful and welcoming and alive, classic but a little bonkers at the same time,” added Hall.

      Luke Edward Hall has added illustrations to the bedrooms’ lampshades
      This bold palette continues upstairs in the forty guest bedrooms, which have been painted sky blue, violet or olive green.
      Each room features geometric carpeting, a candy-striped headboard and a canary-yellow armchair and pouf created bespoke by Hall.
      The designer has also personalised the reading lamps above the bedside tables with sketchy doodles of martini glasses, the Eiffel tower and different French words.

      Bathrooms in the hotel are equally bright in colour
      Even the hotel’s gym boasts graphic red-and-white checkerboard flooring and floral wallpaper from Swedish homeware brand Svenskt Tenn.

      Hoy hotel is designed to be a calming refuge at the heart of Paris

      Breakfast can be enjoyed down in the lobby, or across the street from the hotel in Cafe Les Deux Gares which Hall also designed.

      The gym features floral wallpaper and checkboard flooring
      Intended to feel much like a traditional Parisian eatery, the space has been finished with stripy seating banquettes and wooden bistro chairs from Thonet.
      Vintage exhibition posters have also been mounted on the walls in a wink at the fact that the city’s cafes were once hotspots for “social and cultural exchange”.
      The cafe is topped by a tortoiseshell-effect ceiling painted by local artist Pauline Leyravaud.

      The hotel’s cafe across the road boasts a tortoiseshell-effect ceiling
      Hotel Les Deux Gares is the first large-scale interiors project by Luke Edward Hall, who set up his self-titled design studio in 2015.
      Other spots to stay around the French capital include hotel Hoy, which has TV-free rooms and an in-house yoga studio so that guests can escape the chaotic hustle and bustle of Paris’ streets.
      Photography is by Benoit Linero.

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      DooSooGoBang restaurant in South Korea references Buddhist practices

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      The ascetic lifestyle and diets of Korean Buddist monks influenced the interiors that Limtaehee Design Studio has created for DooSooGoBang restaurant in the city of Suwon, South Korea.DooSooGoBang, which is shortlisted in the restaurant interior category of this year’s Dezeen Awards, is located east of Suwon in the district of Yeongtong-gu and serves Korean temple food.
      The cuisine originated 1,700 years ago in Korea’s early Buddhist temples and sees organic, seasonal meals prepared without the use of onions, garlic, chives, leeks and spring onions.

      The main dining hall of DooSooGoBang restaurant
      Monks and nuns typically avoid these five ingredients as they’re said to disrupt harmonious spiritual practice, instead relying on elements such as mushroom powders and fermented soybean pastes for flavour.

      These practices came to be a key point of reference for Limtaehee Design Studio, which wanted the interiors of the restaurant to evoke the same “humbleness” as a Korean Buddhist temple and the dishes developed there.

      A platform at the back of the room is used for traditional Korean-style dining, where guests sit on floor cushions
      The restaurant has been divided into three areas – the first is a spacious hall-style room which will act as the main dining room, finished with black-tile flooring and walls washed with pale grey plaster.
      Cabinets around the room openly display ceramic ornaments.

      Various Associates designs Voisin Organique restaurant to resemble a gloomy valley

      Towards the rear of the room is a platform where diners can eat seated on floor cushions, in traditional Korean style. Additional bench seats and wooden dining tables have also been scattered throughout the room.

      Shutters look through to the second dining area
      Wooden shutters lead through to the restaurant’s second area, which is meant to have a more intimate ambience.
      “Contrary to a rather public image of the main hall, this area offers a feeling that you are away from the city and meditating in a temple in the mountains,” explained the studio.
      The focal point of the room is the timber-inlaid dining table, which has a stream of water trickling down from its side into a rough stone bowl that sits on the floor.

      The room is arranged around a communal table inlaid with timber
      Diners must take off their shoes before entering the third area of the restaurant, which has been entirely lined in white hanji – a type of Korean paper handmade from the inner bark of a mulberry tree.
      Limtaehee Design Studio likens this area to a sarangbang, a room in a traditional Korean home sometimes used for leisure activities or to entertain visitors.
      “We prepared this room imagining [head chef] Jung Kwan sharing conversation with guests, or relaxing herself,” the studio added.

