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      Eight characterful kitchens with sleek metal details

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      Our latest lookbook focuses on eight homes fitted with metal kitchens, from a flat in London informed by fish-and-chip shops to a 19th-century apartment with period details in Paris.

      While stainless steel has long been a material associated with restaurant kitchens due to its durability and functionality, it can bring a sleek, modern feel to residential kitchens and many now opt to integrate metal kitchens into their homes.
      Here, we spotlight eight homes that make use of metal in residential kitchens in various ways.
      Included in this collection of projects is a fish-and-chip-shop-inspired kitchen in London, a live-work apartment space in a brutalist building in Quebec City and a 24-square-metre micro apartment in Melbourne.
      This is the latest in our lookbooks series, which provides visual inspiration from Dezeen’s archive. For more inspiration, see previous lookbooks featuring conversation pits, living rooms with autumnal hints of red and orange and members’ clubs with lavish interiors.

      Photo is by Edmund DabneyHighbury apartment, UK, by Holloway Li
      Local studio Holloway Li renovated this apartment set in a converted Victorian house in north London, creating a single-storey home with an open-plan layout for its co-founder Alex Holloway.
      Designed to reference materials found in London’s many fast food outlets and fish and chip shops, its custom-built kitchen was clad in circle-brushed stainless steel with a curved splashback.
      Find out more about the Highbury apartment ›
      Photo by Maryse Béland, Maxime Brouillet and Antoine MichelBrutalist apartment, Canada, by Jean Verville
      Metal surfaces were juxtaposed against bright yellow wall lamps within this live-work apartment space that architect Jean Verville designed for himself as a “creative laboratory” inside a residential tower in Quebec City.
      Stainless-steel commercial restaurant furniture was used for the kitchen, blending in with the raw concrete walls of the 1970s brutalist building.
      Find out more about the brutalist apartment ›
      Photo is by French + TyeTrellick Tower apartment, UK, by Archmongers
      Surfaces and fixtures made from industrial-style materials were paired with newly exposed concrete aggregate walls in this home renovation by London studio Archmongers in North Kensington’s Trellick Tower.
      In the kitchen, speckled brown and cream terrazzo was incorporated alongside brushed stainless steel counters, white cabinets and matt-black linoleum flooring.
      Find out more about the Trellick Tower apartment ›
      Photo is by Giulio GhirardiHaussmann-era apartment, France, by Rodolphe Parente
      Set within a 19th-century Parisian apartment, French interior designer Rodolphe Parente balanced cabinet finishes of stainless steel and pastel pink with a frame-like marble splashback for the kitchen.
      During the overhaul of the Haussmann-era apartment, Parante set out to preserve and restore some of the classic features while improving the sense of flow by connecting the dining room with the kitchen.
      Find out more about the Haussmann-era apartment ›
      Photo is by Félix Dol MaillotUnivers Uchronia, France, by Uchronia
      Named Univers Uchronia, this eclectic Paris apartment was designed by Uchronia founder Julien Sebban as his home, intended to be an extension of his studio – known for its bold application of shape, colour and reflective surfaces.
      A metallic island was incorporated in the open-plan kitchen, topped with a blobby seaweed-shaped table lamp, alongside an array of contrasting materials and colours.
      Find out more about Univers Uchronia ›
      Photo is by Yevhenii AvramenkoStalinist-era apartment, Ukraine, by Mirzoyan Studio
      Partition shelves and built-in furniture were used to distinguish open-plan spaces in Ukrainian architecture practice Mirzoyan Studio’s renovation of this Stalinist-era flat in the historic centre of Kyiv.
      Fitted in the corner of the open-plan living and dining room, the cabinets and countertops in the primary working area of the kitchen were finished in polished stainless steel.
      Find out more about the Stalinist-era flat ›
      Photo is by Pier Carthew Kerr, Australia, by SSdH
      Metal surfaces were combined with wooden cabinetry in this mezzanine-style apartment by local studio SSdH, located in a warehouse building in Melbourne that once housed a chocolate factory.
      Part of an open-plan living space, the kitchen was fitted with geometric cabinetry made from local spotted gum timber, as well as brushed stainless steel and nickel fixtures.
      Find out more about Kerr ›
      Photo is by Peter Bennetts Microloft, Australia, by Studio Edwards
      Australian architecture practice Studio Edwards remodelled this 24-square-metre micro apartment on the top floor of a 1980s apartment block in Melbourne.
      A horizontal raw aluminium surface was used for the angled wedge-shaped countertops in both the kitchen and dining area, designed to seamlessly merge the two spaces.
      Find out more about Microloft ›
      This is the latest in our lookbooks series, which provides visual inspiration from Dezeen’s archive. For more inspiration, see previous lookbooks featuring conversation pits, living rooms with autumnal hints of red and orange and members’ clubs with lavish interiors.

