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      Studio Collective revitalises modernist LA tower for Hotel June

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      Los Angles practice Studio Collective has renovated a mid-century building in the city designed by modernist architect Welton Becket in the 1960s to create a laid-back hotel.Hotel June is a 250-room property in a white, 12-storey tower designed by Los Angeles architect Welton Becket in 1968.

      Becket built a number of modernist buildings in the city, including the rounded Capitol Records Building, Koreatown’s Equitable Life Building skyscraper and the Los Angeles Music Center’s Ahmanson Theater near Frank Gehry’s metallic Walt Disney Concert Hall.

      This building, which is in Los Angeles’ beachside community of Playa Del Rey on Lincoln Boulevard, was previously another hotel before it was overhauled by Studio Collective.
      While the exterior was left intact, the interiors are refreshed with many built-in oak pieces, terrazzo floors and woven accents. Pink and green details add a pop of colour.

      The interiors have “a sense of the new and dynamic through coastal influences and a true California spirit” said the studio. The hotel features a pared-back feeling with natural materials and subtle use of colour.

      A lobby has cream terrazzo floors, a wood-clad ceiling and a bright painting on a wall designed by Brooklyn artist Alex Proba. Becket’s granddaughter, Alexandra Becket, also created wallpapers for other areas of the hotel.
      Hotel rooms have white walls, woven carpeting and a mixture of modernist and more contemporary furniture pieces, including Hem sofas. Bright blue and grey are integrated into the suites for visual contrast.

      “Hotel June is at once airy and cosy, blending clean lines and warm natural woods, earthy finishes, and custom furnishings,” the studio said.

      Lush courtyards surround 1 Hotel West Hollywood in Los Angeles

      White oak closets, custom platform beds and wooden daybeds are intended to evoke mid‐century designs, like those by Charles and Ray Eames and relate to the building’s history.

      “Guestrooms and corridors play with colour-blocking geometries (that recall the work of local mid-century industrial designers Charles and Ray Eames),” Studio Collective said.
      Bathrooms have black fixtures and showers are clad in small, square tiles in grey with dark grout.

      In the hotel’s restaurant and sitting area, glass walls are shaded by slatted oak wood screens to help filter natural sunlight. A white, curved sofa and a large woven light fixture decorate the lounge, while the dining area has dark terrazzo floors and wood furniture.

      Hotel June is complete with an outdoor swimming pool, patio, an outdoor bar and restaurant, a fire pit and indoor gym.
      The property, which is called Hotel June to reflect new beginnings and California’s year-round summer sensibility, is the brainchild of Proper Hospitality co-founders Brian De Lowe and Brad Korzen.

      The Proper hotels in California, which are designed by Kelly Wearstler, include Santa Monica Proper with a similarly relaxed style and San Francisco Proper overflowing with colourful art and furniture.
      Hotel June joins a number of hotels recently completed in Los Angeles, like Ace Hotel, the West Hollywood Edition Hotel by Ian Schrager and John Pawson, Arts District Firehouse Hotel and 1 Hotel West Hollywood.
      Photography is by The Ingalls.

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      Biasol channels 1980s nostalgia inside Melbourne restaurant Billie Buoy

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      Design studio Biasol clashed hot pink and midnight blue to form the bold interiors of this 1980s-inspired restaurant in Melbourne, Australia.Billie Buoy occupies a corner plot in Melbourne’s Essendon neighbourhood and has been designed by local studio Biasol as a “1980s character who was radical, hip and a little offbeat”.
      To capture the mood of the 1980s, the studio closely studied the era and its quirky pop culture.

      “We looked back to the days before the internet and cell phones – we dusted off our Atari and Walkman, put a John Hughes movie in the VHS, and jammed to New Order and Madonna,” said the studio.

      “The interiors and branding were developed in unison to create high impact and strengthen Billie Buoy’s appeal.”

