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      Sheft Farrace renovates loft in Los Angeles' art deco Eastern Columbia building

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      Architecture studio Sheft Farrace has renovated a loft apartment in Los Angeles’ iconic Eastern Columbia building, subtly incorporating colours from the art deco exterior into the minimalist interiors.

      The studio renovated the loft while drawing details from the exterior of the 13-storey building in Downtown Los Angeles, known for its highly detailed turquoise facade and clock tower, which was designed by Claud Beelman and completed in 1930.
      Sheft Farrace chose to divide up the loft, yet retain visual connections through framed openingsIt was converted into lofts in 2006, and local studio Sheft Farrace was recently tasked with renovating one of the condos for a young creative from Kazakhstan.
      “Uninspired by the unit’s original 2006 layout and interiors, the owner wanted it to feel like a brand new space — so Sheft Farrace approached it as a blank canvas,” said the studio, led by Alex Sheft and John Farrace.
      The pared-down decor contrasts the building’s colourful exteriorThe apartment has tall ceilings, and their height is accentuated by the building’s long narrow windows and floor-to-ceiling drapery.

      Rather than keep the open floor plan, the studio chose to divide up the space to help define areas for different functions.
      The ceiling height is accentuated by tall windows and floor-to-ceiling draperyHowever, the visual connections between the kitchen and dining room, and the living room and bedroom, are retained by large framed openings used in place of doors.
      “Every space has its own character, based on what time of day it is and how the natural light comes in through the full-height windows,” said Sheft Farrace.

      OWIU Studio brings Japanese style to Biscuit Loft apartment in Los Angeles

      For the most part, the home is decorated in a much more pared-down style than the building’s opulent exterior, primarily with soft neutral hues and sparse furnishings.
      Certain material choices in the kitchen and bathroom tie much more closely to the colourful facades, including white oak, Verde Aver marble, and Florida Brush quartzite to echo the orange, green and blue exterior tiles.
      Materials like white oak and Florida Brush quartzite in the kitchen nod to the art deco exteriorThe curved corners of the kitchen counters and elongated cabinet hardware also evoke 1930s design.
      “Upon first glance, it’s stylistically in stark contrast with the historical building that it’s within, but throughout the space are subtle nods to the art deco exterior and ultimately, it feels like it belongs,” Sheft Farrace said. “We felt honored to have contributed a small chapter to the long and storied history of a Los Angeles landmark.”
      In the bathroom, Verde Aver marble was also chosen to reference the historic tiled facadesDowntown Los Angeles has dramatically transformed from a no-go zone to a popular and thriving neighbourhood over the past 20 years.
      This shift is partially thanks to the opening of cultural institutions like Frank Gehry’s Walt Disney Concert Hall and Diller Scofidio + Renfro’s The Broad museum, as well as a spate of high-end hotels.
      The photography is by Yoshihiro Makino.

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      Yabu Pushelberg references multi-faceted LA culture in conjoined hotels

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      Canadian design studio Yabu Pushelberg has created the Moxy and AC Hotel in Downtown Los Angeles to encapsulate a variety of references to the surrounding city.

      The two hotels were placed side by side within a Gensler-designed building in central Los Angeles, with Yabu Pushelberg carrying out the design for both hotels.
      The designers used a variety of LA-oriented references across both hotels, referencing local artist culture, streetlife, the desert, as well as the imagery of movies from Hollywood.
      The Moxy Hotel in Downtown Los Angeles was designed based on deserts and cinema”Moving making and the California Dream are all mashed up together to create this atmosphere,” studio co-founder George Yabu told Dezeen.
      “We also captured the grittiness,” added co-founder Glenn Pushelberg. 

      The hotels were designed to complement each other, providing various experiences for guests, who the team hopes can be staying in one while visiting the bars and restaurants of the others.
      Yabu Pushelberg wanted to challenge guests with a sense of “grittiness”According to the duo, the hotels are meant to be the day and nighttime versions of the same person or “like the same person in different movies”.
      AC Hotel provides a more work-oriented vision and the Moxy representing a more dimly lit atmosphere.
      The Moxy includes lounge areas with plush furnitureUsing desert themes and references to the 1969 film Easy Rider starring Peter Fonda, the Moxy has rammed earth walls, woven wall hangings and homages to motorcycle culture with a custom pouf designed with Harley Davidson in mind. It even has a motorcycle in the lobby lounge.
      “If you look at the materialities and colors and textures, it is kind of off-off, which makes it on,” said Pushelberg. 
      AC Hotel is more restrainedAlso in the Moxy’s lobby is a snakeskin-like carpet with a graphic of a snake.
      The hotel includes studio spaces above the lobby with neon lights and plush furniture; minimal rooms with tile and stone walls; and a bar inspired by the “roadside gas station” with mottled stone countertops, metal mesh liquor cabinets and “cocoon-like” chairs.
      The AC Hotel is meant to evoke the artist’s loftThe AC Hotel is more restrained. The lobby is on the 34th floor and was designed to evoke the “artist’s loft” with views of the city below. Materials were inspired by Spanish architecture – such as textured plaster and stucco.
      These details continue throughout the bars, guestrooms and library lounge, with the addition of wooden sculptures and dark black tile.
      Yabu Pushelberg designed the carpets in the guest rooms to “reflect the geometric pattern and color story found throughout the hotel” and contrast the birch wood flooring.

