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    The Hoxton Vienna offers “contemporary take on the Wiener Werstätte arts and craft movement”

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    AIME Studio’s interiors for the latest outpost of The Hoxton hotels, in a renovated marble-clad 1950s office building in Vienna, celebrate arts and crafts and post-war modernism.

    Creative studio AIME Studio has converted the former administration building of the Chamber of Commerce in Vienna, which was originally designed by architect Carl Appel, into The Hoxton Vienna.
    The building now features 196 rooms, a rooftop bar and swimming pool, a restaurant, cocktail bar, a private apartment and an auditorium for events and programming.
    The lobby of the hotel, which was previously an office building, features original travertine wallsBy focussing on mid-century Austrian design, the hotel aims to show guests a less classical side of what is often considered a traditional European city.
    Appel was known for shaping the “Second Ringstrasse” style of the post-war reconstruction period, which the studio referenced in its design.

    “Our aim was to create a design that respected the building’s history and to preserve the architectural style of the 1950s,” AIME Studios’ Aaron Gibson told Dezeen.
    The Hoxton Vienna is filled with mid-century design details”We visited buildings in Vienna designed by Carl Appel and renowned Austrian architects of the early 20th-century – like Adolph Loos and Otto Wagner – which inspired the interiors for The Hoxton Vienna,” Gibson added.
    The double-height lobby of The Hoxton Vienna preserves key features and details from Appel’s original 1950s design.
    The bedroom’s feature geometric patterned fabrics and soft furnishingsThe mid-century finishes of stones and metals in the original office building set a neutral and semi-industrial context for the renovation.
    “We deliberately used the key features and details from Carl Appel’s original design for the architecture and the interior as a basis for our decision-making throughout the ground floor,” the studio said.
    The hotel has a ground-floor restaurant that continues the design themesAIME Studios also worked with The Federal Monuments Authority Austria, which enforces the Monument Protection Act in order to explore, protect and maintain Austria’s cultural heritage.
    Together they selected furniture items for the hotel which reflect the 1950s, including light fittings, armchairs, sofas, and even the fabrics and textiles used in the space.
    Just off the main lobby there is a small cafe bar”We inherited amazing existing features like the large format terrazzo flooring, travertine walls and corrugated aluminium columns, which are all great examples of 1950s architecture,” AIME told Dezeen.
    The interior scheme complements the existing restrained colour palette of the natural stones’ soft hues of green-grey, beige and blue tones.
    The rooftop bar and pool area adopts a more contemporary designThe studio also took inspiration from the Wiener Werkstätte (Viennese workshops), one of the longest-lived design movements of the 20th century and a key organisation for the development of modernism.
    Centred in the Austrian capital, it bridged traditional methods of manufacture and avant-garde aesthetics.
    In the bedrooms, geographic patterned curtains are influenced by iconic Werkstätte fabrics and ruched headboards are inspired by Loos’ style.
    The auditorium is The Hoxton’s largest events space to date”We selected Viennese fabrics with restrained colours and quiet and small-scale patterns, demonstrating a contemporary take on the Wiener Werstätte arts and craft movement,” Gibson explained.
    Besides the usual hotel program of rooms and restaurants, The Hoxton Vienna features a large auditorium designed in a 1950s palette of pale yellow and blue with mid-century wood panelling, furniture and fittings.

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    The auditorium will host events like stand-up comedy, gigs and conferences, as part of the wider cultural programming of The Hoxton Vienna.
    The hotel also has a private “apartment,” which is an open-plan series of rooms across different levels, including kitchen, dining, sitting and meeting spaces.
    There is a speakeasy-style bar in the basementThe interiors of the apartment distil the essence of AIME Studios’ interior design at The Hoxton, with Wiener Werstätte patterns and colours, mid-century modernist furniture and light fittings, and artwork referencing the period.
    Other hotels from The Hoxton that have recently featured on Dezeen include their first opening in Germany with The Hoxton Charlottenburg in Berlin and the Ricardo Bofill-inspired The Hoxton Poblenou in Barcelona.
    Photography is by Julius Hirtzberger.