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      FMA creates flexible offices within former Mexican convent

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      A meditation room and an outdoor work area are available to employees at this office in Mexico, which was remodelled by architecture firm FMA within a 17th-century convent.

      The GO Headquarters is located in the historic centre of Morelia, a city in the state of Michoacán, and is arranged around a cloister at the heart of the building.
      The GO Headquarters takes advantage of a cloister space that is used as an outdoor work and dining areaThis central courtyard offers employees a space to work or relax outside, while surrounded by five planters with orange trees set against the old stonework.
      “The primary challenge of the project was to honor the original architectural elements of the building while maximizing available space,” said FMA founder Francisco Méndez.
      A coffee bar wrapped in clay tiles anchors a space for employees to relax”Moreover, careful recognition of the alterations that the convent had undergone over time was needed, distinguishing between those that were appropriate and those that were not,” he added.

      All of the interior office space is on the level above, accessed from the main entrance via the courtyard and a stairwell.
      Larger rooms feature long conference tables for desk-style workingOn this upper floor, interconnected rooms open onto the colonnaded central space overlooking the verdant enclosed garden below.
      “Moving upstairs, the work areas were conceived as living spaces with a disruptive approach,” said Méndez. “While the architectural program remains straightforward, the diversity and multifunctionality of each area are striking.”
      A variety of clay elements made by local artisans are incorporated throughout the officesLarger rooms accommodate long oak tables that offer more traditional desk-style workspace and meeting areas.
      Meanwhile, a library with lounge furniture and a large shelving system the covers a full wall acts as both a reception and a casual work area.
      A library has a full wall of display shelving and casual furnitureAnother room features a horseshoe-shaped coffee bar fronted with clay tiles and a wooden ping-pong table, where team members can gather and socialise.
      There’s also a dedicated meditation room, nicknamed “the nest”, which acoustically optimised with oak panelling and a padded floor for comfort.

      RootStudio transforms former Oaxaca convent into culinary centre

      “This tranquil space is dedicated to introspection, providing a sanctuary for individuals to rejuvenate their minds and break away from routine, thus emphasising the significance of mental and physical well-being, ultimately enhancing the quality of life and productivity of workers,” Méndez said.
      Throughout the building, lighting was upgraded to an intelligent system that adjusts according to the circadian cycle and saves energy.
      Sand-coloured plaster walls and white oak stave flooring complement the historic buildingMaterials including sand-hued plaster walls, white oak stave flooring, and furniture in warm, earthy tones complements the existing building’s palette.
      Clay lamps, planters and decorative objects crafted by artisans from Michoacán are also incorporated.
      “An emphasis was placed on natural and regional finishes to sustain a sense of warmth and harmony within the project, as well as to support local artisans and commerce,” said the architect.
      Employees have access to a meditation room lined with white oak panelsCompanies and organisations across Mexico are finding a variety of new uses for abandoned or unused convent buildings.
      In Oaxaca, RootStudio converted a historic building into a centre for celebrating the rich culinary legacy of the region – earning the project a spot of the Heritage Project shortlist for the 2023 Dezeen Awards.
      The photography is by César Belio.

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      Eight home kitchens finished with tactile brick floors

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      Our latest lookbook collects eight houses from around the world that feature kitchens with tactile brick floors, including a mid-century home in the USA and a coastal dwelling in Denmark.

      Widely used for their durability and low maintenance, bricks are a long-time favourite material across the fields of architecture, interiors and design.
      They are most commonly used on walls and patios, but also popular as internal flooring because of their ability to add rich, earthy tones and tactile qualities to an interior. 
      While brick flooring may conjure up images of old rustic farmhouses, this roundup shows how they can also be adapted to suit contemporary homes around the world. 
      The examples below include those that have been arranged in herringbone format, used as a backdrop to oak cabinetry or designed to connect homes to their matching patios outside.