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      According to the team, the hotels together are meant to bring together a variety of local influences to attract people to the downtown core.
      “It’s a ​​perfect time for the hotels to be there because all these different types of people have never ever had a reason to go downtown,” said Pushelberg, who referenced the growing gallery scene in the area as an additional inspiration.
      The AC’s lobby is on the 34th floor of the buildingThe design follows a slew of other hotels designed for LA’s downtown, including Hotel Per La designed by Jaqui Seerman, which occupies a 1920s bank building.
      A division of Marriot, Moxy has dozens of hotels around the world, including a recent addition in New York’s Lower East Side designed by Michaelis Boyd and Rockwell Group.

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      Lovers Unite wraps Bar Chelou in Pasadena with expressive drapery

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      Late artists Christo and Jeanne-Claude influenced the dramatic drapery around this restaurant in Pasadena, California, designed by Los Angeles studio Lovers Unite.

      Conceived by chef-owner Douglas Rankin as a take on a Parisian bistro, Bar Chelou opened earlier this year in a building in a Spanish Colonial Revival plaza next to the Pasadena Playhouse.
      Natural muslin is draped around Bar Chelou, emulating the works of Christo and Jeanne-ClaudeLovers Unite had just a few weeks to transform the space into an operational dining room, so looked to ways it could make maximum impact with minimal time.
      The studio found inspiration in the legacy of Christo and Jeanne-Claude, who famously wrapped some of the world’s most recognisable monuments in giant swaths of fabric – most recently the Arc du Triomphe in Paris, which was realised a year after Christo’s death.
      The duo’s seemingly effortless but meticulously planned drapery is echoed on a much smaller scale around the Bar Chelou space, which was formerly a Baroque-themed restaurant called Saso.

      The restaurant in Pasadena features copper-topped tables that reflect light from an amber glass chandelier”We felt the spirit of Christo and Jeanne-Claude’s work was a good conceptual fit for a project, which is supposed to evolve over time, but we’re able to be referential while being playful with our approach,” Lovers Unite told Dezeen.
      “Translating the gesture of the wrap to a human scale and a hospitality context changes the meaning and impact of the gesture — it’s not necessarily an artwork but it’s evocative and surprising.”
      Patrons enter via an arched doorway, and are immediately met with the sight of natural muslin fabric hung around the walls and above the bar.
      Curtains surround the dining room and offer glimpses of the kitchen in places”Upon entering, one might feel as if they are visiting an expansive and uncluttered artist’s studio in a transitory state; hints abound that change is coming,” said the Bar Chelou team.
      Lifts and pleats in the curtains created by thick ropes reveal the chefs at work in the kitchen, as well as framing views of the arched windows seen in mirrored panels.

      Great White Melrose in LA offers outdoor dining on a pink-plaster patio

      A dark shade of green was chosen to contrast the natural muslin and is used across the dining room floor and built-in leather banquettes.
      Similarly coloured tiles clad the front of the walnut-topped bar counter at the front, which is slightly lower that the main dining area and offers additional seating.
      A dark shade of green chosen to contrast the fabric covers the front of the bar counterThonet-style bistro chairs accompany polished copper cafe tables, which reflect the light from a custom, amber glass chandelier that spans the length of the room.
      Walls were painted to match the hue of the curtain fabric, and the window frames are bright green.
      Light pours into the bar area through arched windows with frames painted bright greenPasadena located is northeast of Los Angeles, where many new restaurants with notable interiors have opened over the past few months.
      Among them are the retro-futurist 19 Town designed by Jialun Xiong, and Great White Melrose, which offers outdoor dining on a pink-plaster patio.
      The photography is by Chris Mottalini.

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

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

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

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

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

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

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

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

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

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

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      Black staircases link SC Workplace by Behnisch Architekten

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      A variety of black staircases dogleg and spiral between the levels of this office in Southern California, designed by global firm Behnisch Architekten.

