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      Christ & Gantenbein adds “techno-futuristic” lobby to Oxford Street office

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      Swiss studio Christ & Gantenbein has completed its upgrade of UK House on Oxford Street, adding a baroque-influenced lobby informed by the building’s history.

      The renovation of the Grade II-listed building aims to respond to the need for communicative corporate architecture. Designed to be a welcoming “place of arrival”, the new lobby combines the baroque themes from the existing building with modern elements.
      Christ & Gantenbein has upgraded UK House on Oxford Street”We conceived this lobby as a location full of hospitality, with a unique mix of baroque and techno-futuristic elements,” said Christ & Gantenbein’s founding partner Emanuel Christ.
      “The result is a creative spatial identity and generous sequence of rooms that offer high-quality experiences for the tenants and visitors alike.”
      The studio has added a baroque-influenced lobbyChrist & Gantenbein’s renovation expands upon the building’s conversion into an office block during the 1970s.  The structure still features two of its original baroque facades, which partially inspired the design of the new lobby.

      “We worked with this history to generate our vision of corporate architecture in the 21st century: bold, futuristic, open, communicative, yet steeped with history,” said the studio.
      Its design references the building’s historyLarge windows framed by bronzed metal at the front of the building draw upon the surrounding retail facades of Oxford Street. The lobby is accessed through a pair of revolving glass doors with frames of chromed stainless steel, which offer views of the mirrored columns inside.
      Inside the lobby Christ & Gantenbein placed a front desk and a coffee point, along with an ancillary space that can be used for meetings. A work by artist Wolfgang Tilmans features on the right wall of the space.

      Christ & Gantenbein designs Roche office to give staff “a reason to come to work”

      A marbled floor made from black and white stone spans the space, forming a checkered pattern which references the history of the building.
      A metal grill ceiling divided into a more subtle grid mirrors the checkered pattern of the floor, spanned by linear lighting elements that illuminate the lobby.
      There is a metal grill ceilingWith “apse-like” endings that project slightly into the lobby, the walls mimic the original baroque forms of the building. The walls are covered in neutral ceramic tiles which act as a subtle backdrop to the space.
      Mirrored columns reflect the patterns from the floor through the lobby, while polished chrome elements, including the elevator doors, feature throughout the space.
      A marbled floor forms a checkered patternBeyond the lobby, the addition of new staircases and elevators has connected the entry hall to a basement space featuring a separate lobby for cyclists and a multi-level bike storage space. Black and white patterns on the epoxy floor mark the route to the bike store, transitioning into a circular pattern to mark the entry to the changing space.
      Other facilities on the level include showers and lockers, along with hyper-modern elements designed by the studio which have been arranged throughout the functional space.
      Other facilities include showers and lockersFounded by Emanuel Christ and Christoph Gantenbein in 1998, architecture studio Christ & Gantenbein was named Architect of the Year in Dezeen Awards 2018.
      Other projects recently completed by the studio include a multifunctional workspace in Germany and a museum for chocolate brand Lindt.
      The photography is by Thomas Adank.

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      Nina + Co brings biomaterials into MONC eyewear store in London

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      Cornstarch-foam shelves meet mycelium display plinths in this London store that Nina + Co has designed for bioplastic eyewear brand MONC.

      Nestled among a parade of high-end shops in Marylebone, MONC sells glasses made from bio-acetate – an acetate produced completely without fossil fuels – which are packaged using recycled leather cases and compostable cornstarch foam.
      The first MONC eyewear location sits along a row of shops in MaryleboneWhen local studio Nina + Co was brought in to design MONC’s debut store, the team was keen to incorporate biomaterials throughout the interior, while also taking the brand’s short-term lease of the retail unit into account.
      “Circularity was key,” said the studio. “Almost everything we brought into that building was entirely bio-based or recycled.”
      “The furniture is expertly built to last but can be disassembled for re-use, recycling or return to the earth as nourishment.”