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      Dion & Arles creates “salon in which you can dine” for Il Gattopardo restaurant

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      French design and interiors studio Dion & Arles drew on the work of 20th-century Italian designers Carlo Mollino and Gio Ponti for the interior of Mayfair restaurant Il Gattopardo in London.

      “We envisioned Il Gattopardo to be a salon in which you can dine – not just a restaurant,” the designers told Dezeen.
      The studio looked to Mollino’s apartment in Turin for its balance between modernity and heritage.
      The inner dining room has curved crushed-velvet seating and a large fireplace”Modernity, heritage and sophistication are the three elements we think together define the Italian sensibility, which we tried to translate into the interiors,” Dion & Arles said.
      Il Gattopardo – which is Italian for leopard – is located in Mayfair in central London and aims to “celebrate the golden era of mid-century Italian design in an intimate setting” across five dining spaces, the studio said.

      The main dining room and crudo bar lead through to an inner dining area and second bar, which in turn reveals the intimate “salon”, or living room, which seats 10 people in soft-upholstered armchairs.
      Banquette seating is complemented by groupings of tables and chairsThere is a separate private dining room on the lower ground level.
      The salon room is characterised by crushed-velvet curved seating and a substantial fireplace featuring a bas-relief on its canopy.
      Tables are topped with sepia drawings after artist Piero Fornasetti, which complement the muted amber seating.
      Blue panthers feature on the walls in the entrance spaceIn the main dining room, banquette seating has been kept to a minimum, with tables and chairs otherwise arranged in close groupings.
      A signature leopard print motif appears on rugs, cushions and artworks in various tones ranging from amber to blue.
      “Each project should belong to its specific location,” the studio said.
      “We do not believe in cloning, as it gives the feeling of being everywhere, anywhere. We are trying to make people feel they are in a unique space that cannot be found anywhere else; ‘somewhere’ that belongs to ‘someone.”
      An Italian stone crudo bar sits in the corner of the dining roomThe spaces are decorated with an eclectic mix of free-form sculptures, objets, lamps, picture frames and carpets in vibrant colours.
      These “speak to the influence of the master of Italian flair, the interior designer and architect Gio Ponti,” the studio said.
      A striped fabric informed by the linings of Italian tailoring covers the ceiling. Panelled walls are intended to mimic the dashboard of a vintage Fiat coupé and, in the corner, Italian stone tops the crudo bar.

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      Informed by the eclectic, mix’n’match style of Mollino’s apartment, the private dining room – which features a leopard-print carpet from French interior designer Madeleine Castaing – was designed to feel like a secret refuge.
      “We see patterns as a variation of colour which add density to the palette,” the designers said. “We generally prefer to work with a small-scale pattern, which is less intrusive.”
      The private dining room has soft lighting diffused through fabricClassical sepia frescoes run around the wall of the private dining room above rich navy blue, textured fabric panels.
      Soft lighting is diffused through fabric resting between the ceiling beams, which was designed to mimic a sunset. An illuminated onyx bar adds to the warm lighting scheme.
      The crudo bar has a polished wood-panelled ceilingDesigning the interiors of Il Gattopardo was “a dream commission” the studio said, as it gave it the opportunity to work in a style the designers love.
      “We are always referring to earlier periods when every house and family inherited antique furniture and juxtaposed it with futuristic pieces,” the studio said.
      Reference points for the space also included project by interior designer David Hicks and movies by director Stanley Kubrick.
      “We don’t have rules and we like to take inspiration from great painters, as in most recent compositions by Peter Doig, or the way [Pedro] Almodóvar approaches colour in his films,” the studio added.
      “Everything can go together; bad or good taste is merely a place of refuge for under-confidence. Walking along the borders of taste is more exciting to us.”
      Other restaurant interiors recently featured on Dezeen include GRT Architects’ “vacation Italian” restaurant in New York and Lorenzo Botero and Martín Mendoza’s conversion of a Bogotá residence into a brick-lined restaurant.
      The photography is by James McDonald.

