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      GSL Gallery takes over disused Parisian factory with “punk” interiors

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      Weathered walls and concrete floors feature in this design gallery that creative collective The Guild of Saint Luke and architecture firm Studio ECOA have set up inside a former factory in Paris.

      Spread across one storey and two mezzanines, GSL Gallery provides a mixture of studio and exhibition space for the group of architects, artists and artisans that make up The Guild of Saint Luke.
      GSL Gallery sits inside an old factoryThe gallery occupies a disused factory in Pantin, a neighbourhood in northeastern Paris with a growing arts and culture scene.
      In recent years, the building operated as a classic car garage but was purchased by art dealer and gallerist Hadrien de Montferrand during the pandemic with the aim of transforming the site into a gallery.
      The building’s concrete floors were retainedDe Montferrand enlisted locally based Studio ECOA to carry out all the necessary architectural changes and asked The Guild of Saint Luke (GSL) to steer the building’s design and become its first tenant.

      “We were charmed by the space and found the patina and raw walls to be punk and accidentally on-point,” GSL’s creative director John Whelan told Dezeen.
      Clean white panelling was added to give the space the look of a typical gallery”Working in close collaboration with Studio ECOA, we proposed a project that retained all of the rawness of the spaces with very minimal design interventions,” he continued.
      “We felt that it would be criminal to interfere with the existing mood, which is melancholic and eerily beautiful.”
      Studio ECOA restored the building’s facade and aluminium roof, as well as preserving its original concrete flooring.
      A live-work space can be found on GSL Gallery’s first mezzanineBoxy storage units were built on either side of the front door to form a corridor-like entrance to the ground floor, where white panelling was added across the lower half of the patchy, time-worn walls to emulate the look of a typical gallery.
      This ground-floor space will be used to display a changing roster of avant-garde installations, which GSL hopes to finance by using the gallery’s workspaces to produce more commercial projects for design brands.

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      “Commercial endeavours will help to fund more proactive ‘passion projects’, where we will exhibit GSL’s own designs along with designers and artists that we admire,” Whelan said.
      “Our chief motivation is creative freedom, as we hope to produce installations that do not necessarily adhere to a commercial brief.”
      Bathroom facilities are contained in a mirrored volumeThe building’s two existing mezzanines were cut back to create a central atrium, which draws natural light into the gallery’s interior.
      The lower mezzanine now houses a hybrid live-work space where GSL members or visiting artists can stay the night.
      This space is centred by a large Donald Judd-style wooden table and also accommodates a bed, kitchenette and a bathroom concealed within a mirrored volume.
      Metal sanitary ware reflects the light in the bathroomExtra exhibition space is provided on the secondary mezzanine that sits beneath the building’s roof, directly under a series of expansive skylights.
      Prior to now, GSL has largely specialised in hospitality interiors – restoring historic brasseries across Paris and devising opulent restaurants such as Nolinski near the Musée du Louvre and Maison Francois in London.
      The lower mezzanine also houses a bed and a large table”We hope that the gallery will be an extension of the aesthetic that we are trying to develop, embracing new ideas but never abandoning the pursuit of beauty,” Whelan explained.
      “It feels like a good time to do so, as Covid has cleared and a mood of optimism in design has emerged. This bracing, minimal space feels almost like a clean slate and invites a multitude of possibilities.”
      The second mezzanine sits directly underneath the building’s skylightsOther recent additions to Paris’s cultural landscape include a major extension of the Musée Albert Kahn by Kengo Kuma and Associates, which made room for a historic collection of 72,000 photographs.
      Elsewhere in the French capital, Bruno Gaudin Architectes just completed a 15-year renovation of the National Library of France, incorporating a number of new circulation routes and public spaces.
      The photography is by Oskar Proctor. 

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      Celine recalls “vintage spirit” at Rue Saint-Honoré boutique

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      Celine creative director Hedi Slimane channelled “French elegance” when designing the latest Celine boutique in central Paris, which features expanses of brass and marble as well as Slimane-designed furniture.

      Located on Paris’ Rue Saint-Honoré, known for its luxury shopping, the store sits within a 19th-century Haussmann building and connects to a Celine Haute Parfumerie store that was opened in 2019 and references old art deco perfumeries.
      The store was designed by Hedi SlimaneSet over two floors, the 137-square-metre store is dedicated to the brand’s leather goods, accessories and fine jewellery. Its interior was designed by Celine’s creative director, Slimane, who has helmed the fashion house since 2018.
      The Rue Saint Honoré store continues Slimane’s vision for Celine’s global store interior identity, which the brand explained recalls a vintage spirit and ideas of French elegance – much like its recently opened Bond Street store.
      It references French modernism”Conceived as a timeless setting, the architecture of the boutique gives a sense of intimacy, precisely recalling old art deco perfumers’ designs,” said Celine.

      “The ground floor, dedicated to leather goods, fine jewellery and women’s accessories, is structured around the ideas of French elegance and ‘vintage’ spirit.”
      Slimane also referenced French modernism through the choice of materials and furniture for the store.
      Brass, wood, marble and glass were used throughout the storeIn a nod to the neighbouring perfume store, whose walls were clad in sheets of imposing black and white marble, identical sheets of antique marble were used for the floors of the accessories and jewellery store.
      A jewel-like, golden brass, semi-helicoidal staircase tops the white-veined marble floor and leads visitors up to a mezzanine level and Parisian-style salon used to display artisanal bags from Celine’s Haute Maroquinerie collection.