      The restaurant’s third dining area is lined with hanji paper
      Limtaehee Design Studio is based in Seoul. Its DooSooGoBang project will compete in this year’s Dezeen Awards against projects such as Tori Tori by Esware Studio, an eatery in Mexico that takes design cues from the armour of a samurai warrior.
      Also in the running is Voisin Organique by Various Associates, a restaurant in China with shadowy rooms and soaring ceilings intended to make diners feel like they’re wandering through a mountain valley.
      Photography is by Youngchae Park.

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      Mythology crafts warm plywood interiors for Shen beauty store in Brooklyn

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      Plywood covers almost every surface in this store that creative studio Mythology has designed for beauty retailer Shen in Brooklyn, New York.Shen’s new retail space is nestled in Brooklyn’s Cobble Hill neighbourhood and measures 1,550 square metres.
      The former store of the beauty retailer – which is known for selling a roster of independent makeup and skincare brands – had been located in the nearby area of Carroll Gardens and featured a mix of white and lavender-pink walls.

      The interior of Shen’s store is lined with plywood
      Manhattan-based Mythology has fashioned a warmer fit-out for this location, opting to line every surface in Baltic birch plywood.

      “We challenged ourselves to use a singular material because we wanted to juxtapose a humble utilitarian material like plywood with the high-end products featured in Shen’s product offering,” Ted Galperin, a partner and director of retail at Mythology, told Dezeen.
      “Using both the face and end-grain of the plywood allowed us to create a multitude of custom applications, and add visual variety to the space.”

      Colour is provided by hand-drawn wall murals
      Inside, Shen has been loosely divided into three sections. The first section is dedicated to customer browsing and lies towards the left of the store.
      Plywood has been used here to make a sequence of storage units that fan outwards from the wall, each one complete with vanity mirror and shelving where products are openly displayed. Names of different brands that are on offer have been carved into plywood panels set directly above the units.

      Plywood counters displaying products slope out from the walls
      The second section comprises a couple of triangular plywood islands in the middle of the store, where Shen staff can spotlight certain products and talk through them in detail with customers or demonstrate how they’re used.
      On the right-hand side of the store is the third section, which is used for services like makeup tutorials. There’s also an angled plywood counter here that showcases candles and scents for the home, running beneath a three-dimensional plywood sign of Shen’s company logo.

      The store includes an area for makeup tutorials
      Excluding a handful of restored 1950s stools from Thonet, furnishings and decorative elements in the store have been kept to a minimum.
      A splash of colour is added by a bespoke mural created by New York artist Petra Börner, which features a black-line illustration of a person’s face surrounded by wobbly blotches of green and turquoise paint.

      Beauty treatment rooms lie towards the rear of the store
      Another mural by Börner using pink and orange tones appears in the treatment area at the rear of the store, where customers can come for treatments like facials, waxing, and microblading.
      Walls here have also been painted a pinkish hue, but exposed plywood can still be seen on the floor, built-in sofas and beauticians’ cupboards.

      Walls in the treatment rooms have been painted pink
      Mythology isn’t the only design studio that has created a striking retail interior using just one material.
      Brooks + Scarpa lined the walls of an Aesop shop in downtown Los Angeles with cardboard fabric rolls salvaged from local fashion houses and costume shops, while Valerio Olgiati blanketed a Celine store in Miami in blue-tinged marble.
      An Ace & Tate store in Antwerp is also lined exclusively in white terrazzo tiles inlaid with red and blue aggregate.
      Photography is by Brooke Holm.

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      Minimal interiors of Bodice store in New Delhi champions slow fashion

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      Bodice founder Ruchika Sachdeva has designed the pared-back interiors of the womenswear brand’s store in New Delhi to counter the “more, new and now” culture of fast fashion.Bodice’s flagship is located in New Delhi’s affluent Vasant Kunj neighbourhood, occupying a building on the same site as the brand’s design studio.
      Sachdeva took on the task of designing the interiors of the store herself, setting out to create a simple, thoughtful space that would encourage customers to “think more consciously about what they’re buying and why”.

      Top image: the exterior of Bodice’s New Delhi flagship. Above: floor-to-ceiling windows flood the store with natural light
      “I feel there is a need to question the way we consume clothes,” Sachdeva told Dezeen. “The fast-paced, retail-driven space like a market or a mall does the opposite by encouraging customers to buy quantity instead of quality.”