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      Mid-century Zero House in London imbued with “Kubrick feel”

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      Timber ceilings and a fireplace clad in mahogany tiles feature in this London house, which its owners have renovated to honour the dwelling’s mid-century roots and nod to the colour palette of Stanley Kubrick films.

      Located in north London’s Stanmore, Zero House belongs to recording artists Ben Garrett and Rae Morris, whose former home in Primrose Hill is the Dezeen Award-winning Canyon House designed by Studio Hagen Hall.
      Zero House in Stanmore was built between 1959 and 1961Unlike their previous dwelling, Garrett and Morris updated Zero House themselves but adopted the same mid-century palette when creating its interiors.
      “The house was built between 1959 and 1961 by a Hungarian architect,” said Garrett, who explained that the original design was informed by Californian Case Study Houses such as Charles and Ray Eames’s 1949 home and design studio.
      The two-storey dwelling was renovated by its owners”It’s a great example of a number of imaginative mid-century domestic houses dotted around metro-land,” he told Dezeen. “Our main aim was to freshen it up relatively in keeping with the time but not to feel like we were living in a total time capsule.”

      The pair maintained the matchbox timber ceilings that run throughout the two-storey home, which were stained with a dark reddish tone alongside stained wooden doors.
      Slim mahogany tiles clad the floor-to-ceiling fireplaceSlim mahogany tiles clad the floor-to-ceiling fireplace in the living room, which features the same micro-cement flooring found at Canyon House and opens out onto a lush garden.
      Garrett and Morris also maintained the home’s many exposed brick walls and inserted geometric timber shelving that displays eclectic ornaments including amorphous vases and a colourful set of nesting dolls.
      The kitchen was panelled in light-hued timberReeded 1970s-style glass was used to form various windows including a rectilinear opening in the kitchen that illuminates minimal timber cabinetry topped with grainy surfaces.
      The pair transferred the tubular Marcel Breuer chairs and Tulip dining table by Eero Saarinen from their former home, as well as the same “heinous digital artwork” that decorated their previous living space.
      Darker tones create a “horror film” feel upstairsUpstairs, a moody mahogany carpet darkens the main bedroom, which features the same timber wall and ceiling panels as the communal areas.
      “There’s a lot of dark reds and browns in the house,” said Garrett.
      “We leaned into the horror film slash Kubrick feel of the upstairs and made a few more austere choices this time,” he added, referencing the late filmmaker, whose credits include the 1980 supernatural horror movie The Shining.

      PW Architecture Office brings “a little excitement” back into mid-century Australian home

      Coffee-hued cork was chosen to clad the exterior of the bathtub and the surrounding walls while another walk-in shower interrupts the dark wooden theme with bright orange tiles and deep white basins.
      Zero House also holds a timber-panelled recording studio, which is located in a separate low-slung volume at the end of the garden and can be reached via a few stepping stones.
      Bright orange tiles were chosen for a walk-in showerGarrett and Morris left the structure of the property largely untouched. Instead, the duo chose to focus on dressing its mid-century interior.
      “We didn’t have to be clever with this house as the space is abundant and the flow and design were incredibly well thought out in the early 60s,” he said. “So it was more of a cosmetic thing.”
      There is a standalone recording studio in a shed at the back of the gardenOther recent mid-century renovation projects saw Design Theory update a coastal home in Perth from the 1960s while Woods + Dangaran added a koi pond among other elements to a Los Angeles dwelling built by architect Craig Ellwood during the same decade.
      The photography is by Mariell Lind Hansen.

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      PW Architecture Office brings “a little excitement” back into mid-century Australian home

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      Australian firm PW Architecture Office has revived the fortunes of this mid-century house in Orange, New South Wales, with a sensitive renovation that respects the original building while taking design cues from its material palette.