      The store features a ceiling installation made from cornstarch foamUpon entering the store, visitors find themselves under an undulating ceiling installation crafted from corrugated panels of cornstarch foam.
      Thicker blocks of the material were used to create rows of squishy-looking shelves, which can be used for packaging or simply dissolved in water when they eventually start to show signs of wear and tear.
      The foam was also used to form small shelvesDisplay plinths made out of mycelium – the vegetative part of a fungus – were dotted across the store to showcase different eyewear models.
      In between the shelves, a couple of long mirrors are balanced on hunks of concrete that were salvaged from roadworks nearby.
      A recycled PET island sits at the centre of the store beside mycelium display plinthsThe craggy concrete was chosen as a subtle nod to the rugged Dolomite mountains, which can be seen from the Italian town where all MONC eyewear is produced.
      Nina + Co worked closely alongside Welsh manufacturers Smile Plastics and London joiner EJ Ryder to design the store’s recycled PET island and bench seat, which are an apricot-orange hue.

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      As both furniture pieces were joined with mechanical bolts rather than glues, they can easily be taken apart, flat packed and transported to a different MONC store for reuse.
      Walls throughout the interior were finished with VOC-free clay paint while the unit’s existing floor was covered with a water-based sealant.
      The plastic was also used to form a bench seat”Previous tenants had ripped up their floor to leave a plywood subfloor, with markings of the adhesive still evident and some paint bucket outlines,” the studio explained.
      “After a test patch, we were convinced that a simple water-based sealant would give it a beautiful depth and sheen with the industrial feel of concrete [while being] kinder to the planet and the budget.”
      Walls were washed with a calming clay paintMONC is one of five projects shortlisted in the small retail interior category of this year’s Dezeen Awards.
      It’s going head-to-head with the Durat showroom by Linda Bergroth, which is decked out in an unusual mix of colours, and Aesop’s Yorkville store by Odami with its oxblood-red balusters.
      The photography is by Handover.

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      Margate's Fort Road Hotel celebrates British art and seaside history

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      Frieze co-founder Matthew Slotover, developer Gabriel Chipperfield and artist Tom Gidley have teamed up with Fleet Architects to turn a partially collapsed building in Kent, England, into a 14-room hotel.

      Located on the Margate seafront, Fort Road Hotel features vintage furniture, nature-informed materials and artworks by the likes of Tracey Emin, Hannah Lees and sculptor Lindsey Mendick.
      A ground-floor restaurant forms the reception of the Fort Road HotelThe building has had the same name since 1820 when it first opened as a boarding house. But it was on the verge of ruin when Slotover, Chipperfield and Gidley bought it at auction four years ago.
      London-based Fleet Architects helped the trio replan the interior, which now contains a ground-floor restaurant, a two-storey basement bar and a roof terrace offering 360-degree views of the town and coastline.
      It features artworks by Tracey Emin and Sophie von HellermannThe owners oversaw the interior design themselves. The ambition, according to Gidley, was to pay tribute to the building’s history while offering a sense of homeliness.

      “We wanted to make it feel somewhere between a house and a hotel,” he told Dezeen.
      The green tiles offer a striking contrast with the terracotta-toned floor tilesGuest rooms can be found on the building’s reconstructed first and second floors, as well as on the newly added third floor.
      The focal point of each room, aside from the bed, is a bespoke gridded vanity unit crafted from wood and inlaid with marble.
      Bedrooms are characterised by custom vanity units in wood and marbleThe aesthetic is softened by the addition of period furniture pieces, curtains in linen or felt, and a selection of vintage artworks.
      “Early on, I proposed the idea that I would simply buy pictures that I liked the look of, in the way that boarding house and small hotel owners have always done,” said Gidley.

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      This concept extends to the hallways, which are decorated with seaside memorabilia, vintage photographs, old postcards and antique maps.
      The scene changes in the downstairs spaces. Here, Gidley and Slotover have used their art-world connections to secure pieces by a range of celebrated contemporary artists.
      Bedrooms overlook the seafront and the neighbouring Turner Contemporary galleryIn the joint restaurant and reception – characterised by a herringbone-pattern floor and a bright green tiled bar – small-scale paintings by various artists hang on soft-green panelled walls.
      A corridor leading down to the basement is brought to life with a mural by London-based painter Sophie Von Hellermann, while a neon piece by Tracey Emin is one of several artworks on show in the two-level basement bar.
      “Everybody has loaned works for a variety of lengths of time, so now and again something will change,” said Gidley.
      Red tiles from Mexico feature in the bathroomsFort Road Hotel is the latest of several buildings to put Margate on the map as a hotspot for contemporary art.
      Since the 2011 opening of the Turner Contemporary gallery – designed by Gabriel Chipperfield’s father David Chipperfield – London-based artists including Emin have increasingly been relocating to the area in search of more affordable studio space.
      Ford Road Hotel’s two-storey basement bar can be accessed from the streetGidley hopes the trio’s sensitive approach to the building’s history means the hotel will be just as valued by locals as by art lovers.
      “I think we’ve created something very attractive that adds to the appeal of the town and reflects its history,” he added.
      The photography is by Ed Reeve.

