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      Self-Portrait wraps London store in mint-hued Cornish clay and tonal surfaces

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      Luxury fashion brand Self-Portrait has opened a store in London with mirrored surfaces and Cornish clay walls that combines “minimalism, materiality and colour.”

      Located on the corner of Kings Road and Duke of York Square in Chelsea, London, the 200-square-metre store was designed by Self-Portrait founder and creative director Han Chong in collaboration with New York-based architect Andreas Kostopoulos.
      The store was designed by Self-Portrait founder Han Chong and architect Andreas Kostopoulos”Inspired by spatial design and the idea of self-reflection, features in a myriad of textures including chrome and mirror dominate the interior walls and reflect tonal surfaces in mint green,” Self-Portrait said of the interior.
      “By leveraging on minimalism, materiality, and colour, we wanted to create an intimate, sensory and focused experience, free from any interferences or visually distracting architectural qualities and functions that can typically overwhelm retail environments,” said Kostopoulos.
      Tonal surfaces were added to the interior of the storeThe store interior is characterised by natural materials. Mint-pigmented Cornish clay covers its walls and provides a textural quality through its visible markings, which are reminiscent of limewash.

      Custom terrazzo flooring in hues of white, grey and mint blankets the majority of the floors while some areas, including fitting rooms, were decorated with plush carpets in matching colours to add a softer touch to the space.
      Mirrors visually extended the space and blurred the boundaries of the storeBetween the textural clay walls, expanses of mirrored panels adorn the vertical surfaces and surround street-facing windows from floor to ceiling to visually extend and blur the boundaries of the retail space.
      “I love the idea of spatial perception, blurring the lines between the interior and exterior, vertical and horizontal,” explained Chong.

      AMO recreates “Provence atmosphere” with clay Jacquemus shop-in-shop

      While using rich and textural materials, Chong and Kostopoulos also looked to create a space that was minimalist and free from distracting architectural elements by reducing the store to its bare essentials.
      Overhead lighting throughout was subtlety concealed behind a gridded, drop ceiling that creates a contemporary and modernist look while also adding a contrasting textural quality.
      Cornish clay was applied to the walls to create a textural finish”I am so proud of the space we have created – it’s the perfect blend of art and architecture, which provides a serene and minimalist home for our collections,” Chong continued.
      “For me, this store has become the perfect physical manifestation of our brand – it’s a contrast of the effortless and the studied, with a focus on quality, materials and craft.”
      Custom terrazzo covers the floor of the storeSelf-Portrait’s ready-to-wear collections were displayed on chrome-finished clothes rails in front of windows while accessories were organised across chrome display tables.
      Antique furniture was combined with contemporary pieces throughout the store. A Max Lamb chair was neatly placed in a mirrored corner of the retail space, while wooden chairs were scattered throughout.
      Antique furniture was combined with contemporary piecesSelf-Portrait is a contemporary luxury brand that was founded by Chong in 2013 after he graduated from womenswear design at Central Saint Martins.
      Elsewhere in London, AMO created a terracruda-clad shop-in-shop at Selfridges that featured curving display areas and brutalist-style furniture for French fashion brand Jacquemus.
      Design studio Perron-Roettinger recently unveiled its design for a pop-up store for Kim Kardashian’s homeware brand SKKN, which the studio clad in raw plaster and cement.

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      Butterfly House renovation contrasts traditional features with modern materials

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      British studio Will Gamble Architects has modernised a heritage-listed terraced house in south London, adding a series of bespoke joinery elements that help to repurpose the existing living spaces.

      Known under the nickname Butterfly House, the project involved the refurbishment and reconfiguration of a Grade II-listed home in Lambeth for a couple of lawyers and their two young children.
      Will Gamble Architects has renovated the interior of Butterfly House in LondonThe building, which dates back to the 1840s, was originally conceived as a four-storey family home. But it had previously been knocked through to a neighbouring property and separated vertically into flats before being returned to a single dwelling.
      Will Gamble Architects was asked to create a contemporary home that makes the most of the available space while retaining the features and character of the existing architecture.
      Micro-cement covers the chimney breast in the dining room”Despite its heritage listing, the building had been messed around with and many of the original features were ripped out,” project architect Miles Kelsey told Dezeen.

