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      Horticus creates modular indoor living wall

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      Horticus is showcasing its indoor living wall system as part of the Dezeen x Planted collaboration during this year’s London Design Festival.

      Designed by Horticus to bring plants into small indoor spaces, the system combines a hexagonal metal trellis frame that is screwed to a wall with hexagonal terracotta plant pots.
      “By focusing on our desire to nurture our carefully grown houseplants, Horticus rethought the living wall; made it more flexible, added lifestyle features and kept the practice of cultivation,” said the brand.

      Horticus’s modular system can create indoor living walls
      The system of tessellating hexagons means that small or large green walls can be created, with additional units added when required. As the units are modular, plants can be rearranged and replaced according to the owner’s requirements.

      “The Horticus terracotta plant pots can be lifted in and out of the frame for easy repotting or rearranging. The planters can also be watered in situ through a grid of watering holes,” said the brand.

      The small kit contains one frame and three terracotta planters
      For those wanting to add a little plant life into a room the Small Kit contains one powder-coated steel frame and three terracotta planters. For more ambitious indoor gardens the Medium Kit contains six planters and three frames, the Large Kit contains 12 planters and six frames and the Extra Kit has 24 planters and 12 frames.
      Dezeen x Planted
      Exhibitor: HorticusWebsite: www.horticusliving.comContact: info@horticusliving.com
      Planted is a contemporary design event that aims to reconnect cities with nature, which will make its physical debut as part of London Design Festival alongside an online trailer for next year’s main event.
      The Planted x Dezeen collaboration presents a series of projects by international designers that align with the ideals of the Planted design event.

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      Linehouse uses typically urban materials inside Xiamen's JNBY store

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      Concrete, steel and fluted glass merge inside this shop that design studio Linehouse has created for fashion brand JNBY in Xiamen, China.Chinese cities were a key point of reference for Linehouse, which has decked out JNBY’s Xiamen store with materials often seen in dense urban settings – concrete, glass and steel.
      The interior aesthetic of this JNBY store will be rolled out across all of the brand’s future locations in China – one branch has already opened in Chengdu, and another is set to open in Changsha.

      The JNBY store features a coffered concrete ceiling
      The ceiling of the 100-square-metre store is entirely covered with concrete coffers. Each one is bordered by bright-white LED strip lights.

      A curved, steel-frame screen inset with panels of fluted glass runs around the periphery of the space, set back from the structural walls. The partition balances on chunky cylindrical blocks made from recycled concrete pavement.

      Panels of fluted glass form a screen around the edge of the store
      The urban materiality of the store is interrupted by a couple of ceramic display stands, which Linehouse formed by wrapping convex tiles around steel poles that extend from the floor to the ceiling.
      Some of the stands have been fitted with a metal ring where garments can be hung, while others have small shelves where accessories can be put on show.

      The screen’s glass panels are held within a steel framework
      Convex tiles also clad the front of JNBY’s service counter. When viewed up close, customers will be able to see a myriad of cracks, which Linehouse made visible by adding Chinese ink into the tiles’ glaze.

      John Anthony restaurant by Linehouse is “British tea hall turned Chinese canteen”

      The sculptural bases of the store’s low-lying display tables are made from grainy wood or concrete that the studio has cast against pieces of fabric.

      Convex tiles with subtle cracks clad the store’s service counter
      “The brand sought a modern approach to capture its core values, focusing on material exploration while guiding urban dwellers in appreciating the surprise and poetry of everyday life,” explained Linehouse.
      “So we wanted to contrast the urban represented by the concrete, steel and textured glass with the notion of crafted imperfection represented in the ceramic and timber detailing… they have the qualities of the handmade; variation and contrast.”