      Tasked with bringing personality to a four-storey “developer box”, Behnisch Architekten 110,000 square feet (10,220 square metres) for an undisclosed client.
      Hairpin staircases rise through an atrium to link offices on different levels”We had the opportunity to work with a great client to transform this ubiquitous building type into a dynamic work environment, which promotes connection and collaboration,” said the studio.
      The building shell, measuring 120 by 240 feet (37 by 74 metres), features glass facades and an elevator core at its centre.
      Behnisch Architekten carved the atria from the floor plates to bring in light and create visual connectionsThe team began by carving up the continuous floor plates to open up the levels to one another – allowing in more light and creating visual connections between multiple spaces.

      On opposite sides of the core, they created two “eccentrically-shaped atriums” by staggering the walls of meeting rooms on the different storeys.
      The staircases are wrapped in solid black on three sides”A pair of hairpin-shaped stairs are situated in each atrium and connect users between office levels two to four, promoting inter-level exchange, but also serving as a sculptural element within the space,” said the studio.
      Voids were also created in opposing corners, each containing a spiral staircase treated with the same solid black balustrades and light wooden treads as the doglegged ones.
      More voids were formed at the building’s corners, which are used as lounge areas”The multitude of options between levels allows users to move freely from floor to floor,” Behnisch Architekten said. “These voids also add communication and transparency between previously disconnected floor plates.”
      Lounge areas also occupy the corner voids, which offer social spaces for employees and are flooded with light from the dual-aspect glazing.
      Spiral staircases provide alternatives vertical routes through the buildingPrivate offices are situated around the building’s perimeter so that users are afforded light and views.
      Closer to the elevator lobbies, conference and meeting rooms feature glass walls, allowing some to overlook the atria.
      Meeting and conference rooms are located in the centre of the buildingFor wayfinding and booking, every meeting room is named after a river, while lounges are represented by lakes.
      Each floor corresponds with two continental regions, which are identified through custom-designed wood artworks and photography.

      Behnisch Architekten clads energy laboratory in translucent polycarbonate

      Amenities for staff at ground level include a bouldering wall that wraps the core and is connected to a gym and a game room.
      A large dining hall features pale materials and a slatted wood ceiling also found in other areas of the building.
      On the ground floor, the core is wrapped with a bouldering wallStefan Behnisch established Behnisch Architekten in Stuttgart in 1989 with his late father Günter Behnisch. The firm now has additional offices in Los Angeles, Boston and Munich.
      It has completed a variety of different building typologies over the years, from kindergartens, schools and laboratories, to offices for Adidas and an academic building at Harvard University.
      Staff amenities include a large dining hallBehnisch was interviewed about his firm’s projects as part of Dezeen’s Virtual Design Festival in 2020.
      The photography is by Brad Feinknopf and Nephew.
      Project credits:
      Project team: Kristi Paulson (Partner in Charge), Daniel Poei (Director/Project Lead), Tony Gonzalez, Vera Tian, Laura Fox, Eric Hegre Apurva Ravi, Victoria OakesConsultants: John A. Martin & Associates (Structural), Loisos + Ubbelohde (Lighting/Daylighting), ARUP (Fire/Life Safety, Acoustical, Audio/Visual), ACCO Engineered Systems (Design-Build – Mechanical/Plumbing), Morrow Meadows (Design- Build – Electrical), Pinnacle (Design-Build – Audio/Visual), Ockert and Partners (Graphics), SPMDesign (Custom-fabricated Artwork)General contractor: DPR Construction

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      Hollywood puppet theatre becomes Chief LA members' club

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      A clubhouse for women in business now occupies a 1940s theatre in Los Angeles, following renovation work by JM|A+D and TAP Studio, with interiors by AvroKO.

      The three studios collaborated to rehabilitate the former Hollywood puppet theatre to create the Los Angeles flagship for Chief, which offers memberships to women in leadership roles.
      Like Chief’s other locations, the LA flagship clubhouse is designed to have a residential feel”Designed as a space for the most powerful women in business to connect and find community, we re-conceptualized the historic structure as a modern pied-a-terre, reinterpreting the best elements of traditional member’s club environments with a bold, lush palette,” said the team in a joint statement.
      JM|A+D and TAP Studio – both based in California – worked on restoring the theatre building while updating the spaces for their new purposes.
      The former theatre was converted to include two bars, five conference rooms and multiple lounges”From scattered wet bars and mothers’ rooms to carefully scaled seating and meeting areas, our goal was to develop a female-focused environment that brings the membership network’s mission to life,” the team said.

      “We dovetailed original building elements with new millwork, pathways, and technology to create an enfilade of communal and enclosed zones designed to host large events, lingering, chance encounters and focused work.”
      Conference rooms are each identified by a different colourThe interiors incorporate some of the design elements in Chief’s New York and Chicago locations, the latter of which was also designed by AvroKO and was named Large Workspace of the Year at the Dezeen Awards 2021.
      The visual threads between the different outposts include the use of rich colours and mix of furniture styles to create a residential feel, and incorporating many pieces by female artists and designers among custom millwork and vintage finds.
      Nods to the building’s former use include framed signatures of those who performed thereThe 14,000-square-foot (1,300-square-metre) LA clubhouse is split over two levels and includes two bars, five conference rooms, multiple lounge areas, and smaller private rooms for meetings or focused work.
      An outdoor patio is also available for members to sit among the trees or around a fire pit.