      “We were required to preserve the proportions of any rooms that hadn’t changed too much and focused on identifying the minimal permissible alterations that could have the biggest spatial impact.”
      A built-in bench provides seating in the dining areaThe scheme returns Butterfly House to its original interior layout, with the kitchen and dining area on the ground floor, living spaces on the first floor and the bedrooms above.
      In order to adapt the existing floor plan to meet the clients’ needs, the architects repositioned some of the internal openings and introduced joinery elements with built-in doorways and storage.
      The original fireplace in the kitchen was retained”Because we were restricted in what we could do with a listed building, the bespoke joinery allowed us to maximise the potential of each space,” Kelsey added.
      “The joinery also enabled us to create a really clear and coherent design aesthetic throughout the project that responds to the clients’ request for natural and honest materials.”
      A white-painted stairway leads to the upper floorsA restrained, pared-back material palette is applied throughout the interior, with the oak joinery complemented by surfaces of micro-cement and stone.
      The neighbouring property was used as a reference for reinstating original features including the architraves and skirting, which stand out thanks to the sober treatment of the modern additions.

      Will Gamble Architects adds glass-walled extension to Pergola House in Leicestershire

      “Our idea was that the traditional decorative details should sit alongside more contemporary elements like the joinery to create a strong contrast between old and new,” said Kelsey.
      “We didn’t want to overly embellish the contemporary elements in order to maintain a sense of coherence across the whole project.”
      Light permeates the living room via its refurbished French doorsThe kitchen and dining room on the ground floor are linked by a large oak-framed opening that allows a view through the house towards the windows on the other side.
      A chimney breast in the dining room was reinstated and covered with a pale-grey micro-cement finish that is echoed in the dining table.
      Built-in storage on the other side of the room conceals a new doorBuilt-in cabinetry on either side of the chimney provides practical storage while a bench positioned along the opposite wall offers seating for the dining table.
      The living room on the first floor contains large refurbished French doors on one side and a newly instated door on the other side, set within a full-height storage element.
      The home’s custom joinery is made from warm oak woodThe pared-back material palette extends to the bedrooms on the two upper floors, where the oak joinery is used to create storage, headboards and partition walls such as the one separating the main bedroom from its en suite bathroom.
      Butterfly House takes its name from the typical roof form that tops the terraced property. It also references the bowed floors and ceilings uncovered during the renovation, which were remediated as part of the project.
      Wood also features in the bathrooms of Butterfly HouseWill Gamble founded his eponymous architecture and interiors studio in 2018. Based in Barnes, London, the firms works on commercial and residential projects, often involving the adaptation of historic structures for modern use.
      The practice was longlisted for emerging architecture studio of the year at the 2022 Dezeen Awards.
      Its previously completed projects include a glass-walled extension to a Georgian red-brick house and the transformation of a ruined 17-century parchment factory into a contemporary residence.
      The photography is by Nick Dearden.

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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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      Monumental Damien Hirst sculptures feature inside Bacchanalia London restaurant

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      Interior architect Martin Brudnizki Design Studio has created a classical Greek and Roman mythology-informed restaurant complete with sculptures by British artist Damien Hirst in Mayfair, London.

      Named Bacchanalia London, the restaurant is located on a corner site of 1 Mount Street in Mayfair that was previously a Porsche showroom.
      Sculptures more than 2,000 years old sit on the bar at Bacchanalia LondonOpened 1 December, the restaurant has an opulent interior designed by Martin Brudnizki Design Studio that makes use of mosaics, classical details, hand-painted ceiling murals and Greek and Roman artworks more than 2,000 years old.
      The main dining room features five monumental statues designed by British artist Hirst that depict a winged lion, a unicorn ridden by a pair of winged lovers, another unicorn, Medusa and Bacchus.

      Dezeen filmed an exclusive first-look video tour of the restaurant.
      The walls of the main space were covered in floor-to-ceiling murals painted by artist Gary Myatt that interpret French artist Thomas Couture’s 1847 painting Romans in their Decadence.
      However, in Myatt’s murals the classically dressed figures can be seen using laptops and holding iPhones.
      Gary Myatt’s mural depicts classical figures using modern technologyThroughout the restaurant period and modern Greek and Roman art was showcased. Many pieces are over 2,000 years old. Over 300 books of 24-carat gold leaf were used across the interiors of the project.
      Over 400,000 tiles were used in the ladies restroom to conjure orchard greenery inspired by the Garden of Hesperides, where according to Greek mythology golden apples grow.
      The men’s restrooms – with high-gloss black toilets – are supposed to represent Hades’ underworld.