      When it came to creating a colour palette for the 60-square-metre restaurant, the studio selected two shades that it felt were synonymous with the 1980s – blue and hot pink.
      Where possible, different textures and materials have been introduced to foster a greater sense of “depth, richness and variation”.

      Midnight-blue paint covers the walls and ceiling. The same hue of felt has been used to upholster the seating banquette that curves around the wall of the entryway and the accompanying stools.
      A mixture of navy and speckled black bricks have then been laid across the floor, while white-terrazzo dining tables inlaid with blue flecks of aggregate have been dotted throughout the dining rooms.
      A glossy, powder-blue service counter that features a bold scallop pattern has also been erected in front of the drinks bar.

      Vibrant hot-pink details come in the form of the coffee grinders and a neon text sign on the wall. A series of vaulted steel storage shelves also appear throughout the restaurant, two behind the bar and three in the entrance dining area which are used to openly display crockery.
      Doorways that lead through to the customer bathrooms and back-of-house facilities for staff are also arched in form.

      Biasol uses green tones for update of Melbourne’s Main Street cafe

      The project also saw Biasol apply midnight-blue paint across the restaurant’s exterior.
      One street-facing wall is emblazoned with the words “wake me up when I’m famous”, which the studio hopes will become a prime spot to snap photos for Instagram.

      Biasol was founded in 2012 by Jean-Pierre Biasol and works out of offices in Melbourne’s Cremorne suburb.
      Billie Buoy is one of several eateries that the studio has designed around the city of Melbourne. Others include Main Street cafe, which is decked out with monochrome tiles and deep-green furnishings, and Pentolina, a pasta bar with worn concrete walls which are meant to emulate the streets of Ancient Rome.
      Photography is by Timothy Kaye.

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    • 151 Shares119 Views

      Wood and white brick feature in Perth extension by David Barr Architects

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      David Barr Architects has added a bright and roomy two-floor extension to a cottage near Perth, Australia so that its owners can have their grown-up children come to stay. The cottage is situated in the port city of Fremantle along Marine Terrace road, from where the project takes its name. Marine belongs to a couple
      The post Wood and white brick feature in Perth extension by David Barr Architects appeared first on Dezeen. More

    • 150 Shares159 Views

      Ljubljana apartment by Arhitektura d.o.o features mobile steel furnishings and silver curtains

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      Arhitektura d.o.o has fit out this apartment in the Slovenian capital with metallic moveable furniture so its owners can adapt the layout to suit their busy social lives. The apartment, named Rubikum for Three, is situated just outside the centre of Ljubljana and belongs to a young couple and their pet dog. They had previously
      The post Ljubljana apartment by Arhitektura d.o.o features mobile steel furnishings and silver curtains appeared first on Dezeen. More

    • 150 Shares129 Views

      Black shutters and concrete wall conceal Te Pakeke retreat in New Zealand

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      This holiday home in New Zealand by Fearon Hay Architects hides from neighbouring properties while having uninterrupted views of the mountainous landscape.Te Pakeke house is situated north of the popular resort town Wanaka, surrounded by mountains and looking out across the waters of a vast lake.
      Its owners had tasked Fearon Hay Architects with creating a winter holiday retreat that had the feel of a secluded cabin.

      However, as the site was positioned on the corner of an arterial road, it meant the house would be visible to neighbouring properties and passersby.

      With this in mind, the practice worked to create a series of layers around Te Pakeke that can provide the owners with a sense of privacy.

      An L-shaped concrete wall wraps around the front of the house, obscuring it from view. It also offers protection from chilly prevailing winds.
      Beyond the wall is a gravelled courtyard where inhabitants can sit and relax throughout the day.

      A series of perforated black screens that are each edged with brass have then been made to wrap around the Te Pakeke’s facade.

      House in New Zealand sits on a concrete plinth surrounded by trees

      These can be pushed back concertina-style to open up the interiors to the surrounding landscape – when closed, they almost completely black-out the interior and give a shadowy look to living spaces.