      This is the latest in our lookbooks series, which provides visual inspiration from Dezeen’s archive. For more inspiration, see previous lookbooks featuring conversation pits, autumnal living rooms and lavish members’ clubs.
      Photo by Carlos NaudeHacienda Granada, USA, by Working Holiday Studio
      Working Holiday Studio sought to create a “hacienda vibe” for this mid-century home that it overhauled in Los Angeles.
      Among the alterations was a revamp of the kitchen, which involved adding a floor of warm terracotta bricks handmade in Tijuana, Mexico, arranged in a herringbone format.
      They contribute to a warm and earthy aesthetic in the room, which is enhanced by dark green plaster walls and wooden joinery and furniture.
      Find out more about Hacienda Granada ›
      Photo by Agnese SanvitoGallery House, UK, by Neil Dusheiko
      Chunky reclaimed bricks extend down from the lower half of the walls of this kitchen and continue out across its floor.
      Designed by architect Neil Dusheiko for his father-in-law, the terracotta lining forms a backdrop to a wall of storage built from oak that displays ceramics, glassware and framed pictures.
      Find out more about Gallery House ›
      Photo by Jonas Bjerre-Poulsen of Norm ArchitectsFjord Boat House, Denmark, by Norm Architects
      Handmade ceramic bricks are inlaid across the floor of this kitchen, which Danish studio Norm Architects created at the Fjord Boat House in Denmark.
      Married with warm oak finishes and a custom washi-paper pendant lamp, the textured flooring is intended to contribute to a warm and cosy atmosphere.
      “A refined abundance of warm textures and hues are used throughout, creating a deep sense of cosiness and comfort,” said Norm Architects.
      Find out more about Fjord Boat House ›
      Photo by David SouthwoodArklow Villa III, South Africa, by Douglas & Company
      During their renovation of a century-old house in Cape Town, architects Liani and Jan Douglas revamped the kitchen with a tactile material palette that includes brick flooring.
      The terracotta floor continues onto the adjoining patio and is teamed with a structure of exposed South African pine and bespoke wooden units finished with green marble counters.
      Find out more about Arklow Villa III ›
      Photo by Chris WhartonVinyl House, UK, by Benjamin Wilkes
      Elongated bricks are arranged in a herringbone formation across the floor of the Vinyl House extension, recently completed by British studio Benjamin Wilkes in London.
      Designed to help connect its kitchen area to the matching patio outside, the earthy flooring is complemented by warm wooden cabinetry and off-white terrazzo countertops.
      Find out more about Vinyl House ›
      Photo by Prue RuscoeBudge Over Dover, Australia, by YSG
      Terracotta brick was teamed with aged brass and tactile plaster across the interior of Budge Over Dover, a house in Australia renovated by YSG.
      Bricks line much of the ground floor, including its textured kitchen that is complete with a chunky prep counter made with a veiny marble countertop.
      Find out more about Budge Over Dover ›
      Photo by Jonas Bjerre-PoulsenHeatherhill Beach House, Denmark, by Norm Architects
      Norm Architects also opted for brick flooring in the kitchen of Heatherhill Beach House, a wooden holiday home on the Danish coast. It was designed as a contemporary twist on the traditional brick flooring found in Denmark.
      “The bricks are placed side by side instead of in the traditional pattern and have minimal cuts – instead, the grout size changes minimally to achieve a homogenous and harmonious look,” the studio explained.
      Find out more about Heatherhill Beach House ›
      Photo by Fred HowarthCamberwell Cork House, UK, by Delve Architects
      A floor that acts as a continuation of the brick paving outside features in the open-plan kitchen of Camberwell Cork House, conceived by Delve Architects in London.
      Its design formed part of a wider strategy for the home that sought to better connect it to its garden. This is also achieved by introducing large green-framed windows that enhance sight lines and maximise natural light.
      Find out more about Camberwell Cork House ›
      This is the latest in our lookbooks series, which provides visual inspiration from Dezeen’s archive. For more inspiration, see previous lookbooks featuring conversation pits, autumnal living rooms and lavish members’ clubs.

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      Armourcoat launches Limewash paints for “environmentally conscious” interiors

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      Promotion: surfaces brand Armourcoat has launched a range of textured and eco-friendly paints for interiors, designed to celebrate the distinctive look and feel of traditional limewash.