      The same tiles form a couple of vertical display stands
      Linehouse was established in 2013 by Alex Mok and Briar Hickling, and works between offices in Shanghai and Hong Kong.
      The austere material palette of the JNBY store in Xiamen is a far cry from the studio’s recently completed project, Basehall – an upscale food court in Hong Kong. Inside, the venue features walls lined with pink-metal rods, brass light fittings and a blue metalwork ceiling.
      Photography is by Dirk Weiblen.
      Project credits:
      Architect: LinehouseDesign lead: Alex Mok, Briar HicklingDesign team: Cherngyu Chen, Jingru Tong, Celine Chung

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      Architect John Wardle renovates his own house in Australia

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      The founder of John Wardle Architects has remodelled Kew Residence, his Melbourne home of 25 years, using Victorian ash and handmade glazed tiles from Japan.John Wardle and his wife Susan have owned the two-storey house, which has been shortlisted for Dezeen Awards 2020 house interior of the year, for a quarter of a decade and renovated it multiple times.

      Wardle has owned Kew Residence for 25 years
      “My first year of practice coincided with my first year of homeownership,” he told Dezeen.

      “I undertook the pre-purchase inspection of the house and completely missed the tell-tale sign of termite infestation throughout which required a more substantial re-build than first anticipated!” he added.
      “Three children wore out the last iteration.”

      Victorian ash lines the walls, floors and ceilings
      With the couple’s adult children now grown up and moved out, the kitchen and the first-floor study became the focal point of the house.  For this version of Kew Residence, the architect focused on creating spaces to display his art collection.
      “Of particular interest to me is the study especially during this time in lockdown, as I spend just about all my daylight hours solely in this space,” said Wardle.
      Here, built-in shelves form an informal display for the couple’s collection of ceramic art and sculpture.

      Built-in bookshelves line the study
      Victorian ash clads the floors and ceiling to create the sensation of a “cocoon” with views of the leafy garden beyond.
      “The corner window arrangement is a direct reference to a composition of the window seat in the living room of the Fisher House in Pennsylvania by Louis Kahn,” explained the architect.
      “My arrangement of five windowpanes, ventilation panel and a window seat is abstracted from the original as I’ve arranged them around my view out across Melbourne.”

      The architect collects Japanese sculptures
      The wood also forms plinths for displaying certain sculptures and acts as a neutral backdrop for the art displayed on shelves.
      “For many years I’ve had a fascination for ceramics both as objects and the process of their making and have collected many objects from many places over time,” said the architect.
      “My travels to Japan have resulted in many of my favourite pieces.”

      The staircase is also made from Victorian ash
      Concealed sliding panels, discrete hand pulls and hidden cupboards conceal storage throughout Kew Residence.
      Wardle designed the joinery, including the built-in bookcases and main staircase, himself and had it built by expert craftspeople.

      Wood and ceramic tiles in the kitchen
      His choice of timber, Victorian ash, is the main material used throughout the house.
      “I’ve always had an affinity for this beautiful primary indigenous species,” said Wardle.
      “Vast forests of this majestic tree were decimated in bushfires here in Australia earlier this year, unfortunately. It’s not something I would feel confident in specifying again until substantial regrowth occurs.”

      Grooved tiles form a tall splashback in the kitchen
      The timber features in the kitchen too, alongside dark and striking ceramic tiles made by INAX in Japan. These narrow, concave tiles have been arranged vertically to create an interestingly textured splashback that reaches to the wood-lined ceiling.
      INAX tiles also line the master bathroom, which was built in an earlier extension to Kew Residence.

      INAX tiles from Japan feature in the bathroom
      Wardle has visited Tokoname, where the makers live, and Kew Residence features five different styles of the ceramic tiles.

      Australian Institute of Architects Gold Medal winner John Wardle names 12 key projects from his career

      “Our practice has a long association with INAX, the Japanese tile manufacturer, having used their tiles in the suspended gallery in our Phoenix project, as well as 60,000 plus individual tiles embedded into the concrete facade panels of our Melbourne Conservatorium project,” said Wardle.
      “The ancestors of INAX produced the tiles so loved by Frank Lloyd Wright and his partners and used to great effect on the Imperial Hotel.”