      Damien Hirst designs his second Pharmacy restaurant for Newport Street Gallery

      Informed by the Roman festival of Bacchus’ drunken celebrations, Bacchanalia London is the latest restaurant from restauranteur Richard Caring.
      At the launch event in November, Caring heralded it as a place for “the drinking of wine in excess and the co-mingling of the sexes thereafter”, adding that “Bacchanalia London could help with the former but guests would have to work out the latter for themselves”.
      Martin Brudnizki Design Studio previously renovated Caring’s other London club, Annabel’s, in 2018. Hélène Darroze at The Connaught is another Mayfair restaurant that has been recently revamped. To mark its 10-year anniversary in 2019, French designer Pierre Yovanovitch overhauled the dining space in the luxury hotel.
      The photography is by Johnny Stephens Photography.

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      Random Studio creates “giant fragments of a woman's body” for Mugler pop-up

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      Dutch design studio Random Studio has created Bodyscape, a “futuristic” pop-up store, to celebrate the 30th anniversary of French fashion brand Mugler’s fragrances.

      The Mugler installation, which was designed for luxury department store Selfridges, includes sculptural, chrome-effect fragments designed to evoke a woman’s body. These were organised across the ground floor of the Corner Shop, an ever-changing retail pop-up space.
      The pop-up was created to celebrate the 30th anniversary of Mugler’s fragrance”For Mugler, we had dreamt up Bodyscape; a giant sculptural installation of a woman reclining, fragments of her body parts breaking the space up into a cluster of retail experiences,” said Random Studio.
      “Amplifying the brand’s surreal fascination with the female body, the hyper-feminised curves, crevices and folds of the installation were to be accentuated by a futuristic reflective material.”
      Sculptural fragments of a woman’s body were installed in the Corner ShopThroughout the space, sculptural fragments were used as walls, partitions and display areas that aim to take visitors on a journey through the chrome-effect-finished body. The interior walls of the shell-like fragments were painted in Mugler’s signature blue hue.

      Pieces of the sculptural body, which Random Studio explained mimicked the form of a woman reclining, were displayed in full view along the street-facing windows of the Corner Shop.
      It was constructed in collaboration with Xylotek”Seen from the street, the sculptural installation forms an abstract side view of a woman elegantly reclining,” said the studio.
      “The curves, crevices and folds of the body are rendered in a reflective material that mirrors the viewer’s gaze, throwing back a distorted image – a nod to Mugler’s sense of humour and seduction.”

      Jacquemus creates surrealist interpretation of his own bathroom for Selfridges pop-up

      Instead of opting to use easily manufactured but less sustainable materials such as fibreglass or metal, Random Studio collaborated with Bristol-based timber company Xylotek to construct the installation using wood.
      Xylotek manufactured the shell-like structures, which were painted across the exterior and interior with a metal-effect finish rather than “higly-toxic” chrome.
      This was done so that the paint could eventually be stripped off and the wood recycled.
      The structures were painted blue and silverThe centrepiece of the installation, encased by the chest and buttocks of the fragmented body, is a drop-shaped object that releases a cloud of fragrance and triggers starry lighting as visitors near it.
      “A polyphonic soundscape of siren-esque voices coaxes visitors into the space and towards a scent sculpture, illuminated by undulating lights,” said Random Studio.
      “As the visitor approaches the drop-like structure, the lights intensify and the sculpture emits a short burst of fragrance whilst a projection lights up the space with stars which slowly transforms into the abstract shapes of heavenly bodies.”
      The curving walls guide visitors through the pop-upEarlier this year, Random Studio designed a series of surrealist pop-up installations at Selfridges for fashion brand Jacquemus that included a luxury-bag vending machine and a swimming-pool changing room.
      Also at Selfridges, trainer brand Axel Arigato created an “upside-down” office-themed pop-up with wall-mounted trainers and polystyrene ceiling tiles across the floor.
      The photography is by Jasper Fry.

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      Yinka Ilori draws on “unapologetic” architecture of Burkina Faso for debut pop-up shop

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      Modular display stands modelled on buildings in Burkina Faso feature in the first brick-and-mortar shop that London-based designer Yinka Ilori has created for his self-titled homeware brand.