      “The culture there makes it alright to buy more and dispose quickly whereas our philosophy at Bodice is a little different,” continued Sachdeva, who is a judge for Dezeen Awards 2020. “We focus on longevity and for us, the essence of the product is a lot more important than the number of collections.”
      “We are not really in the favour of feeding the ‘more and new and now’ culture, so I felt that the store should reflect that.”

      Bamboo blinds partially cover the windows
      Fixtures and furnishings throughout the open-plan store are therefore few and far between – those that do appear have been made from naturally sourced materials.
      This sustainable ethos is also applied to Bodice’s clothing, which is designed to be a more minimal, practical alternative to garments currently offered to women in India.
      Pieces are fabricated from non-synthetic textiles like wool or silk and then dyed with natural pigments such as those sourced from indigo plants.

      Furniture inside the store has been kept to a minimum
      The blinds in the store that partially shroud the floor-to-ceiling windows are made from bamboo. The triangular-frame rails where garments are hung have been crafted from light-hued mango wood.
      Sachdeva also designed some of the tables and chairs that have been scattered throughout the space, borrowing samples from the adjacent studio.

      Bodice clothes are for the women “challenging conventions” in Indian society

      “Since this was the first space I have designed, I organically had a very clear idea of what I wanted,” she explained.
      “I knew I wanted it to be surrounded by trees and nature, [the store] has a lot of clear glass so I wanted it to be filled with sunlight and since we are in India, we have plenty of it,” Sachdeva added.
      “I feel that the store was a culmination of years of visual information that I have been processing.”

      Clothes rails are crafted from mango wood
      A growing number of designers and brands are attempting to slow the pace of the fashion industry and make consumers more considerate of what they purchase.
      Earlier this year, Gucci’s creative director Alessandro Michele announced that the high-end label will now be holding just two fashion shows per year instead of the traditional five in a bid to reduce waste that accumulates from producing each collection and the subsequent harm to the environment.

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      Ten tranquil bathrooms with dark and soothing interiors

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      A charred-wood washroom and a monolithic, concrete bathtub feature in this roundup of 10 zen bathrooms that swap traditional white walls for dark, moody hues and tactile materials.

      Untitled House, UK, by Szczepaniak Astridge

      Smooth, dark, concrete characterises the walls and monolithic bathtub of this bathroom, which Szczepaniak Astridge designed as part of a house renovation in Camberwell, London.
      The bath is screened by stainless steel Crittal windows that enclose a void through the home and is teamed with a bespoke, polished stone sink. According to the studio, the aim was to design a “place to retreat to, to guiltlessly linger and hang out”.
      Find out more about Untitled House ›

      Pioneer Square Loft, USA, by Plum Design and Corey Kingston
      A washroom, shower, toilet and sauna are all enclosed in the dark, tactile boxes that wrap around the central open-plan living area of this apartment in Seattle, Washington.
      Accessed through frosted glass doors, the bathroom facilities have walls and ceilings lined with blackened wood, charred using the traditional Japanese technique called Shou Sugi Ban, while the floors are covered with dark cement tiles.
      Find out more about Pioneer Square Loft ›

      Villa Molli, Italy, by Lorenzo Guzzini
      A palette of serpentine stone, concrete and smokey, natural lime plaster gives rise to the atmospheric interiors of this bathroom in Villa Molli, a dwelling overlooking Lake Como in Sala Comacina.
      It forms part of one of the house’s large bedrooms, in an effort to challenge the traditional boxed-off design of bathrooms, and features large windows that frame views out to the lake.
      Find out more about Villa Molli ›

      Belgian Apartment, Belgium, by Carmine Van Der Linden and Thomas Geldof
      Deep seaweed-coloured walls enclose this apartment’s guest bathroom, which Carmine Van Der Linden and Thomas Geldof designed to emulate its calming, coastal setting.
      It is accessed through a green, wood-lined door and is teamed with dark-grey terrazzo flooring and a statement Gris Violet marble basin that has polished metal pipes.
      Find out more about Belgian Apartment ›