      Park Lane house was originally designed by noted Australian architect Neville Gruzman for the 1962 Carlingford Home Fair before being built in 1964 by construction company Kell & Rigby – known for its work on Sydney’s landmark Grace Building.
      PW Architecture Office has renovated a 1960s house by Neville GruzmanWhen Paddy Williams, founder of PW Architecture Office, discovered that the house was on the market in 2022, the team went to take a look out of architectural curiosity.
      The studio was immediately seduced by the sense of flow between the indoor and outdoor spaces of the 1964 house and the quality of the design, construction and materials, despite the fact that it had been through several unsympathetic renovations.
      Pergolas frame the entrance to the house”We loved the sense of arrival created by the pergolas and colonnade that lead you past the garden and pond into the entrance hall,” Williams said.

      “Pavilion-style wings separate the shared spaces from the private and we loved the way the pergolas wrap around the house and terraces, framing different spaces in the garden.”
      The home’s original Oregon timber beams were exposedThe practice ended up buying and renovating the house as a short-term rental for other modernist architecture lovers.
      “We felt a real sense of responsibility to do the project justice and retain the elements of the plan and materials as they were intended,” Williams said.
      “We wanted to bring a little excitement back into this mid-century marvel, as it would have had when it was first built.”
      A double-sided fireplace divides the living and dining areasFeeling that the floorplan still worked successfully, PW Architecture Office (PWAO) left it unchanged and set out to revive and celebrate the house’s original character while bringing it up to 21st-century living standards.
      “We’ve designed it to be a modern take on the mid-century aesthetic, with an immediate sense of relaxation and peace through a refined palette and connection between house and gardens,” Williams told Dezeen.
      Textural wood wool panels clad the walls in the living roomRemoving the worn-out carpets revealed the home’s original Australian cypress floorboards, which were sanded and polished to freshen them up.
      Elsewhere, PWAO replaced vinyl flooring with “durable and low-maintenance” micro-cement in the smaller living room, kitchen and some bathrooms.

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      In the main living room, false ceilings were taken out to expose the original Oregon timber beams, now infilled with hardwood timber and tiled bulkheads.
      “When we pulled down the badly damaged plasterboard, the beams were in such great condition and had a beautiful texture so we decided to keep them on show,” Williams said.
      “This also allowed us to increase the height of the ceiling and play with the scale and rhythm of the beams.”
      Micro-cement was used to finish some of the floorsIn the panelled entrance hall, the original native blackbean timber needed only a little care to restore its rich varied tones, also seen on the doors throughout the house.
      Elsewhere PWAO used acacia as a feature timber for panelling and detailing across headboards, stair treads and integrated shelving.
      “We’ve used these acacia elements in a playful pattern,” the studio said. “They’re in an ongoing conversation with the original blackbean timber used around the house.”
      Terracotta tiles nod to the home’s original material paletteIn the larger living space, a double-sided fireplace helps to zone the living and dining areas, while the walls were clad in textural wood wool panels – a composite made from recycled timber fibres.
      “It is actually a thermal and acoustic panel, typically used for ceilings,” Williams said. “We thought it was a fabulous opportunity to provide texture on the walls.”
      Similar warm terracotta tones also feature in the bedroomThroughout the house, terracotta tiles add to the sense of warm earthiness established through the material palette.
      “The mosaic tiles were influenced by the original terracotta tiles in the entrance foyer,” the architect explained. “The smaller grids we’ve used are in contrast to the larger original terrace tiles, as well as the grid of the house itself, creating a play on scale.”
      When the wiring was replaced, PWAO also had the opportunity to integrate the house with smart home technology, allowing the lights, heating, fans and irrigation to be controlled via an app, balancing modernist aesthetics with modern convenience.
      The bathroom was designed to matchDezeen recently rounded up eight other mid-century home renovations that marry period and contemporary details.
      Among them was another 1960s Australian house with interiors updated by local studio Design Theory for a young client and her dog.
      The photography is by Monique Lovick.