      Taking over a compact retail space in Shoreditch in the leadup to Christmas, the pop-up shop features a colour-block interior designed to match the products on sale, as slime-green walls clash with pink and orange flooring.
      Yinka Ilori has opened a pop-up shop in LondonThis “more is more” philosophy to colour also extends onto the store’s glossy lacquered product displays, designed by Ilori to reference the construction of mosques and homes in Burkina Faso.
      “I am really obsessed with their design language which is very African, very rich and very unapologetic,” he told Dezeen.
      “There is a recurring use of squares and triangles and you sometimes also see poles sticking out of the structures. I found these poles fascinating. They are structural but also used to make it easy for people to climb up and repair the building.”

      Products are displayed in modular colour-block storage unitsIn the store, these shapes are reflected in the modular storage units, which are constructed from medium-density fibreboard (MDF) and each topped with a stepped pyramid.
      Strategically placed holes can be used much like those on a pegboard to add poles of different sizes and provide storage for a changing array of products.
      Longer rails can be slotted in to hang T-shirts and throws, while smaller pegs can hold umbrellas or prop up shelves for presenting mugs, notebooks and other lifestyle items.
      The units end in stepped pyramidsBulkier items such as the designer’s collection of tableware and limited-edition basketballs are displayed on counters panelled in ribbed MDF that is sprayed in a gradient of colours to emphasise their sinuous shapes.
      At the store’s entrance, six of Ilori’s hand-painted Square Stools are arranged into a towering window display that shows off their stackability.

      “I use colour as a way of starting a conversation” says designer Yinka Ilori

      The opening of the pop-up also coincides with Ilori’s latest product drop. Themed around “memory-making, togetherness and play”, this includes everything from notebooks and basketballs finished in sunny, childlike patterns to a collectible version of the traditional Yoruban strategy game Ayo.
      In line with this idea, the shop will also host different events for the local community, from an Ayo tournament to a tasting of Nigerian palm wine.
      The counters have slatted legs painted in a gradient of coloursOpening his first physical store is “an absolute dream come true”, Ilori said.
      “My public projects are all about interaction both between audiences and with the work itself but I don’t often get to interact directly with people and I feel it’s time for me to do that,” he added.
      “Through the store, I’m able to get their feedback on my work and also see how they interact with each of the products and the stories I’m trying to tell through these pieces.”
      The shop’s floor was finished in a vibrant colourIlori started his homeware brand in 2020 with the aim of reworking “unexpected, functional household items as artworks” by imbuing them with bold colours and patterns that reference his British-Nigerian heritage.
      The products feature many of the same patterns he previously developed for his large-scale installations, such as The Colour Palace pavilion he created for the London Festival of Architecture together with local studio Pricegore.

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      Object Space Place uses reclaimed materials to refurbish London restaurant

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      Interior design practice Object Space Place has revamped the Apricity restaurant interior in London with second-hand furniture and reclaimed materials.

      The project has been shortlisted in the sustainable interior category of Dezeen Awards 2022, which will announce its winners next week.
      The restaurant is furnished with second-hand tables and chairsPart of the refurbishment involved removing a timber staircase to maximise usable floor space in the basement.
      Object Space Place retained the staircase’s treads to reuse them for a new staircase and repurposed the rest of the usable material into decorative timber block wall cladding.
      Material salvaged from a timber staircase was used as statement wall cladding”We saw the old staircase as a materials bank full of wood that we could reuse, so we worked with the contractor to take the staircase apart carefully, grade the timber that was usable and create a repeating block pattern that could be made from these timber components,” Object Space Place told Dezeen.

      “The timber wall finish has also been installed on a split batten system, so even if someone wants to change this in the future it can be done relatively easily.”
      Skirting boards and architraves were reused to decorate the front of the barArchitraves and skirting boards removed from the interior were reused to cover the front of the restaurant bar, creating a vertically grooved surface.
      The practice overhauled the space to expose some of the original finishes, including brickwork, timber floorboards and aged walls.