      Cloister House, Australia, by MORQ
      The shell of this Australian house is made from rammed-concrete, which has been left exposed in the bathroom and other interior spaces to create “a sense of refuge”.
      Its textured, brutalist aesthetic is softly lit by a small window at one end, and warmed by a brushed nickel tapware and a rough-sawn red hardwood ceiling, vanity and joinery.
      Find out more about Cloister House ›

      House 23, USA, by Vondalwig Architecture
      This bathroom takes its cues from Japanese interiors and was designed as part of Vondalwig Architecture’s overhaul of a 1960s house in Hudson Valley.
      It is animated by the speckled grey, stone tiles that line its walls and floor, which has been complemented by portions of Port Orford Cedar and a steep-sided, ofuro soaking tub at one end.
      Find out more about House 23 ›

      Screen House, Australia, by Carter Williamson Architects
      Carter Williamson Architects created the spa-like setting for the bathroom of Screen House by enveloping it from floor to ceiling with tactile black tiles.
      Interest is added with an asymmetric pitched roof, a wooden basin and window frames, and a bubble-liked pendant light that is suspended above the freestanding bathtub.
      Find out more about Screen House ›

      Sunken Bath, UK, by Studio 304
      This bathroom, added to a ground-floor flat in east London, features a large sunken bathtub that looks into a garden and invites residents to relax by engaging in Japanese ritual bathing.
      The majority of the room’s surfaces are lined with a waterproof cement-based coating, chosen for a “Japanese-inspired concrete aesthetic”, and offset by golden fixtures and wooden boards.
      Find out more about Sunken Bath ›

      Western Studio, USA, by GoCstudio
      The Western Studio apartment’s bathroom is contained within a stained plywood box that is intended to offer a snug counterpoint to the brighter, open-plan interiors of the dwelling.
      Its moody aesthetic was created using inky venetian plaster on the walls, paired with black Dornbracht fixtures and a large bespoke sink carved from warm Jatoba wood.
      Find out more about Western Studio ›

      Kyle House, UK, by GRAS
      Tactile plaster and large charcoal-coloured stone tiles line the surfaces of this generously-sized bathroom, which GRAS designed as part of a renovation of a derelict house in the Scottish Highlands.
      It features a freestanding black bath, placed beside a window overlooking Ben Loyal mountain, and is brightened by Danish oak ceiling panels, window frames and cabinetry that conceals the toilet.
      Find out more about Kyle House ›

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      Bermonds Locke hotel in London evokes sunny California deserts

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      Mirage-like mirrored ceilings and cacti-filled planters are some of the features that interiors studio Holloway Li has incorporated in this hotel in London, which is meant to echo California deserts.Bermonds Locke is located at the heart of southeast London’s Bermondsey neighbourhood, just a few minutes walk from notable landmarks such as The Shard and Tower Bridge.

      Top image: a moon-like panel hovers over Bermonds Locke’s concierge desk. Above: mirrored panels line the ceiling of the reception
      Despite the hotel’s markedly urban setting, when it came to designing its communal areas and 143 guest rooms, Holloway Li took inspiration from sun-scorched places in California like the Mojave desert and Joshua Tree National Park.

      “We eschewed traditional London vernacular tropes and prevailing design trends, looking further afield for our inspirations, to create a new space that had an escapist identity,” the studio’s co-founder, Alex Holloway, told Dezeen.

      Furniture in the reception is made from reused construction materials
      The theme is subtly introduced in the hotel’s reception where mirrors have been used to line sections of the ceiling, mimicking the shiny quality of desert mirages, which are often mistaken for bodies of water.
      A white, mottled semi-circular panel has been fitted to the ceiling directly above the concierge counter, its reflection forming a huge moon-like image.

      The reception area of the hotel doubles-up as a co-working space
      Surrounding surfaces have been largely rendered with neutral materials like clay bricks and timber that the studio felt matched the desert landscape.
      This excludes a handful of walls and structural columns that are clad with passivated zinc, which boasts a rainbow-coloured surface finish.
      “Joshua Tree is known as a pilgrimage destination for the Californian hallucinogenic travellers,” said Holloway. “The iridescence effect on the metal is reminiscent of dizzying colour saturation of the psychedelic experience – the brilliant purples, yellows and pinks.”