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      Five “quirky” sleeping pods top Watchet's East Quay arts centre

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      UK studios Pearce+ and Fægen have designed the interiors of five sleeping pods that stand on top of the Invisible Studio-designed arts centre on the dockside in Watchet, UK.

      The studios aimed to design the pods, which were created to provide interesting accommodation for people visiting East Quay and the town, to align with the ethos of the arts centre.
      The sleeping pods are located on top of Watchet’s East Quay arts centre”The whole of East Quay is about culture, purpose and imagination – it is a hub of creativity, opportunity, artistry and ideas,” explained Pearce+ founder Owen Pearce.
      “It is also most importantly about community – multiple hands and many eyes,” he told Dezeen.
      “We wanted this to be captured in the pods also, providing inspiring, exciting, different, unusual spaces and involving as many hands as possible in the design, from artists to makers to kids.”

      Two pods are raised on stiltsThe five pods are located in a series of metal-clad boxes on top of the East Quay arts centre, which was designed by Bath-based Invisible Studio with Ellis Williams Architects acting as executive architect for the local social enterprise Onion Collective.
      Two of the pods stand on stilts above the building.

      East Quay arts centre in Watchet takes cues from ad-hoc harbour buildings

      “All the pods are linked to their surroundings by fantastic views of the Bristol Channel, the Quantocks, the marina and the town,” said Pearce.
      “The form of the buildings feels rooted in the area as they jut and protrude as if continuously added to like some of the old houses in the town.”
      The walls of pod two were CNC etchedEach of the five pods is designed by Pearce+ and Fægen to have a different character and involve local artists and the community.
      The first sleeping pod, which was built with reclaimed furniture and materials, was designed as a “living museum” where guests are encouraged to leave an item and take one away.
      Etched illustrations cover the walls of pod two, which is designed by artist Isabelle Mole and aims to tell the story of the town.
      Pod 1 contains a “living museum””Our overarching aim was to provide a connection between guests and the local community,” explained Pearce.
      “This is done, for example, through direct object transfer in pod one as guests donate objects of meaning and take something in return or, in pod two, by visually exploring the stories and myths of the town in CNC etchings on the walls.”
      Pod four contains a cargo netThe third pod aims to evoke the feeling of a 1920s ocean liner, while pod four “is about play” and has semaphore signals painted on the walls. Here there is also a cargo net for sitting, which is reached by a staircase hung from the ceiling.
      Bristol graffiti artist Andy Council worked with local schoolchildren to create the interior of the fifth pod, which will be redecorated each year by an artist chosen by the Onion Collective.
      Bristol graffiti artist Andy Council decorated the fifth podIn line with the ethos of the project, Pearce+ and Fægen moved to Watchet for a year to act as contractor and fabricate the interiors of the pods with the help of a small team.
      Pearce hopes that the pods will provide fun places for visitors to stay and bring income into the community.
      “The brief for the competition was quirky places to stay,” he explained. “The client wanted to have fun with the pods and to provide an opportunity for inventiveness from architects.”
      “The building’s aim is to support a local artistic community and provide opportunities that weren’t available before. A key part of the economic strategy of the building is to attract guests from afar to bring in much-needed income, which in turn supports cultural and education work,” he continued. “The designs are then targeted to create a cool place to visit in order to do that.”
      Pearce+ previously collaborated with UK studio Hugh Broughton Architects and artists Ella Good and Nicki Kent to create the inflatable Martian House, which is currently installed in Bristol.
      The photography is by Joseph Horton.