      Five different kinds of tiles decorate the house
      Phoenix Central Park, an arts venue designed jointly by John Wardle Architects and Durbach Block Jaggers, has also been shortlisted for Dezeen Awards 2020.
      Earlier this year Wardle was awarded the Gold Medal from the Australian Institute of Architects.
      Photography is by Trevor Mein and Sharyn Cairns.
      Project credits:
      Architect: John Wardle ArchitectsProject director: John WardleModel maker and designer: Andrew WongPA: Luca VezzosiInterior Designer: Jeff Arnold, Elisabetta ZanellaConstruction: Overend ConstructionStructural Engineer: 4 Site EngineersBuilding Services Engineer: JWABuilding Surveyor: Sampson Wong

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      Alice D'Andrea creates industrial coffee roastery in Vancouver steel foundry

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      Coffee roasting and tasting takes place in this industrial-style coffee shop in Vancouver, which local studio Alice D’Andrea has designed inside a historic factory building. Located in Vancouver’s Railtown neighbourhood, the space was built in 1923 as the Settlement Building, a steel foundry for manufacturing machinery parts, and then later used as a warehouse for lighting company Bocci.

      The roastery features existing industrial windows and ceiling beams
      It now forms the headquarters for speciality coffee company Pallet Coffee Roasters with space for team training, a tasting area, roastery operations, seating and merchandise.

      Douglas fir beams punctuate the ceiling, large, industrial-style windows bring natural light to the back of the building, and exposed concrete runs throughout, providing a nod to its history.

      Seating is set under a large skylight
      “The main goal for this project was to design a ‘destination’ for coffee lovers,” said Alice D’Andrea. “A place where customers could enjoy their coffee while being educated on the process and the passion that goes behind their product.”

      Williamson Williamson places office above Pilot Coffee roasting warehouse in Toronto

      The 7000-square-foot (650-square-metre) open space has been separated into different areas. To the rear of the space the roastery is furnished with a long table made of reclaimed fir, which is used for coffee tasting and team training.

      An L-shaped counter divides the open space
      An L-shaped coffee counter, patterned with black-stained oak planks in a herringbone pattern, forms the centre of the space. A gridded glass partition that echoes the former foundry’s industrial windows rises from the middle of the counter to offer glimpses of the production area at the rear.
      “The glass partition between the counter and the production leaves the view open on the production, on the machinery and the people working behind the scenes,” the studio said.

      Black-stained wood patterns the counter
      “Customers can enjoy their beverage while watching how raw beans from around the world turn into their favourite drink; a truly unique customer experience,” the studio added.
      The black volume is broken up by glass volumes that form display cabinets for pieces on sale and nooks for seating.

      The roastery occupies the rear
      Large copper pendant lights hang overheard to complement the warm hues of the wooden ceiling beams. Other copper detailing can be found in the counter kick and shelving.
      Customers can sip their coffee on a seating alcove under a huge skylight, or on wooden benches either side of large planters and stools. Decorative elements are provided by coffee bags piled atop pallets, and pops of greenery.

      Copper details add warmth
      Pallet Coffee Roasters HQ’s entrance has white-painted walls, greenery and pendant lights from Bocci – the building’s previous owner.
      Other coffee roasteries on Dezeen include Pilot Coffee roasting warehouse in Toronto that Williamson Williamson recently extended with offices and the Starbucks Reserve Roastery in Tokyo designed by Kengo Kuma.
      Photography is by Andrew Fyfe.

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      Robert Gutowski Architects designs minimal church interior in response to changes in modern worship

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      The Church of Pope John Paul II in Páty, Hungary, is a crescent-shaped building featuring skewed angles and whitewashed concrete that aims to turn “passive observers” into active participants of worship.Local practice Robert Gutowski Architects filled the church in the village of Páty in Budapest with modern takes on traditional aspects of Medieval, ecclesiastical architecture.
      The intention was to shift the emphasis towards the altar and the congregation to make the act of worship more engaging.

      The Church of Pope John Paul II features an elliptical layout
      Traditional churches typically have a rectangular floor plan and are made up of a nave – the central part of the church – and an apse – the semicircular or polygonal area at the end of the aisle, usually located behind the altar.