      Inside, the house has been finished with moody concrete walls. Concrete has also been used for elements such as the breakfast island and countertops in the kitchen.
      Textural interest is added by a boxy mirrored volume that conceals laundry facilities. The practice specifically selected a reflective material so that this part of the home would appear to “dissolve” within the interior.

      In a nod to the materiality of traditional cabins, beams of timber have been used to line the house’s ceiling.
      Tree stump-like side tables also appear in the living room, which has a plump grey sofa and metal-frame armchair arranged around a wood burner.

      Fearon Hay Architects was founded in 1998 by Tim Hay and Jeff Fearon. The practice was exclusively based in Auckland, New Zealand until 2018 when they opened a studio in Los Angeles.
      Other residential projects that, like Te Pakeke, benefit from views of New Zealand’s impressive landscape include Kawakawa House by Herbst Architects, which perches on a concrete plinth overlooking a dense canopy of pōhutukawa trees, and Avalanche House by Intuitive Architects, which frames dramatic vistas of a mountain range.
      Photography is by Simon Wilson.

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    • 138 Shares99 Views

      New York hair salon Hawthorne Studio is designed for social distancing

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      Wooden frames, moveable styling stations and plants are used to encourage social distancing in this New York hair salon, which local studio BoND designed during the coronavirus pandemic. BoND, led by architecture duo Noam Dvir and Daniel Rauchwerger, began working on the design of Hawthorne Studio in January this year, just a few months before
      The post New York hair salon Hawthorne Studio is designed for social distancing appeared first on Dezeen. More

    • 125 Shares139 Views

      Villa Cavrois serves as backdrop to Muller Van Severen exhibition

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      Belgian design duo Muller Van Severen is exhibiting a selection of their furnishings amongst the rooms of Villa Cavrois, a modernist 20th-century villa near Lille, France.The exhibition, called Design! Muller Van Severen at Villa Cavrois, will see Fien Muller and Hannes Van Severen present both new and old pieces from the oeuvre of their eponymous studio, which was founded in 2011.
      It comes as part of the year-long programme of events that Lille and the wider Lille Metropole area are hosting as the designated World Design Capital for 2020.

      Villa Cavrois is situated northeast of central Lille in the commune of Croix and was built between 1929 and 1932 by the French architect Robert Mallet-Stevens.

      The villa was originally designed as a family home for Paul Cavrois, a successful textile manufacturer, but during the second world war was occupied by German soldiers and turned into barracks.

      It was eventually abandoned and became subject to vandalisation, falling into such a severe state of neglect that it was threatened by demolition in the late 1980s.
      The French state ended up purchasing the villa in 2001 and carried out extensive renovation works to return the building to how it originally appeared in 1932. It then opened to the public in 2015.

      When it came to hosting their own exhibition at Villa Cavrois, Muller Van Severen wanted their furnishings to seamlessly fit in with the modernist grounds and interiors rather than appear as “strange entities”.
      “Time becomes irrelevant in this project,” the pair explained.
      “We want to create the poetic feeling that our objects could originate from the same time as the building. In the same way that the building itself feels very contemporary.”

      One room in the villa that’s lined with green-grey tiles of veiny marble is dressed with Sofa Cavrois, a furnishing that Muller Van Severen has designed specifically for the exhibition.
      The sofa – which is the first the duo has ever designed – curves upwards at two points, merging the shape of a standard chair and a chaise longue. To emphasise its sculptural form, the sofa is upholstered in bright sea-green linen.

      Muller Van Severen constructs Alltubes furniture series from rows of aluminium pipes

      A couple of the Muller Van Severen’s glossy, enamel-topped Emaille tables are also dotted throughout the room.