      The Circus Canteen interior is a “collage of unwanted items”

      “Customers really love the walls, which is interesting as these are simply what we found when we removed the blank white plasterboard wall linings on the ground floor,” said Object Space Place.
      “This really epitomises what we discovered about working with waste and the circular economy – the extra effort you have to put in rewards you with a space rich in stories and these stories help add to a dining experience that exemplifies going the extra mile.”
      The interior features pendant lights made from waste coffee groundsMechanical, electrical and plumbing (MEP) equipment was retained where possible and reclaimed furniture, sinks and mirrors were sourced to fit out the restaurant, including second-hand dining chairs that were reupholstered to suit the design scheme.
      In instances where reclaimed items could not be acquired, new elements with sustainable qualities were used instead, including terrazzo-like surface material by Foresso made from recycled timber and lampshades made from oyster shells or waste coffee grounds.
      Foresso timber terrazzo was used on the bar and waiter stationsObject Space Place designed the refurbishment according to its Restorative Design Framework initiative, which is based on circular economy principles.
      “We developed a true benchmark in sustainable design and fit-out by applying the principles of a circular economy, particularly designing out waste and pollution and keeping natural resources in use,” the studio explained.
      Plasterboards were removed to reveal aged wallsAccording to Object Space Place, the project achieved a reduced embodied carbon footprint of 45 per cent compared to refurbishments of similar-sized restaurants where new furniture and finishes were applied.
      Other restaurants that feature reclaimed materials include an eatery in Madrid with interior features made from upcycled junk and a restaurant in Bangalore decorated with discarded bicycle bells and cassette tape boxes.
      The photography is by Ben Carpenter.

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      Victorian warehouse in London transformed into Greencoat Place office

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      British architecture practice Squire and Partners and office design firm Modus Workspace have retained the ornate cast-iron columns and glazed tiles of a 19th-century warehouse in London while turning it into a contemporary workspace.

      Located in London’s Victoria, the Greencoat Place building was originally used as a warehouse, storeroom and food hall for the Army & Navy Stores – a military cooperative turned department store that was acquired by House of Fraser in 1973.
      Greencoat Place is a warehouse-turned-office in LondonNow, the building belongs to serviced office provider Fora and houses a mix of workspaces and amenities including a fitness studio, a colourful terrazzo bar and a vertical farm on the lower-ground level, where fresh produce is grown for workers to take home or eat for lunch.
      Two historic halls sit at the heart of the building – one serving as a flexible communal space for events or casual meetings, while the other is a workspace flooded with natural light from a skylight above.
      The building’s original brickwork was exposed in several placesReferences to the building’s past can be found throughout its interiors. This includes carefully preserved mouldings and glazed tiles, some featuring marine details in a nod to Army & Navy Stores’ history as a military cooperative, which supplied officers and their families with price-controlled goods.

      The building’s cast-iron columns and original steel doors were restored along with the vaulted ceilings on the lower ground level. In places where the original brickwork was exposed, the design team deliberately left layers of paint behind to visualise the renovation process.
      Its decorative glazed tiles were also retainedModus Workspace chose a soft, calm interior palette to contrast with the building’s industrial shell. Lime-washed oak was paired with richly textured fabrics and arch-shaped details, which echo the arches in the original halls.
      Colourful mosaic tiling unearthed in neighbouring residential buildings was reinterpreted in the flooring of the office’s communal spaces, introducing colour and pattern.

      Lighting Design International overhauls illumination of Harrods dining hall

      Open lounge spaces provide a calm environment to relax and collaborate while a series of video call booths are equipped with integrated lighting designed to show people in their best light.
      Video call facilities are also available in every meeting room to cater to hybrid working patterns, while secure cycle storage, changing facilities and showers promote an active commute or lunch break.
      Well-lit booths provide private spaces for video callsIn line with biophilic design principles, the interior combines plenty of planting, daylight and natural materials in a bid to enhance occupants’ wellbeing.
      To make the Victorian building more energy efficient and minimise its operational emissions, the architecture firm installed new glazing, sensor-controlled lighting and a variable refrigerant flow (VRF) system, which only circulates the minimum amount of refrigerants needed during a single heating or cooling period.
      The building’s concrete shell is softened with biophilic design elementsGreencoat Place has been shortlisted in the large workspace interior category of Dezeen Awards 2022.
      Two former industrial buildings are also in the running for the title – Dyson’s global HQ housed in a Singapore power station and a shared workspace, which is set in the generator building that once supplied Bristol’s tram system.
      The photography is by Jack Hobhouse.

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