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      Eight renovated mid-century homes that marry period and contemporary details

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      From a modernist villa in Beverly Hills to a flat in one of Brasília’s iconic Superquadra apartment blocks, the mid-century renovations in this lookbook are a masterclass in updating a period home while retaining its distinctive character.

      Originally constructed in the post-war period between 1945 and 1969, mid-century homes have proved enduringly popular due to their prescient emphasis on natural light, clean lines, open floor plans and humble materials such as wood, stone and concrete.
      The renovations below see many of these original features retained and restored, supplemented with contemporary additions such as double-height ceilings and furniture by the likes of Tadao Ando and Mario Bellini.
      This is the latest in our lookbooks series, which provides visual inspiration from Dezeen’s archive. For more inspiration see previous lookbooks featuring art deco homes, sunny yellow interiors and serene bedrooms with striking natural views.
      Photo by Jack LovelCity Beach Residence, Australia, by Design Theory

      Australian studio Design Theory looked to preserve the “considerable mid-century charm” of this home on the coast of Perth during its renovation (top and above), remaining true to the rich palette of natural materials found in the original design.
      Contemporary furniture and lighting with gently curving forms were chosen to soften the rigorous lines of the original architecture and prevent the interiors from feeling like a period pastiche.
      Find out more about City Beach Residence ›
      Photo by An PhamBrandaw Residence, US, by 180 Degrees Design + Build and CBTWO Architects
      A new double-height living room with a pitched roof and full-height glazing was added to modernise this 1960s home in Phoenix, creating sightlines up and out towards nearby Camelback Mountain.
      Modernist touches remain on the interior in the form of plentiful wood panelling alongside finishes and furnishings in muted primary colours ranging from teal to mustard-yellow.
      Find out more about Brandaw Residence ›
      Photo by James O DaviesHampstead House, UK, by Coppin Dockray
      This house in Hampstead was originally designed by British architect Trevor Dannatt in 1960 as London’s answer to the post-war Case Study Houses built by the likes of Richard Neutra and the Eameses in California.
      When renovating and extending the property for a growing family, local studio Coppin Dockray contrasted vintage and contemporary furniture for a “domestic, lived-in” feel, with pieces ranging from a Togo chair to Mia Hamborg’s Shuffle table for &Tradition.
      Find out more about Hampstead House ›
      Photo by Gerhard HeuschBeverly Hills villa, US, by Heusch
      Historical images helped architecture firm Heusch to restore this Beverly Hills villa to its former glory and reverse some of its “unfortunate transformations” over the years.
      Existing terrazzo floors on the ground floor were restored and complemented with fluted glass details and dark timber furnishings, both new and old, including Ando’s cantilevered Dream Chairs and a bookshelf by Italian architect Augusto Romano from the 1950s.
      Find out more about Beverly Hills villa ›
      Photo by Justin ChungPalermo house, US, by OWIU
      California studio OWIU retained several original elements during the renovation of this 1955 home in LA’s San Rafael Hills, among them the glass-block walls and wooden ceiling beams, which were exposed from under false ceilings and sanded down to reveal their natural colour.
      These were contrasted with more neutral contemporary elements such as pale oak flooring and walls coated in Venetian plaster, with assorted lights by Isamu Noguchi and George Nelson – one of the founding fathers of American modernism.
      Find out more about Palermo house ›
      Photo by Joana FranceBrasília apartment, Brazil, by Debaixo do Bloco Arquitetura
      This apartment is located inside Brasília’s historic Superquadra 308 Sul, the first “superblock” apartment complex constructed as part of architect Lucio Costa’s 1957 master plan for the new Brazilian capital.
      Local studio Debaixo do Bloco Arquitetura cut open the building’s exposed concrete walls, opening up its layout to meet the needs of a modern family while preserving period details such as the building’s distinctive white breeze-block screens and its granilite flooring.
      Find out more about Brasília apartment ›
      Photo by Ingalls PhotographyMalibu Surf Shack, US, by Kelly Wearstler
      When interior designer Kelly Wearstler turned this 1950s beachfront cottage in Malibu into a bohemian retreat for herself and her family, she retained the original wood-panelled walls and selected finishes that were “hand-crafted, rustic and raw” to match the existing material palette.
      The interiors feature abundant planting, alongside an eclectic mix of period-agnostic furnishings including a 1980s green marble table by Bellini, paired with a plaster-covered Caféstuhl chair by contemporary Austrian designer Lukas Gschwandtner.
      Find out more about Malibu Surf Shack ›
      Photo by Rafael SoldiGolden House, US, by SHED
      Seattle architecture firm SHED had to make several aggressive interventions when renovating this 1950s building in nearby Shoreline, which was originally constructed as a family home but had previously been divided up to serve as a retirement home.
      Working around the existing post-and-beam structure, the studio updated the interior to maximise views of the Olympic Mountains and Puget Sound while enlarging the kitchen and reorganising it around a central island.
      Find out more about Golden House ›
      This is the latest in our lookbooks series, which provides visual inspiration from Dezeen’s archive. For more inspiration see previous lookbooks featuring art deco homes, sunny yellow interiors and serene bedrooms with striking natural views.