      Named Limewash, the collection by Armourcoat is intended as a surface coating suited to both residential and commercial interiors.
      It has a soft matt appearance in 45 shades of limewash – a mix of lime and water used for coating walls – but has a less chalky and more durable finish than traditional forms.
      Armourcoat has launched a range of textured and eco-friendly paintsArmourcoat Limewash is composed of a mix of carbon dioxide-absorbing slaked lime, clay mineral kaolinite, water, mineral pigments and natural plant additives, ensuring it is free from solvents and Volatile Organic Compounds (VOCs).
      According to Armourcoat, this ensures the paint aligns it with “top-level environmental and health accreditation” in the architecture industry.

      The brand claims it is the only paint of its kind with Environmental Product Declaration (EPD) and Health Product Declaration (HPD) documentation, making it suited to projects striving to obtain the BREEAM and LEED sustainable building certifications.
      It is available in 45 shades”Here at Armourcoat we believe material transparency is fundamental to designing beautiful interiors that have minimal impact on our planet,” said creative director Duncan MacKellar.
      “Our goal as creative manufacturers is to reduce both embodied carbon and environmental toxins, and ultimately drive sustainable innovation within the built environment,” added MacKellar.
      “With our Environmental and Health Product Declarations, architects and designers can be confident that all Armourcoat finishes align with efforts to create environmentally conscious, healthy interiors.”
      It is intended to celebrate traditional limewashBenefiting from the properties of limewash, Armourcoat’s collection has a “naturally high alkalinity owing to its slaked lime”, a critical ingredient which makes it resistant to bacteria and mould. It is also non-combustible.
      Limewash is the latest addition to Armourcoat’s collection of surface finishes developed by the brand to offer “sustainable luxury finishes” to architects and designers around the world.
      To find out more about Limewash and Armourcoat, visit the brand’s website here.
      Partnership content
      This article was written by Dezeen for Armourcoat as part of a partnership. Find out more about Dezeen partnership content here.

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      YSG adds 1970s-style elements to Sydney’s Superfreak cafe

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      Australian studio YSG has added carpet-lined seating, cork flooring and high-gloss green paint to the Superfreak cafe in Sydney.

      Located in the city’s Marrickville suburb, the space was converted from an ice cream factory into a pilates studio, which is located at the rear and the Superfreak cafe on the street front.
      YSG has completed interiors with 1970s motifs for the Superfreak cafe in SydneyDrawing on a relaxed 1970s-style aesthetic, YSG opted for a colour palette of pale sandy yellows, avocado greens and deep earthy brown tones.
      Contributing to the retro feel are checked brown and green cafe curtains, as well as vintage furniture pieces including a low, tile-clad wooden table and timber dining chairs sourced from online marketplace 1stDibs.
      A semi-enclosed lounge-like seating area is off to the left of the entranceTo the left of the entrance, a large U-shaped timber banquette made with maple joinery marks out the main seating area It was upholstered in soft brown carpet material often associated with 1970s interiors.

      The deep wrap-around, bench-style seating has inbuilt storage and an integrated plinth containing a record player and vinyl storage cavity.

      YSG creates “eccentric beats of nostalgia” in Byron Bay seaside home

      “Our clients wanted a space where locals felt like they could hang out,” YSG director Yasmine Saleh Ghoniem told Dezeen. “Also, they wanted to welcome pilates students to stretch out comfortably post-class.”
      “A key component was to build sunken lounge-like seating via banquettes that created a cosy enclosure,” she continued.
      Banquette-style seating with maple timber joinery is upholstered in a plush brown carpet materialReplacing the previously all-white decoration, YSG used glossy green paint for the walls and ceiling surrounding the timber service counter.  A statement lamp crafted by American artist Autumn Casey sits on top of the wooden counter.
      “Possessing a child-like expression of a classic Tiffany lamp, we granted it pride of place by the entrance beside the coffee machine,” said Ghoneim.
      Elsewhere, the cafe is illuminated by an array of rice paper lanterns and vintage sconces paired with an angular wall lamp by Olivia Bossy.
      The ceiling and walls surrounding the service counter are painted in a high-gloss greenThe same brown carpet material used for the lounge seating was also added to the exterior of an open kitchen counter and the tops of its high stool seats.
      Above the counter, the ceiling and suspended storage shelves were painted in a high-gloss green.
      Brown carpet material also lines the top of the bar stoolsA mural of a leafy green garden scene by Creative Finish was painted across concealed storage and refrigeration space behind the bar, with a gold-toned corner mirror feature off to the side.
      While the clients initially intended to continue the brown carpet for the floor, YSG opted for cork flooring instead due to the nature of the space as a hospitality setting.
      “Prioritising tonal and textural interest, we laid spongey caramel-hued sealed cork underfoot, also aiding the acoustics,” said Ghoneim.
      The facade of the building was also painted greenTaking cues from the interior concept, the building’s facade was painted green with a street-side coffee hatch cutout incorporated for takeaway orders.
      Other projects by YSG recently featured on Dezeen include a seaside home renovation in Byron Bay and a suburban home in Sydney finished with sumptuous materials intended to evoke a boutique hotel feel.
      Photography is by Phillip Huynh.