      The Church of Pope John Paul II, however, has an elliptical layout, made up of the crescent-shaped building of worship that wraps around an adjoining oval-shaped outdoor space.
      Therefore what would typically be the nave of a conventional church functions as the churchyard or garden, while the liturgical space is situated where the apse would be.

      The church interior features whitewashed reinforced concrete ceilings and walls
      As studio founder Robert Gutowski explains, this layout was designed to place more emphasis on the communal experience of the Eucharist and to “invite people closer to the holy act” at the altar.
      “If you like, we invite people into the apse, surrounding the altar, forming a community,” the architect explained. “It is also similar to the liturgy of early times, when Paleochristians simply surrounded a table in their own home – what is known as Domus Ecclesiae.”

      The design aims to place more emphasis on the Eucharist and the altar
      “The church clearly defines its purpose: while the Creator and the almighty God are at the centre of traditional liturgy, modern liturgical efforts have shifted emphasis to the recreator God, the image of a perpetually redeeming Christ,” Gutowski added.
      “The Church of Pope John Paul II represents a conscious response to liturgical changes in recent decades, rendering it a model church experiment in contemporary church architecture,” he continued.
      “Emphasis is shifted toward the active involvement of worshippers.The community is not a passive observer of events in a sanctuary, but rather actively experiences the holy act.”

      The church building itself has a crescent-like shape
      Several rooms lead off of the central, liturgical space, including a communal room, a service room and an office on the ground floor, and an educational room, guest room, the priest’s living quarters, and access to the bell tower on the first floor.
      Each of these rooms are enclosed in one, whole elliptical floor plan – a form chosen to symbolise “perpetuity” and to create a holistic space.
      “The concept is that when we say ‘church’, this does not refer only to the part of the chapel, but rather to the whole community building in one singular form,” explained Gutowski.

      Angled walls and off-centre details represent the broken body of Christ
      The two ellipses formed by the crescent-shaped church and the adjoining yard have been set at different axes. This is following the historically “inaccurate” layout of traditional churches, wherein the nave and the apse tend to be slightly off-centre of each other.
      “We cannot name one single church that sits on the same axis, because pretty much all of the historical churches in Europe have this tiny ‘mistake’, which actually became a symbol of the broken body of Christ,” added Gutowski.
      This symbol of Christ’s broken body has been extended to the church interior, which features walls set at slanted, uneven angles.

      Spotlights and skylights illuminate significant spaces in the church
      The domed ceiling, made from reinforced concrete, is lined with spotlights that illuminate various sacral functions such as the area of the altar and surrounding alcoves filled with religious artworks.
      A rectangular cutout in the ceiling also fills the room with natural light, which is directed particularly at the centre towards the altar.

      The altar is carved from a single block of deep green stone
      While the majority of the interior has been painted white – bar the natural-wood pews – the altar is carved from a single block of deep green onyx stone, standing out from its surroundings to serve as the focal point of the space.
      The structure itself is symmetrical but every detail is asymmetrical, such as the alcoves. The altar is the only element that sits on the main axis of the building.
      Steps made of white Carrara marble lead up to the altar, which have trapezoid-shaped surfaces with rounded corners to allow gathering around the sanctuary space.

      A curved staircase leads up to the first floor
      The design and construction of The Church of Pope John Paul II was carried out with the help of the local community. The church was built mainly using donations, and was consecrated in 2019.
      The church has been shortlisted in the civic and cultural interior project category of this year’s Dezeen Awards.