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      Charlie Luxton Design reworks Oxfordshire farmhouse to create Studio Richter Mahr

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      Composer Max Richter and visual artist Yulia Mahr have set up a multimedia production studio inside a former farmhouse in Oxfordshire, which Charlie Luxton Design has updated with more sustainable features.

      Bordered by 31 acres of forested woodland, Studio Richter Mahr will serve as a space where both emerging and established creatives can come to develop their work.
      Studio Richter Mahr is a multimedia production studio in a former farmhouseRichter and Mahr – who are collaborators as well as a couple – first had the idea for the site some 20 years ago.
      “Studio Richter Mahr is about dreaming the future into existence, a better way to live and work,” said Mahr. “It’s about forward motion and borderless creativity. It’s about offering time and opportunities for people to really experiment.”
      The studio occupies a farm building that had already been modernised to a decent standard but needed adjusting to reduce the operational carbon footprint of the new amenities on site. Local practice Charlie Luxton Design was assigned to the task.

      New skylights allow natural light to flood the facility’s interiorThe building’s roof now accommodates solar panels that provide electricity to the site and several skylights to reduce the need for artificial lighting.
      To keep the building warm, air-source heat pumps were installed alongside a ventilation system powered using recovered heat.
      A large picture window features in the orchestral recording studioCharlie Luxton Design preserved the building’s original steel framework to conserve its embodied carbon and celebrate the site’s agricultural past.
      The existing concrete floor slab was also retained and strengthened in some areas.
      Inside, the studio houses a series of state-of-the-art creative spaces devised with the help of sound specialists Level Acoustics and Studio Creations. This includes a video editing suite, programming room, art studios and a Dolby Atmos sound mixing room alongside an exhibition area and a cafe that creates dishes from produce grown on-site.

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      The plan culminates in a spacious orchestral recording room fronted by a huge picture window that offers uninterrupted views across the rural landscape.
      Charlie Luxton Design applied a restrained material palette throughout the interior.
      Most of the walls were washed with textured lime plaster or overlaid with Dinesen oak boards while the building’s exterior was clad with simple black metal to contrast the surrounding greenery.
      “The brief was always to be very simple, using quality materials,” founder Charlie Luxton told Dezeen.
      Many of the studio’s rooms are clad with timberGoing forward, Richter and Mahr plan to add more amenities including an on-site creche with the aim of hosting artist residencies and composer labs.
      This isn’t the first time a farm building has been repurposed for creative pursuits. Last year, Studio Bua converted a derelict Icelandic barn into an artist’s studio and holiday home.
      The workspace sits inside a double-height gabled volume that was erected within the site’s existing time-worn walls.
      The photography is by Lorenzo Zandri.

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      The Africa Centre finds new home inside former office building in London

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      A lacklustre office building in Southwark has undergone a vibrant makeover to become The Africa Centre, designed by architecture studio Freehaus.

      The Africa Centre first opened in Covent Garden in 1964 as a “home-away-from-home” for the African diaspora in London, where people could meet, connect and enjoy cultural events together.
      After closing its doors to the public in 2013, the institution now occupies a former office building on Southwark’s Great Suffolk Street.
      The Africa Centre takes over a former office blockThe redesign of the building was appointed to Shoreditch-based studio Freehaus, which sought to create an interior that reflects the African continent’s rich array of cultures and traditions.
      To establish the key ideas and themes that would underpin the centre’s interior scheme, Freehaus embarked on a thorough research process.

      A reception was created at ground level to welcome guestsKey points of reference were the work of British-Ghanian architect David Adjaye, Burkinabé architect Diébédo Francis Kére, as well as projects by Niger-based studio Atelier Masōmī.
      The studio also visited other cultural buildings and members clubs around London to pick up inspiration.
      There’s also a pan-African restaurant called Tatale on the ground floor”The key to the brief was for The Africa Centre’s new headquarters to be unmistakably African,” explained Jonathan Hagos, co-director of Freehaus.
      “Given the breadth of diversity on the continent and among the diaspora, we were keen to avoid stereotypes and well-trodden aesthetic tropes.”