      Another mint-coloured room with wooden parquet flooring is dressed with the Strangled Rack from the duo’s Future Primitives collection, which comprises two intersecting shelves.
      Muller Van Severen’s Duo seat and lamp, which both boast red tubular framework, is presented just in front of the room’s huge marble-lined fireplace.

      One large maroon-red room displays shiny silver pieces from Muller Van Severen’s recent Alltubes collection, which is crafted from welded rows of aluminium pipes.
      Smaller spaces such as the villa’s kitchen, which features checkerboard floors, is decorated with a couple of brightly-hued Chair 2 models.

      The gridded wire daybeds and rocking chairs that Muller Van Severen originally created for Solo House, an architect-designed holiday home in Spain, are dotted across Villa Cavrois’ yellow-brick terraces outdoors.
      Some of the duo’s smaller homeware accessories are also included in the exhibition – for example, one office-like room features their stainless-steel Bended Mirror #3.

      Design! Muller Van Severen at Villa Cavrois will be showing until 31 October 2020.
      Villa Cavrois isn’t the only building by Robert Mallet-Stevens to become a public attraction. Villa Noailles in the French commune of Hyeres, which Mallet-Stevens designed in 1923, is now an arts centre.
      June of 2019 saw designer and Dezeen Awards judge Pierre Yovanovitch overhaul Villa Noailles’ gift shop, brightening up surfaces by painting them salmon pink, cobalt blue and buttery yellow.
      Photography is courtesy of Fien Muller.

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    • 113 Shares139 Views

      Brooklyn hotel bedrooms converted into offices for remote workers

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      Brooklyn’s Wythe Hotel has teamed up with workplace designer Industrious to create rentable offices in its guest suites to cater to those who are working from home during the coronavirus pandemic. With many offices still closed due to the city’s coronavirus lockdown regulations, the Industrious at Wythe Hotel project is intended to offer remote workers with access to flexible, clean and well-equipped workspaces.

      Available for rent by the day, each office is located in one of the Williamsburg hotel’s former loft-style bedrooms with access to a private outdoor space. They are designed to cater to up to four people with Wi-Fi, access to printing services and a smart TV.

      Bedroom furnishings are replaced by sit or stand wood desks and rexford chairs from furniture rental provider Feather, and black metal table lamps.
      The finishes complement the room’s industrial aesthetic of exposed concrete floors and brick walls.

      “Together with Industrious, we are offering remote workers a safe and comfortable place to be productive and escape the confinements of their apartments for a moment,” said Wythe Hotel owner Peter Lawrence.

      Offices after pandemic will “balance physical and virtual work” says Perkins and Will interior design director

      Industrious at Wythe Hotel provides an example of the way that traditional working lifestyles could be disrupted following the pandemic.
      In its earlier stages, Dezeen editor Tom Ravenscroft said “the great work-from-home experiment” would mean remote working would no longer be unusual.

      “The companies that best navigate the future of work are going to be the ones that put choices in their employees’ hands, including the choice of where and how they do their job best,” said Industrious co-founder Jamie Hodari.
      “At Industrious, we think this is just one example of the types of innovation you’ll begin to see in our industry and beyond.”

      Other architects and designers have similarly forecasted ways that offices will change. British interior designer Sevil Peach said they will get smaller, while Form4 Architecture co-founder Paul Fero believes that cubicles will become more prevalent.
      Perkins and Will interior design director Meena Krenek said offices will balance “physical and virtual” work and proposed physical spaces for meetings and large gatherings. Global firm Woods Bagot also created diagrams of workplaces during coronavirus that merge working from home and office.

      Wythe Hotel has made the office spaces available until 31 August. The boutique hotel provided accommodation for medical workers from Woodhull Hospital in Bushwick and NYU Langone Hospital in Sunset Park during the height of the city’s pandemic, an experience it said has enabled them to develop safe practices.
      “By working in collaboration with doctors and nurses on-property during the shutdown, our staff is well-equipped to ensure that all guests are staying in a healthy environment,” it said.

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