      Crematorium Siesegem by Kaan Architecten rejects “pompous monumentalism”

      Other projects in this category include a crematorium in Belgium designed by Rotterdam-based studio Kaan Architecten, which is made up of one rectilinear volume made from blocks of unfinished concrete.
      A museum for children in Pittsburgh has also been shortlisted in the civic and cultural interior project category, which US firm KoningEizenberg Architecture renovated from the remains of a historic library that was struck by lightning.
      Project credits:
      Architect: Robert GutowskiDesign team: Ákos Boczkó, Gáspár Bollók, Barnabás Dely-Steindl, Hunor László Kovács, István Kövér, Attila Révai, Béla Ákos SzokolayArtworks: Csaba Ozsvári, István Böjte HorváthLandscape design: Attila PállEngineering: Zoltán Klopka, András Lantos, Gáspár Sándor, Gellért Mérő, János MészárosPhotography: Tamás Bujnovszky

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      Maison François brasserie in London takes cues from Ricardo Bofill's architecture

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      Soaring arches reminiscent of those seen in Ricardo Bofill’s La Fabrica feature in this decadent restaurant in St James, London designed by creative director John Whelan.Whelan – who leads artist collective The Guild of Saint Luke – told Dezeen that, prior to his intervention, Maison François simply looked like “one giant concrete cube”.
      The materiality of the space immediately encouraged Whelan to base his interiors scheme around La Fabrica – an abandoned cement factory just outside of Barcelona that Spanish architect Ricardo Bofill transformed into offices for his practice in 1973.

      The interiors of the restaurant are inspired by Ricardo Bofill’s La Fabrica
      “I always try and find a creative route that respects the DNA of the building, and this felt appropriate,” said Whelan.

      “Furthermore, the client wanted to reference historic brasseries but create a contemporary version – also reflected in the food.”

      Arched recesses have been made in the restaurant’s terracotta walls
      The exterior of Bofill’s La Fabrica is notably punctuated with soaring arched windows. These have been reinterpreted inside Maison François, which boasts terracotta-coloured stucco walls inset with shallow arch-shaped recesses.
      “La Fabrica is probably the greatest home that I will probably never visit, and so the arches were a sort of ‘homage’ to that wonderful creation,” explained Whelan.

      Tubular chandeliers hang from the restaurant’s ceiling
      Walnut has been used to craft the restaurant’s seating banquettes – their latticed backs are inspired by the pews in Germany’s modernist Maria Heimsuchung church, which Whelan came across in a photography series by Robert Goetzfried.
      Chairs have been upholstered in creamy linen to match the colour of the lacquered-wood dining tables. Tubular chandeliers have also been suspended from the ceiling, which has been finished with a faux-cement patina.

      The seating banquettes are crafted from walnut wood
      Mahogany has been used to craft a latticed hood above the open kitchen, where dishes that draw upon traditional French cuisine will be prepared.
      Food will be served by both chefs and waiters, an attempt by the restaurant to diffuse the typical boundaries between front and back-of-house operations.
      “Maison François will be everything a brasserie should be – welcoming, fun and hospitable, with classic dishes made with the best seasonal produce we can get our hands on – whilst also ripping up the rulebook when it comes to service,” said the restaurant’s founder, François O’Neill.

      A huge clock sits above the restaurant’s open kitchen
      At the centre of the hood is a huge clock that Whelan had made bespoke from patinated nickel and bronze.
      Weighing half a ton, the grills on the side of the clock are meant to subtly mirror those that feature on the front of vintage Rolls Royce cars, often seen outside the restaurant on the affluent streets of St James.

      John Whelan adorns Paris’ Nolinski restaurant with art-deco details

      “The clock is a classic of historic brasserie design, and can be found around the world from Bouillon Julien in Paris to Fischer’s in London,” added Whelan.
      “We wanted to have this iconic focal point but with our own style.”

      Underneath the restaurant is a wine bar called Frank’s
      Stairs lead down to Maison François’ adjoining wine bar, called Frank’s. This space is intended to have a slightly more industrial feel, so has been completed with exposed white-brick walls, polished concrete flooring and black-leather seating.
      Bofill’s La Fabrica is referenced again at this level but this time in the form of arched mirror wall panels.

      White-brick walls give the wine bar a more industrial look
      John Whelan established The Guild of Saint Luke in 2017, working with artists, artisans and architects to restore and revive historic French brasseries.
      Earlier this year Whelan overhauled Parisian eatery Nolinski, filling its interiors with art deco-inspired details like gold-leaf “sunburst” columns.
      Photography is by Oskar Proctor.