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      Nicemakers renovates Swiss chalet interiors with mid-century modern furniture

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      In the village of Adelboden in Switzerland, Amsterdam-based Nicemakers has transformed the interiors of The Brecon, a hundred-year-old chalet, into a secluded retreat.

      The intention for the 18-room chalet, called The Brecon, was for it to be “like a high-end version of your own home,” Nicemakers head of design Lottie Lorenzetti told Dezeen. The studio wanted the hotel rooms to feel like guest rooms in someone’s home.
      Rooms at The Brecon have been styled to feel like guests are staying in “a home away from home””We set out from the very beginning with the intention of not creating another clean, minimal, Swiss hotel aesthetic,” Lorenzetti added.
      The client, hotel operator Grant Maunder, wanted to create “a hideaway which feels like a dream home”.
      Across the common spaces, 18 rooms and four suites of the boutique hotel, Nicemakers worked with Maunder to fulfil the brief by creating a series of intimate and characterful interiors with a domestic feel.

      On entry through a bespoke wooden revolving door, the open-plan lounge space progresses into dining and living areas, featuring a sofa tucked away in a secluded nook.
      A two-seater sofa is tucked in a dimly lit nook off the main living areaThe interiors throughout are decorated with wooden panelling and integrated bookshelves, free-standing lamps and mismatched mid-century modern furniture.
      Mantel pieces and coffee tables display a collection of objects, candles and incense holders, statement one-off ashtrays and magazines that were chosen to add to the domestic feel.
      Nicemakers worked with Amsterdam’s Bisou Gallery to select relevant and personal artworks for the walls of The Brecon.
      Coffee tables are filled with homely items like boardgames, candles and matchesTimber, stone, leather and wool, in an earthy palette chosen to complement the hotel’s mountain surroundings, have been used throughout the interior scheme.
      On the ground floor, Nicemaker placed a few casual breakfast tables by an open kitchen to evoke the sense of being a guest in someone’s spacious home.
      The spa, which has a sauna, steam and treatment rooms, and the infinity pool on the terrace looking down the valley to the Engstligen waterfalls, were finished at the scale of a generous private residence, the studio said.
      A crazy-paving entrance space leads through to the open kitchenThe unusual concept for the retreat – in a small town with several more traditional hotels – was executed with a mid-century modern design approach.
      The resulting interiors contrast with the traditional chalet style found in Switzerland.
      Other unusual design details include the repeated use of crazy paving indoors; in the elevators and entranceway, on bedroom balconies and around the pool area.
      Unusual paving has been used around the hotel interiors and exteriors”The crazy paving was a hugely labour-intensive design element – it took a long time to lay and needed a skilled person who came from Wales to do this,” Lorenzetti said.
      Continuing the family affair, all the ceramic crockery was handmade in Wales by Andréa Anderson, who is married to the client Grant Maunder.
      The rooms do not feature mini bar fridges, but rather a variety of cabinetsOriginally Nicemakers had plans for bespoke mini bar cabinets, bedside tables and the same armchairs in each room.
      However, the studio concluded this would have gone against the hotel’s domestic concept.
      “You wouldn’t have a mini bar fridge in your own guest room at home,” explained Lorenzetti.