      AvroKO creates residential feel inside Chief members club in Chicago

      Inside, another fireplace is clad in narrow, glossy ceramic tiles and forms a focal point at the end of the bar.
      Each of the conference rooms is identified by a different colour, such as a large room with a sienna-hued ceiling and another that’s painted dark blue.
      A mix of furniture styles includes custom pieces, vintage finds and many designs by womenOchre yellow, dusty rose and various shades of green can also be found in upholstery, rugs, artwork and styled accessories.
      Nods to the building’s previous use are also scattered throughout. “We integrated a wall with celebrity signatures from roasts hosted at the theatre into the design,” said the team.
      Chief LA also has an outdoor patio for members to enjoyJM|A+D was founded by architect Jeffrey Miller and also has an office in Oregon. The studio has previously collaborated with TAP principal Tanya Paz on several residential projects.
      AvroKO is best known for hospitality projects and also designed the Mortimer House members’ club in London.
      The photography is by Aubrie Pick.
      Project credits:
      Architecture: JM|A+D and TAPInterior design: AvroKOCivil engineer: KPFFMEP consultant: Interface EngineeringAudiovisual consultant: VanWert Technology DesignLighting consultant: Focus LightingFood and beverage consultant: Sam Tell

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      Maison Lune gallery in California showcases art and design in residential setting

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      This art and design gallery in Venice, California occupies a former private house where interiors by designer Gabriella Kuti provide a warm, neutral backdrop for the works on show.

      Maison Lune was co-founded by French artist and designer Sandrine Abessera and Ukrainian fashion designer Lubov Azria, who set about creating a “dream home, where beauty rules”.
      Maison Lune is presented as a collector’s house, where all the art and design pieces are for sale”We want to build an alternative to traditional galleries, which are often perceived as too elitist and intimidating,” said Abessera and Azria.
      The duo worked closely with interior designer Gabriella Kuti to turn what was a private house in a protected historical building into a space to showcase a rotating series of exhibitions.
      The house has various terraces and balconies used to display works outdoorsThe gallery is organised like a collector’s home, with artworks and design pieces spread across multiple rooms that total 4,000 square feet (371 square metres).

      Their intention was to allow visitors to journey through the different rooms and floors, which are designed to exude a warm atmosphere.
      The interiors were designed to provide a warm and neutral backdropThe team didn’t need to alter too much of the existing interiors but added storage and lighting to help better display the works.
      “The space was already an amazing canvas for this purpose: high ceilings, lots of lights and skylight, white limestone floors,” the co-founders told Dezeen. “We created more shelving with LA artisans and added more lights.”
      The gallery’s debut exhibition is titled Transcendence and is curated by Gaia Jacquet MatisseArchitectural features like circular windows, spiral staircases and marble bathrooms all bring character to the gallery.
      The house also has a terrace with a small swimming pool and balconies for displaying pieces outdoors.
      The team added shelving created by LA-based artisans for displaying smaller objectsEverything displayed through the various styled vignettes, from artworks to collectible design pieces, is for sale.
      The aim is to spotlight a wide range of both established and emerging artists and designers, who work across mediums and techniques including painting, sculpture, photography, furnishings, ceramics, lighting, textiles and objects.

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      “The pieces showcased represent the varied and changing cultural landscape of identities, values and beliefs,” the pair said.
      Inaugurating the gallery is a group exhibition titled Transcendence, curated by Gaia Jacquet Matisse and including work by her mother, Sophie Matisse, along with artists Bobbie Olivier, Jeannie Weissglass, Edson Fernandes, James Fischetti, Angela Damman and Santiago Martinez Peral.
      Existing architectural features like a circular bathroom window add character to the galleryTogether, the show aims to “examine the concept of duality within our existence as humans inhabiting the earth, alongside nature” according to the team.
      This debut exhibition will continue until the Frieze Los Angeles 2023 art fair, which takes place 16-19 February, then the gallery is scheduled to host four showcases per year.
      Maison Lune is located in a historic part of Venice, California, next to one of the city’s canalsPresenting art and collectible design in a residential setting has become a popular way for gallerists and fairs to contextualise the objects, and make them more appealing to potential buyers.
      Galleries like The Future Perfect, which operates showrooms in LA and New York under the moniker Casa Perfect, and the Nomad Circle series of travelling design fairs are among those that have found success through this format.

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