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      Rapt Studio fashions soothing interiors for Goop HQ in Santa Monica

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      Design agency Rapt Studio has used curved furnishings and soft colours to create a calming ambience inside the Santa Monica headquarters of lifestyle and wellness brand Goop.The two-floor HQ measures 55,000 square feet (5,109 square metres) and provides a unified workspace for Goop, which was founded by actress Gwyneth Paltrow. Prior to this team members had been scattered between different buildings.

      The lobby of Goop’s Santa Monica headquarters
      “We designed their new, light-filled headquarters in Santa Monica to preserve the buzz they’d maintained in close quarters, while giving big ideas room to roam,” explained Rapt Studio.

      “[Staff] needed a place to concentrate their energy and efforts to propel the brand into its next phase of development.”

      A corner of the lobby is dominated by a sculptural metal desk
      Employees enter the head office via a spacious lobby. One corner of the room is dominated by a custom-made desk made by Los Angeles-based studio Artcrafters.
      The desk comprises four bulky metal blocks which are meant to mimic the rounded shape of the letters that feature in Goop’s company logo.

      The headquarters includes a kitchen where staff can test recipes
      Curved forms go on to feature in the adjacent waiting area where a pink, crescent-shaped sofa and bench seat perch on a woven circular rug. An oversized white pendant light is suspended overhead, while behind stands a golden wire-frame screen.
      The lobby leads through to a sequence of work areas – this includes a lab for developing new products, a podcast-recording studio and a fashion workshop where designs for Goop’s clothing line, G Label, will be drawn up.

      There is also a product showroom on-site
      A test kitchen finished with jet-black joinery offers a spot for staff to experiment with recipes and film cooking tutorials for Goop’s YouTube channel.
      There is also a small showroom on-site. At its centre is a chunky stone-topped counter inbuilt with a sink where the beauty and skincare products on display can be trialled out.

      Goop staff work around bespoke desks
      Staff have been given bespoke workstations. For formal meetings they can head to one of the conference rooms, which are decorated with past and present examples of Goop merchandise.

      Gwyneth Paltrow’s Goop brand launches first home collection with CB2

      Expansive floor-to-ceiling panels of glazing flood spaces throughout the HQ in natural light.
      This is seen best in what employees refer to as the “All Hands” area, which boasts views of the palm tree-lined LA skyline.

      Conference rooms are decorated with framed Goop merchandise
      The room is used for casual catch-ups or large-scale staff gatherings. It includes a light-hued timber kitchen and a trio of arched niches that accommodate tan-leather seating banquettes.
      There are also a couple of grey modular sofas that can be rearranged to suit different-sized workgroups.

      Light-hued timber lines the staff kitchen
      “The intent of the material palette was to evoke a sense of calming familiarity,” said Rapt Studio’s president and creative director, Sam Farhang.
      “Natural, warm materials and soft tones create a welcoming environment, allowing the Goop team to feel at home within the space,” he told Dezeen.

      This light-filled room can be used for informal meetings
      Tapping into Goop’s wellness-focused ethos, Rapt Studio also made sure to incorporate a yoga room and a number of secluded lounge spots and private booths for staff.
      “These spaces – cocooned and concealed – are designed for reflecting, replenishing, and recharging,” added the studio.

      It features arched niches with tan-leather seating banquettes
      Goop was launched by Paltrow in 2008, starting life as a weekly newsletter before growing into a brand that offers wellness, beauty and style advice.
      Its trendy HQ is one of several that Rapt Studio has designed – back in 2017 it completed head offices for streetwear brand Vans, including meeting rooms lined with skateboards and huge graffiti wall murals.
      In 2014 it also created headquarters for e-ticketing company Eventbrite, which has break-out areas with stadium-style seating.
      Photography is by Madeline Tolle.