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      “At the same time, we wanted to avoid continent-sweeping generalisations – ‘Africa isn’t a country’ is a familiar response, often born of frustration at the dismissive understanding of the breadth in peoples, cultures and traditions that span the African continent,” he added.
      “We wanted to turn this misnomer into a strength,” he continued, “and envisage what an embassy for a continent might look like in the 21st century; a space that demonstrates what connects us and binds us to one another, while celebrating the dynamism of the continent.”
      Latticed banquettes and wooden tables decorate the restaurant’s interiorWith the help of engineers Price & Myers, Freehaus opened up the ground floor of the building to make way for two new entrances.
      One of the doorways opens onto the buzzy Great Suffolk Street, while the other connects the rear of the building to a couple of converted railway arches that The Africa Centre already used for events.
      Clay-plaster walls feature throughout the building, including the barThe ground floor also now accommodates a reception and pan-African restaurant Tatale. The dining space has been decked out with lattice-back banquettes, wooden tables and vibrant pendant lamps that contrast the neutral clay-plaster walls.
      Upstairs on the first floor is a bar and lounge that features patterned armchairs and a large, curved drinks counter clad with relief tiles. The following second floor contains an event space and a gallery.
      The bar is dressed with clusters of patterned furnitureThere are a further two floors in the building that, once funding is obtained, will be transformed into a learning facility and incubator for budding Afro-centric businesses.
      The extra funding will also go towards adding an ornamental screen to the centre’s black-painted facade, which will echo the ornate mashrabiya screens seen in north African architecture.
      A gallery can be found on the building’s second floorA few London cultural spots have recently undergone an update; architecture practice Sam Jacobs Studio has added a contemporary ribbed-glass entrance to the Grade I-listed V&A museum.
      Haworth Tompkins has also created a chainmail-shrouded pavilion to connect two performance spaces belonging to immersive theatre company Punchdrunk.
      The photography is by Taran Wilkhu.

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      Yabu Pushelberg designs The Londoner hotel in the spirit of film and theatre

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      Design studio Yabu Pushelberg has completed a five-star hotel in London’s Leicester Square where rooms are all dedicated to different members of a theatre or movie production’s cast and crew.

      In tribute to its location, in the heart of the city’s theatre district, The Londoner is designed to echo the different sights, sounds and atmosphere you experience during a performance.
      The Londoner’s spaces are designed to reflect the cast and crew of a film or movieDramatic lighting, intricately painted scenography and architectural models all feature in an interior that celebrates the drama of cinema and theatre.
      George Yabu and Glenn Pushelberg, founders of New York- and Toronto-based Yabu Pushelberg, said the aim was to create a multi-layered experience over the building’s 16 floors.
      A drawing room featured murals depicting scenes of flora and faunaIt was this that led them to create different types of scene throughout the building, representing everyone from the scriptwriter and director, to the sound mixer and visual effects supervisor.

      “The Londoner is an homage to performance, with each public space representing a character of someone essential to bringing a production to life,” said Pushelberg.
      The centrepiece of the reception area is a moon-head created by artist Andrew Rae”It was important that we create a project that is an exuberant, joyful expression of not only the hotel’s location but its cultural context,” he continued.
      “We created layers of programming up into the sky and deep into the earth, which emphasise this extraverted, alluring, playful voice,” added Yabu.
      The lobby bar is imagined as a stageThe hotel reception pays tribute to the cinematographer with a room that aims to set the mood. Details include stage models and a metallic moon-head created by artist Andrew Rae.
      In homage to the director, the lobby bar takes the form of a stage with curtain-style fluted wall panels and a mirrored ceiling, while the restaurant next door is filled with black and white graphic portraits that represent the characters created by the scriptwriter.
      The Y Bar features backlit wooden panels, suggesting symbols and charactersThis floor also includes Joshua’s Tavern, a pub-style space that uses industrial overhead copper canisters, leather furniture and scenes by 18th-century portraiture artist Joshua Reynolds to allude to the gripsman, “the muscle on set”.
      The mezzanine features a series of spaces that celebrate visual effects: a drawing room framed by mural paintings, a jewellery-box-like whisky room and a lounge bar where wood-panelled are brought to life with artistic backlighting.