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      Design Theory updates mid-century coastal home in Perth

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      In the City Beach suburb of Perth in Western Australia, interiors studio Design Theory has updated a tired house from the 1960s while remaining true to the rich palette of natural materials in the original design.

      The young client wanted a home where she could entertain friends and live with her dogs in a durable, easy-to-clean, pet-proof home with a reworked plan making space for three bedrooms and two bathrooms.
      Design Theory has renovated a 1960s house in Perth”The brief was, on the surface, simple: to update the home while keeping its considerable mid-century charm,” said Design Theory.
      “While its strengths lay in its architectural form and south-facing windows, our innovative approach to the project was essential in bringing contemporary functionality and sustainability to the fore,” the studio added.
      “By specifying with our client’s lifestyle in mind and considering every detail, she feels relaxed to use the house the way she wants to.”

      Carpet tiles bring tactility into the sunken loungeOnce the project was underway, Design Theory quickly discovered that the structure was largely rotten and had suffered significant termite damage, so extensive restoration work was required.
      “We established an early rationale to restore base-building elements in keeping with the original architecture and interior elements,” the studio said.
      “Joinery, finishes and furniture would be new, informed by mid-century design. This allowed the home to evolve yet respect the heritage of this special building.”
      Yellow mosaic tiles feature across the kitchen counterOtherwise, the house only needed sensitive restoration and a light touch to bring it up to date, according to the studio, due to its prescient emphasis on natural light, fresh air and modern, unpretentious living.
      “Our design cues were taken from the era of the house’s original design, a time of humbler, honest materials and restrained detailing,” said Design Theory co-founder Lisa Reeves.
      “Where cabinetry needed restoration, it was updated in respectful ways, always with a nod to what may have come before us.”
      Design Theory introduced Blackbutt timber details to the interiorThe material palette celebrates warm, earthy materials: exposed brick in terracotta tones, native Blackbutt timber and a cork-like Forbo Marmoleum on the floors.
      In the sunken lounge area, carpet tiles bring an added element of comfort and a distinctive gridded visual effect.
      The heavy use of richly toned timber and brick is balanced by the white of the painted wall sections, the grid-like window frames and low-hanging pendant lighting.