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      Sella Concept brings retro feel to Sister Jane Townhouse in London

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      Fringed furnishings and velvet walls feature inside the west London headquarters that design studio Sella Concept has created for fashion brand Sister Jane, which includes a showroom, restaurant and roof terrace.Sella Concept said it drew upon “untapped maximalist style” to design Sister Jane Townhouse, which takes over a prominent corner property on Golborne Road in the affluent neighbourhood of Notting Hill.
      Having outgrown their old studio on the nearby Portobello Road, the fashion brand had been keen to move into a larger space that could offer a more immersive retail experience.

      The ground floor of Sister Jane Townhouse has a restaurant called Cha Cha’s
      The three-storey townhouse incorporates a restaurant, a showroom and an office where employees can plan and design future clothing collections. On the roof there is also an outdoor terrace where visitors can gather for drinks.

      When it came to developing the interiors, Sella Concept sought to reflect the retro style of Sister Jane’s billowy blouses and dresses. The studio’s co-founder, Tatjana Von Stein, particularly found herself referencing the aesthetics of the 1970s.

      Furnishings in the restaurant feature fringed detailing
      “I must admit that I am always inspired by the ’70s forms, shapes and use of space,” Von Stein told Dezeen.
      “There is a movement and warmth in its design history that I love to employ with a contemporary twist.”

      A collage wall in the restaurant displays campaign photos by Sister Jane
      On the ground floor of Sister Jane Townhouse is the restaurant, called Cha Cha’s, which serves up a roster of Latin-fusion brunch dishes.
      The space has peach-coloured walls and is dominated by a huge hexagonal, brass-edged bar counter. It’s surrounded by a series of Deja Vu stools by Masquespacio that boast tiers of mauve, cream and beige fringing.

      Sister Jane’s clothing showroom is on the townhouse’s first floor
      Fringing also skirts the burnt-orange seating banquette that winds around a corner of the room, and runs along the edge of the six-sided dining tables. Mustard-yellow lamps with fringed shades have additionally been dotted throughout as decor.
      Cha Cha’s includes a collage wall which will be plastered with different striking images from Sister Jane’s fashion campaigns.
      The wall runs directly beside a brass-tread staircase – the steps had previously been closed in by a partition wall, but Von Stein knocked this down to encourage diners to explore the showroom on the first floor.

      Garments hang from bespoke walnut rails in the showroom
      Upstairs in the showroom, surfaces take on a pinkish hue.
      Some clothes are displayed within a veiled pod that sits at the centre of the room, enclosed by sheer white curtains. Other garments hang from custom-made walnut rails or are presented on mannequins which perch on a curvaceous platform covered in teal-blue carpet.

      An adjacent showroom will display Sister Jane’s Ghospell clothing line
      A short walkway leads through to a room that showcases Sister Jane’s Ghospell line, which offers pared-back clothes with sculptural silhouettes.
      This space has aptly been given a slightly more minimal finish – walls here are either clad in steel or upholstered with buttery yellow velvet, while the changing room is entirely lined with mirrored panels.
      Wooden flooring that runs throughout the rest of the townhouse has also been replaced here by micro cement.

      Walls in this showroom are clad in steel and yellow velvet
      Above the showrooms are the offices for Sister Jane staff, followed by the roof terrace dressed with comfy cushioned benches and green wire-frame chairs.
      Guests can alternatively relax in the secret ground-floor garden room, which is accessed via a door disguised as an antique armoire.

      The customer changing room is entirely lined with mirrored panels
      “We have a true inclination for concept spaces which indulge in all the senses and offer the design challenge to seam together a variety of experiences and brands,” explained Von Stein.
      “But it was tricky – in essence, we had 2-3 clients on one building.”

      An antique armoire hides a door leading to Sister Jane Townhouse’s secret garden room
      Sella Concept was established by Tatjana Von Stein and Gayle Noonan. Previous projects by the studio include Public Hall, a plush co-working space that occupies the former office of the UK secret intelligence service, and Night Tales, a pink-tinged cocktail bar.
      At the end of last year the studio also debuted its first furniture collection, which comprises a series of curvaceous stool seats.
      Photography is by Genevieve Lutkin.

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