      Surrounding walls are clad with passivated zinc
      A variety of seating areas have also been incorporated in Bermonds Locke’s reception so that it can serve as a co-working space.
      Where possible, the studio has tried to repurpose construction materials that otherwise would have been destined for landfill, influenced by the ad-hoc building methods used when creating cabins across Joshua Tree.
      For example, salvaged concrete test cubes have been used to form the base of a six-metre-long terrazzo desk. The cubes are covered with pre-used tiles, some of which are still marked with graffiti.

      Cacti-filled planters separate the hotel’s bar from the restaurant
      “Joshua Tree has been a recluse for fringe creatives escaping LA for the past 30 years,” explained Holloway. “We were particularly interested in the eccentric language of bricolage found in desert cabins dotted around Joshua Tree, composed of salvaged materials that happen to be available by chance.”
      “We were also inspired by the work of artists like Philip K Smith III and Noah Purifoy, whose ‘Outdoor Desert Art Museum of Assemblage Sculpture’ is an incredible world made of the detritus of LA,” he continued.
      “This tied back with the studio’s recent research on the circular material economy…design in this context becomes almost like a curatorial practice, about how an existing set of materials can be rearranged in a very specific way to define new uses.”

      Guest rooms come with their own kitchenettes
      In another nod to hot, arid landscapes, huge planters filled with different cacti and succulents have been added throughout the hotel’s reception and used to separate its cocktail bar from the restaurant.

      Grzywinski + Pons tailors Leman Locke hotel to make nomadic workers feel at home

      Bermonds Locke’s upper floors play host to the guest suites. Each one comes complete with its own kitchenette and laundry facilities, allowing guests to stay self-sufficiently in their rooms for longer periods of time.
      Fixtures and soft furnishings have been made in colours evocative of desert sunsets, ranging from pale blues to burnt oranges and vivid reds. The focal point of each room is the bed, which is enclosed by a bespoke black frame draped with sheets of linen.

      Colours throughout the rooms were taken from desert sunsets
      “Typical hotel room design is very codified by two functions; sleeping and washing – a Locke room adds eat, work, live into that mix, so there is a lot to fit into just one room,” added the studio’s co-founder, Na Li.
      “It was key for us to impart some separation between the areas, which we achieved by creating a sense of enclosure around the bed with the bedframes and drapes.”

      Beds in the rooms sit under linen canopies
      Holloway Li was established in 2015 and has offices in north London.
      Its Bermonds Locke project joins several hotels that the Locke hospitality group has dotted across the UK. Others include the Whitworth Locke in Manchester, where rooms have been painted different shades of grey to reflect the city’s typically overcast skies.
      There’s also the Eden Locke in Edinburgh, which takes over an 18th-century Georgian terrace house.
      Photography is by Edmund Dabney.

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      Adytum Library in Canberra is arranged around a single book-lined counter

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      A chunky, wedge-shaped island crafted from plaster and beeswax anchors the sparse interior of this pop-up library, shop and exhibition space that design studio Pattern has created in Canberra.The temporary library is situated in the trendy suburb of Braddon and belongs to new Australian wellness brand Adytum, which produces eco-conscious self-care products such as teas, face oils and bath soaks.

      Adytum Library is anchored by a huge island
      Although the brand is set to open the doors to its first spa in 2021, it was keen to conceive a slightly different style of wellness space that instead celebrates books and the “intellectual nourishment one receives from the written word”.

      Sydney-based studio Pattern – which is also developing the interiors of Adytum’s spa – was asked to design the library. The brand’s key request was that the pop-up had minimal environmental impact.

      Books and products from Adytum are displayed across the island
      With this in mind, Pattern ditched the idea of overhauling the entire retail unit and instead created just one striking element – a huge wedge-shaped island that sits at the centre of the floor plan, built around two existing structural columns.
      “While we didn’t have a tenancy of cathedral-like proportions to work with, we drew inspiration from the concepts of purity, simplicity, and clarity often found in religious architectural spaces,” Pattern’s co-founder, Lily Goodwin, told Dezeen.

      Incense is burned in the pop-up throughout the day
      The island, which gradually tapers off to a narrow point, has a reclaimed MDF frame that’s been covered with natural plaster and finished with a coating of beeswax.