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      For the kitchen counters and the bathrooms, simple mosaic tiles continue the textural theme, while referencing the home’s early-60s origins.
      “We embraced a quintessentially West Australia landscape-inspired palette of Eucalyptus greens, warm timbers and sunset oranges,” the studio said.
      Forbo Marmoleum flooring was added for textural interestIn the kitchen, subtle detailing on the cabinetry such as the full-width handles adds visual interest without grabbing undue attention, while an orange range cooker adds a retro touch.
      The client acquired several pieces of vintage furniture along with the house, which Design Theory was keen to retain and restore.
      Mint green tiles feature throughout one of the two bathroomsAs a counterpoint to these mid-century elements, contemporary furniture in gently curving forms softens the rigorous lines of the original architecture and prevents the interiors from feeling like a period pastiche.
      Key pieces of hardware such as original door furniture and pendant lighting were also refurbished and reinstated, “lending an authenticity to the home’s new life”, according to the studio.
      The built-in bathtub is also made from multicoloured mosaic tilesOther residential projects in Perth that have been featured on Dezeen include a family home formed from arched panels of precast concrete and a wood-and-brick extension for a couple of empty nesters.
      The photography is by Jack Lovel.

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      The Mint List brings mid-century influences to north London family home

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      Interior design studio The Mint List has brought light, space and warmth to this Edwardian house in London with multiple extensions, a hidden playroom and plenty of tactile materials.

      The renovated end-of-terrace house in Kensal Rise belongs to a film-industry couple that wanted a cosy family home with mid-century elements, in particular referencing the work of designers Charles and Ray Eames.
      The Mint List has renovated and extended an Edwardian house in north London”The clients had a leaning towards mid-century style but they didn’t want that to overwhelm the scheme,” The Mint List founder Camilla Kelly told Dezeen.
      “The Eames House was a good mid-century reference in terms of encompassing warm, repurposed textures, a sense of scale and an abundance of light.”
      A new rear extension houses the home’s kitchen and dining spaceThe brief was to open up this formerly dark and “unremarkable” home and create an improved sense of flow.

      As well as adding two bedrooms and a small study in the newly converted loft, The Mint List created a rear extension to house the kitchen-dining space and absorbed the property’s former garage into the house, providing a mudroom, pantry and playroom.
      The custom-built kitchen island has two levelsThe playroom is cleverly concealed behind a bank of new storage in the hallway, which has also been enlarged by opening it up into the former porch.
      “There was huge importance given to light in the design,” said Kelly. “Wherever possible, we created tall windows benefiting from the south-facing aspect.”
      Bookshelves act as room dividers to form a hybrid library and snugThe house is full of custom-designed features and finishes at the request of the client.
      The floor uses unusually slim lengths of oak, laid at right angles to each other in huge grids, while the thresholds were distinguished with slender fins of brass that add subtle visual interest.
      The children’s playroom is hidden inside a wall of storage in the hallwayDrawing on the design language of mid-century furniture, the kitchen was completely custom-built for the space with a clean-lined, yet playfully asymmetric design.
      “We centralised the assembly and used high windows on either side of the cabinets to emphasise the cubic nature of the design,” said Kelly. “The asymmetric cubes that form the cabinets were built using walnut, with cream-painted doors for the covered storage.”

      The Mint List fits out London office with mid-century-style movable furniture

      The material mix includes walnut veneer, reeded glass, olive-coloured door fronts and antique brass detailing, as well as concrete and reclaimed iroko wood worktops.
      “I’m averse to keeping things all in one colour,” the designer said. “It’s a missed opportunity to bring texture, colour and character to a space.”
      The children’s bedroom is located on the first floorThe kitchen island was designed to account for the owners’ love of entertaining, with a section of the worktop raised to bar height to draw guests away from the cooking area.
      “The island is even more asymmetric, with different levels, drawers, shelves and openings that served to show how the geometry of a design can sometimes be off-kilter and still look neatly intentioned, as long as it sits correctly within the scale of the space,” Kelly said.
      A small study now occupies the loft alongside a primary bedrooms suiteThe curved bar provides a visual link to the rounded steps that lead down into the kitchen area, as well as to other curved elements throughout the house.
      “I like to include some curves in my projects through room openings, joinery and countertops,” Kelly said. “They help to soften spaces and improve flow from one area to the next.”
      The main bathroom is held in pale blue and green tonesAdjoining the kitchen is a hybrid library and snug, which is partially enclosed with oak shelving finished in glass and raffia, that double up as room dividers and nod to the Eames House in California.
      “We didn’t want this to be a dead space,” Kelly said. “It’s a quiet spot where you can curl up with a book or listen to music. And when the couple is entertaining, this is a soft space where you come to catch up with someone.”
      Four bedrooms are spread across the home’s upper levels, including a shared children’s bedroom with bunk beds on the first floor and two added bedrooms in the converted loft.
      A baby pink sink provides a pop of colourSince founding The Mint List in 2011, Kelly has completed a number of interior projects in London.
      Among them are the headquarters of music management company Everybody’s in Highbury, which she kitted out with mid-century-style movable furniture.
      The photography is by Dave Watts.