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      This decision meant that – instead of using the same suite of bespoke elements throughout the hotel – individual items could be sourced and curated for each room.
      “[This] gave the rooms a much more collected, rather than manufactured, feel”, Lorenzetti said.
      An original fireplace was preserved in the new spa areaNicemakers’ design was also informed by some of the original elements from the 1950s and ’60s heyday of the building, which was originally built in 1914.
      Textured plaster, the original red mosaic tiles in the stairwell and the mottled glass all draw from the history of the site. A pre-existing fireplace in the spa was also preserved.
      Vintage and new items were sourced from all over Europe, especially vintage markets in Italy, the UK, the Netherlands and France.
      The palette of the scheme was chosen to reflect the natural surroundingsThe mix of patterns and details was intentional.
      “[We wanted] to imitate a collected mix of items, to steer away from the classic minimal and clean, expected, Swiss aesthetic”, Lorenzetti concluded.
      Other projects in Switzerland recently featured in Dezeen include a 1960s chalet in Zinal renovated by Giona Bierens de Haan Architectures and an extension to a school in Aeschi by Haller Gut Architekten.
      The photography is by Michael Sinclair.

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      CLB Architects takes “residential” approach for Jackson Hole Airport

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      Fireplaces, warm lighting and large windows offering views of the Teton Range are among the features at the renovated and expanded Jackson Hole Airport in Wyoming, which is the only commercial airport within an American national park.

      Located in the mountainous Grand Teton National Park in the western part of the state, the airport dates to the 1930s and has undergone various changes over the decades.
      Jackson Hole Airport dates back to the 1930sAround 2009, it received a major update by the Denver office of global studio Gensler, with Jackson-based CLB Architects serving as the local associate architect.
      In more recent years, CLB has served as the design architect for a series of renovations and additions spanning five phases. Miller Dunwiddie, a Minneapolis firm, served as executive architect.
      The project was designed to tie into the landscapeThe project was designed to tie into the landscape and “facilitate the flow of 21st-century travelers”, while also adhering to strict area and height limits imposed by the national park.

      The facility is the only commercial airport located within a US national park, according to the federal agency that oversees the parks.
      A new restaurant/bar was included in the renovationThe work included a new restaurant/bar, an expanded holding area, two additional gates, a gift shop and an updated baggage claim area with retail space — all held within the L-shaped terminal totalling 125,000 square feet (11,613 square metres).
      “Design decisions facilitate an easy and stress-free travel experience, with open floor plans and clear sight corridors, as well as abundant glazing that frames the airplane runways and Teton Mountain range beyond,” said CLB Architects.
      Interior finishes are a mix of earthy and industrial materialsInterior finishes are a mix of earthy and industrial materials, including polished concrete, quartzite and timber – all meant to stand up to heavy use, as 800,000 travelers pass through the airport each year.
      For the structural system, the team paired lightweight steel with Douglas fir glue-laminated beams and rough-hewn log columns. The structural supports are meant to have “an elegant and minimal presence”.
      Fireplaces were incorporated to make the airport feel like a “residential space”In addition to the natural light that flows in through large windows, the terminal has downlights, uplights and LED accents that create a feeling of warmth.
      “Indirect up-lighting creates an evocative, atmospheric quality that contrasts with the usual cold, fluorescent lighting of institutional airport spaces,” the team said.
      CLB Architects created a “living room” for travellers awaiting their flightsThroughout the facility, the team blended elements of residential design into the travel hub.
      “It was our intent to make the experience feel more like a residential space rather than a commercial one,” the team said.

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      On the northern side of the terminal, where passengers wait to board their planes, the studio created a “living room” with comfy furniture, commissioned artwork and a monumental fireplace.
      Glazed walls are lined with polished concrete benches with leather seat cushioning, where visitors can watch aircraft take off and land. The waiting area also features a grab-and-go concessions counter and a casual restaurant with a fireplace.
      The terminal is designed to be highly flexibleThe terminal is designed to be highly flexible, so rooms can be reconfigured as needed. To that point, the airpot has an underground area of approximately 3,000 square feet (279 square metres) that was envisioned as a “versatile flex space”.
      CLB had two additional projects underway at the airport – a private terminal and three hangar structures.
      Other US airport projects include the ZGF-designed expansion to the Portland International Airport, which features a massive timber roof, and plans for a highly sculptural air-traffic-control tower in Columbus, Indiana, designed by Marlon Blackwell Architects.
      The photography is by Matthew Millman.
      Project credits:
      Design architect and architect of record for phases 3-7: CLB ArchitectsCLB team: Kevin Burke (partner), Cary Lakeman (senior project manager), Steve Jakub (project manager)Executive architect for phases 3-7: Miller DunwiddieInterior design: TruexCullins (restaurant and hold room)Contractor: Wadman CorporationCivil consultant: JviationGeotechnical engineer and well design: Nelson EngineeringStructural engineer: KL&AMechanical, electrical, plumbing, technology engineer: Michaud, Cooley, EricksonLighting: Helius Lighting DesignFood service: The Marshall AssociatesLife, safety, accessibility: Jensen HughesAcoustic engineer: Wave EngineeringClient: Jackson Hole AirportOwner’s representative: KLJ Engineering

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      Plantea Estudio creates “frank and efficient German ambience” inside Acid Berlin bakery

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      Spanish practice Plantea Estudio has completed the interior of Acid bakery in Berlin, which features a palette of austere and functional materials chosen to echo its urban context.