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      “The atmosphere is dynamic,” said Yabu. “We broke the public spaces into multiple, smaller interconnected spaces giving each area individual personalities whilst creating connectivity through one overall design narrative.”
      “Seduction was a key design device for us to draw visitors through the hotel, which is giant,” he explained.
      The Green Room features velvet furniture, marble mosaic flooring and a bar topped by gold megaphonesMore lounge spaces can be found on the upper and lower floors.
      The sound-mixer takes centre stage in a basement bar called The Green Room, where undulating walls and curvy velvet furniture create the impression of sound waves.
      The lower levels also include a pool and spa that takes cues from set design, a series of meetings rooms filled with props, and a golden-toned ballroom designed to suit the glitz and glamour promoted by the publicity agent.
      8 at The Londoner is a restaurant, bar and terrace designed to represent a production’s performersUpstairs, an eighth-floor restaurant, bar and terrace celebrates actors and performers. It includes a rope installation intended to reference bondage, as a way of suggesting the human bodies that take centre stage.
      The only place the drama softens is in the 350 bedroom suites, which were designed with a brighter and more minimal aesthetic.
      Bedrooms have a more pared-back aestheticThe Londoner is the latest in a series of high-profile hotels that Yabu Pushelberg has designed, following Las Alcobas Napa Valley in California, The Times Square Edition and Moxy Chelsea, both in New York.
      Pushelberg said The Londoner gave them an opportunity to push the boat out further than ever before.
      Joshua’s Tavern combines copper and leather with painted scenes from the 18th century”One of the things we cherish most about the Londoner is the incredible layer of styling we were able to apply to each and every space,” he said.
      “The Londoner served as a one-of-a-kind canvas to fully explore our stylistic creativity. From custom gramophones in the club, to playful oversized slices of fruit carved from colourful stone in the spa, this final styling layer is what really brings each space to life with an exceptionally unique personality and subsequently, experience.”
      The pool and spa pay tribute to set designThe designers hope that guests will notice the careful curated views and details as they move through the interior.
      “There is a sense of veiling and unveiling, so that one can take in and absorb all the details,” said Yabu.
      “There is a real feeling of discovery as you wander through all the chambers. Guests really get to choose their own journey.”

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      Foster + Partners designs Apple Brompton Road as “calm oasis” in London

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      UK studio Foster + Partners has unveiled an Apple Store in west London that incorporates stone columns, Ficus trees and terrazzo flooring.

      Located between the Harrods and Harvey Nichols department stores in Knightsbridge, Apple Brompton Road is the latest store designed by Foster + Partners for the technology brand.
      Foster + Partners designed Apple Brompton Road. Photo courtesy of AppleIts main entrance occupies the arched entrance to the former Brompton Arcade, which was created in 1903 to connect Brompton Road with Basil Street, with the store occupying two bays on either side that were formerly shops.
      A mezzanine level was removed to create a seven-metre high space that the studio describes as a “calm oasis”.
      It has a seven-metre-high ceiling”Apple Brompton Road is a calm oasis in a bustling and vibrant part of London,” said Foster + Partners senior executive partner Stefan Behling.

      “Customers interact with Apple’s incredible range of products and experience their personalised customer service in a unique setting which incorporates historic and natural elements.”
      Stone columns and trees define a central spaceThe shop is topped with an arched timber ceiling that mirrors the four-meter-wide arched openings on the building’s historic facade.
      A series of six Castagna stone columns, along with four Ficus trees in planters that double as seating, mark out a central spine in the space.

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      Timber tables on either side of the central walkway are used to display Apple’s phones and iPads, with accessories displayed in furniture built into the Castagna stone-clad walls.
      At the rear of the store, an event space is defined by a large video wall and a mirrored ceiling.
      The store’s terrazzo floor was made from a castor oil resin, aggregate and recycled glass. It marks the first time the plant-based resin has been used in an Apple store.
      An events space is located at the rear of the store. Photo courtesy of AppleApple Brompton Road forms part of a wider redevelopment of a block in Knightsbridge, which is being led by UK studio Fletcher Priest. Along with the Apple Store, the reorganised block will include seven shops, a 10,750-square-metre office building and 33 apartments.
      Foster + Partners, which is the UK’s largest architecture studio, has designed Apple Stores in cities all around the world. Recent shops include the conversion of Los Angeles’ historic Tower Theatre and a “floating” spherical store in Singapore.
      Photography is by Nigel Young unless stated.

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