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      The Mint List fits out London office with mid-century-style movable furniture

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      Bespoke furniture with a mid-century feel can be rearranged to alter the use of this office space in north London, which interior design studio The Mint List has created for a music management company.

      Camilla Kelly and Lucy Tudhope of The Mint List designed the headquarters for management company Everybody’s, which recently upgraded to larger premises on the ground floor of a former shipping depot.
      Everybody’s office is located in a former shipping depotArchitect Duncan Woodburn developed plans to reconfigure the large, light-filled unit as an open-plan workspace including a high-ceilinged entrance along with a kitchen and dining area.
      For the interior scheme, The Mint List focused on retaining the building’s existing character and creating a flexible workspace with a midcentury feel.
      The Mint List designed custom joinery to divvy up the interior”We wanted to ensure that we respected the modernist nature of this industrial site, whilst integrating a sense of creativity that was absolutely key for the client,” Kelly said.

      One of the main challenges was zoning the large space to create different functional areas. This was achieved using custom-built joinery to separate self-contained yet open-plan spaces.
      Modular furniture features throughout the office interiorMuch of the joinery is modular, allowing the space to be reconfigured if required. Large storage units at the entrance are accessible from both sides and completely movable so they can be rolled away to create an open event space.
      Most of the time, the units serve to separate the office from the entrance area and provide staff with a degree of privacy from visitors.
      The office also houses a lounge for playing musicThe main workspace is flooded with light that enters through the building’s glazed frontage. It contains desks and bespoke oak credenzas that can also be easily moved to completely clear the open-plan room.
      At one end of the office is a kitchen with built-in storage, including coloured drawers and cupboard fronts that complement the African sapele wood joinery.

      Victorian warehouse in London transformed into Greencoat Place office

      The kitchen contains bar seating next to the windows and a dining space arranged around a three-metre-long leather-topped artist’s table.
      A full-height glazed wall specified by the client separates the workspace from private offices and a cloakroom on the ground floor, as well as a mezzanine that houses an acoustically sealed meeting room and a lounge for playing music.
      Glossy tiles feature in the stairwell”The brief was a seamless, vertical grid of glass,” explained Kelly. “So we helped to translate that in terms of the finishes – textured glass to obscure vision through to the office and a beautifully finished oak frame that complements the midcentury scheme.”
      Throughout the project, The Mint List applied a palette of tactile and honest materials including sapele wood, oak, concrete and burnished brass.
      The Mint List added wood surfaces and brass detailsA colour scheme based on natural hues including greens, creams and earthy browns adds visual richness to the spaces.
      The office’s Marmoleum flooring is a custom design that subtly separates the space into different zones. The renewable material was chosen for its excellent acoustic properties in order to help absorb sound within the open spaces.
      The bathrooms are playfully decorated with colourful tilesBathrooms located on the ground floor feature retro sanitary- and brassware complemented by playful tiles, with each wall laid in different patterns and colours.
      Other recent office makeovers in London include Office S&M’s self-designed studio inside a former paint-making workshop and creative agency Ask Us For Ideas’ Soho office, which is split across two diametrically opposed floors.
      The photography is by Dave Watts.

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