      Pattern completes understated interiors for Locura bar in Byron Bay

      An array of design, architecture and art titles are displayed across the surface, which can be purchased by visitors or borrowed via Adytum’s membership scheme. The books are softly illuminated by a couple of white table lamps by Danish brand Hay which have been dotted across the island.
      There is also a handful of Adytum’s products, including incense sticks that will be burnt throughout the day.

      Adytum Library also exhibits work by Australian artists
      The outer periphery of Adytum Library is used to display works from Australian artists Traianos Pakioufakis and Alana Wilson.
      Pakioufakis’s expansive photographic prints are draped across bent copper pipes that were found in construction site waste, while Wilson’s collection of ceramic vessels – which have been darkened with metal-oxide glazes – perch on rough plinths that the studio salvaged from a local stonemason.

      Artworks are displayed on stone plinths or copper pipes
      Pattern was established in 2016 by Lily Goodwin and Josh Cain. Previous projects by the studio include Locura, a cocktail and small-plates bar in Byron Bay that’s meant to evoke the “raw beauty” of late-night eateries in Mexico.
      It also created rose-tinted interiors for The Daily Edited, an accessories shop in Melbourne.
      Photography is by Traianos Pakioufakis.

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      Lost House by David Adjaye features black interiors and bedroom with a pool

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      Black walls, built-in raw concrete furniture and a fish pond in a lightwell define Lost House, a residential project designed by David Adjaye in London’s King’s Cross, which has recently come on the market.Royal Gold Medal-winner Adjaye, the founder of Adjaye Associates, designed Lost House in 2004.

      Top: the swimming pool. Above: a central lightwell holds a fish pond
      The house has come back on the market recently, granting an opportunity to see the interiors of one of the architect’s early residential works in detail.

      Original features have been preserved, including an all-green sunken cinema room and a water gardens in planted courtyards that double as lightwells.

      A courtyard garden in a lightwell
      Hidden behind an unassuming brick facade in an alleyway, Lost House was formerly a delivery yard complete with a loading platform.
      Adjaye Associates turned the concrete loading platform into a plinth for an upper-level swimming pool with black-painted sides next to the pink-walled main bedroom.

      The ground floor is an open plan living space
      On the ground floor, there is a large open plan living, dining and kitchen area with a double-height ceiling.
      The sunken conversation pit with a cinema room-style projector, complete with zesty lime walls, built-in bookshelves and wide sofas, is off to one side.

      Raw concrete countertops are part of the kitchen
      Three tall, glass-walled lightwells stretch up to the black-painted timber eaves of the roof, bringing natural daylight down into the room instead of windows.
      In the centre of the living area is a lightwell filled with a fishpond.

      A sunken conversation pit is entirely bright green
      The square courtyards in the lightwells are planted with tropical greenery. At the back, next to the kitchen, the courtyard features wooden decking around clusters of circular concrete benches inset with the same grey pebbles that surround them.
      The black chipboard walls, ceiling and exposed timber beams are reflected in the shiny black resin floor.

      Concrete benches in the courtyard garden
      Adding to the industrial look are the thick concrete elements of the built-in kitchen, which forms a continuous countertop and splashback.

      Ten key projects by RIBA Royal Gold Medal winner David Adjaye

      A concrete element continues from the kitchen to the living area, were it forms a low bench upholstered in black leather cushions.

      Black walls and floors around the pool and bathroom
      Steps lead to the raised ground floor, where the old loading bay plinth supports the lap pool. Black stone tiles surround the pool, which is part of the master bathroom for the main bedroom.
      Two stone sinks sit on a concrete shelf below mirrored cabinets. A wet-room style shower allows the residents to wash before and after swimming.

      The master bedroom is entirely pink
      This bathroom connects directly to the back of the master suite, which has a separate toilet and a long corridor connecting to the stairs. The bedroom is decorated all pink to contrast with the ink-black interiors
      A second bedroom is located on this floor, with a third bedroom located up on the first floor that is currently being used as a home office.

      An upstairs room is a work from home office
      David Adjaye founded Adjaye Associates in 2000 and began his career designing high-end residential projects in north London such as Lost House. Other notable all-black houses by the studio include Dirty House and Sunken House.
      Photography is courtesy of United Kingdom Sotheby’s International Realty.

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