      Acid Berlin is located on a corner lot in the city’s central Mitte district, with large ground-floor windows looking out onto Rosenthaler Strasse and Auguststrasse.
      Plantea Estudio has designed the interior of the latest Acid bakery in BerlinHaving previously designed the bakery’s original outlet in Madrid, Plantea Estudio opted for a similar pared-back style with nods to Mitte’s gritty urban character.
      The main materials used throughout the public areas include chestnut wall panelling and red Ferrés tiles, which contrast with the more austere sections finished in stainless steel and grey paint.
      The interior is reflective of Mitte’s gritty urban character”The aim was to achieve a frank and efficient German ambience and at the same time a temperate refuge, a Mediterranean ‘nativity scene’ in the harsh urban territory of Berlin’s city centre,” said the designers.

      The premises are located on the ground floor of a residential building, with large wood-framed windows providing a visual connection to the streets outside.
      Orange resin flooring reflects on the surfaces of stainless-steel machineryThe L-shaped internal plan is organised with the workshop area on the longer side towards Auguststrasse and the cafe space facing Rosenthaler Strasse.
      Ovens, fermenters, mixers and office equipment are arranged along the bakery’s back wall in front of stainless-steel panels that produce gentle reflections of the goings-on.
      Tables for kneading and rolling are positioned in the centre of the room facing the windows, so passers-by can observe the bakers at work.
      The cafe counter is clad entirely in stainless steelThis space also features a robust orange resin floor that complements the tonality of the tiled public areas and is reflected on the surfaces of the stainless-steel machinery.
      The cafe area is organised around a six-metre-long counter containing a glass display case for pastries and space for coffee-making equipment.
      The counter is clad entirely in stainless steel, giving it a utilitarian aesthetic that ties in with the materiality of the bakery.

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      Behind the counter is a steel worktop and shelving system where bread is displayed in front of semi-opaque panels with a subtle orange-white gradient that allows a partial view through to the work area.
      Tables, benches and stools by Copenhagen brand Frama are arranged along the facades and back walls so customers feel immersed in the cityscape.
      Semi-opaque panels allow a partial view through to the work area at the backPlantea Estudio drew directly from the restrained forms, materials and tonality of the urban surroundings to design a space that feels raw yet refined.
      “It is simple and austere, practical and functional, like the city but in no small measure warm and welcoming, bold and spontaneous like its inhabitants,” said the studio.
      Tables, benches and stools are arranged along the facades and back wallsWoodwork, ceiling panels and bare brick walls are painted a unifying shade of light grey that echoes the simplicity and functionality of the adjacent mid-rise apartment buildings.
      The panelled walls and red-clay tiles used for the flooring and built-in bench seating introduce warmer tones and bring an expressive touch of handmade quality to the space.
      The tables feature white polyethylene tops set on chrome bases that add a further reflective element, while the birch stools provide another natural detail alongside the grain of the chestnut panelling.
      Simple lighting fixtures includes wall sconces from Santa & ColeSimple lighting including wall sconces from Spanish brand Santa & Cole and a classic Japanese-style paper lantern provide gentle illumination.
      Ceramic works by female artists Raquel Riola, Wendy Taylor and Saeam Kwon were chosen to add textural highlights that complement the character of the interior.
      Decorative ceramic works add textural highlights that complement the interiorPlantea Estudio was founded by brothers Lorenzo and Luis Gil in 2012, with Carla Morán joining in 2017. Much of the studio’s work focuses on smaller projects including hotels, family homes, restaurants, cafes, shops and offices.
      The studio’s output is characterised by a careful consideration of materials and fabrication, with previous examples including a store for footwear brand Veja featuring raw finishes and brutalist details, and a minimalist restaurant that uses plywood and chipboard to create a light and warm ambiance.
      The photography is by Marina Denisova.

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