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      The upper level of the store is host to an antique marble fireplace, zigzagging walls of mirrored panels and wooden furniture wrapped in leather and shaggy fur designed by Slimane.
      Oxidised metal panels clad the walls of the ground floor between backlit, ribbed glass louvres, while vitrine-style shelving and cabinetry recall opulent modernist interiors.
      The store will stock accessories and jewelleryArt pieces selected from the Celine Art Project are displayed throughout the store, including a totem by Ian LC Swordy, a painting by Will Boone and a suspended glass and golden brass mobile by Virginia Overton that was personally commissioned by Slimane.
      Earlier in December, Slimane showcased his 17th collection for Celine which saw the creative director return to Los Angeles to present his Autumn Winter 2023 womenswear show at the Wiltern Theatre – an art deco landmark built in 1931.
      Following Slimane’s appointment as Celine’s creative director, he began carrying out renovations of Celine stores worldwide developing signature design codes for the brand’s store interiors.
      The photography is courtesy of Celine.

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      Design Brut: Philia & Kids showcases sculptural furniture designed by “rather wise” children

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      Designers Antoine Behaghel and Alexis Foiny have created sculptural olive wood furniture based solely on drawings by children for a Galerie Philia exhibition.

      Design Brut: Philia & Kids is the inaugural programme of a non-profit initiative conceived by international art gallery Galerie Philia that aims to engage children in design.
      Design Brut: Philia & Kids was an exhibition on display in ParisThe project’s first edition invited 19 kids from a primary school in the Breil-sur-Roya village in France to design sculptural furniture that was exhibited at Espace Meyer Zafra in Paris from November until last week.
      Informed by the late French painter Jean Dubuffet, the initiative is named after art brut – or “raw art” – Dubuffet’s name for art created outside of academic limitations, such as art made by children.
      The furniture was constructed using children’s drawingsParticipants aged six to seven took part in a workshop over five months, where they were asked to draw their own interpretations of sculptural design under the supervision of BehaghelFoiny Studio founders Antoine Behaghel and Alexis Foiny and their teacher Virgile Ganne.

      The drawings range from a crocodile-like bench to colourful dining chairs and spikier, more abstract forms.
      “Several shepherds’ children drew hooves on the legs of the furniture, or horns on the backs of the chairs,” noticed Behaghel and Foiny.
      “Others, living near olive groves and the surrounding forest, drew leaves and branches on their furniture,” they told Dezeen.
      Nineteen children took part in the projectThe designers explained that they encouraged the kids to “assert their own creativity” as well as observe their classmates’ drawings and borrow forms from each other to make the design experience collaborative.
      “Against all odds, we realised that, when faced with furniture design, the children’s first intentions were rather wise, and copied the shapes of furniture they saw every day,” they said.
      Antoine Behaghel and Alexis Foiny constructed the furniture from olive woodAfter this, Behaghel and Foiny sorted the drawings into different furniture typologies including tables, chairs, stools, coat racks and pedestal tables, as well as categorising the creations by “spirits and styles”.
      The pair then worked with a cabinetmaker in Breil-sur-Roya to bring the drawings to life by making physical furniture out of local olive wood.
      “In some places, we shrank or enlarged the silhouettes drawn by the children, to better distribute the weight,” noted the designers.

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      During this process, the children were taken on a tour of a local sawmill and shown every stage of the production process in order to familiarise them with carpentry.
      Behaghel and Foiny explained that olive wood was chosen for its cultural significance to Breil-sur-Roya, which is known as the “pays des oliviers” (olive tree country).
      The designers painted the material in various colourful shades that aimed to subtly tint, rather than conceal, its veiny surface.
      “It seemed to us very relevant to associate the intervention of very young children wiht a thousand-year-old wood!” noted the designers.
      The pieces range from recognisable silhouettes to more abstract formsThe pair hopes that the workshop will have taught the children about the importance of furniture design while showcasing their personal creativity without limitations.
      “In the end, the children’s drawings showed a real spontaneity,” reflected Behaghel and Foiny.
      “They are both free from technical reflexes and therefore led us to take risks and at the same time detached from the aesthetic automatisms that we impose on ourselves more or less consciously as professional designers,” they added.
      “They led us to extract ourselves from standardisation of tastes and beauty, to play more with imbalances and proportions.”
      Subtle colour was used to brighten each wooden pieceThis is not the first time that children have tried their hand at chair design. Third and fourth graders at a school in New York have designed a number of seating collections under the supervision of art instructor Bruce Edelstein, including chairs with horns and other wooden seats.
      The photography is by Maison Mouton Noir. 
      Design Brut: Philia & Kids was on display at Espace Meyer Zafra from 10 November to 8 December 2022. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world.

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      Chzon studio designs airport departure hall to reference Parisian life

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      French design agency Chzon studio has added archways and fountains that reference iconic Parisian monuments to a departure lounge at the Charles de Gaulle Airport in Paris.

      Chzon studio redesigned the boarding gate area in Terminal 2G with the aim of creating a dynamic representation of Paris’ design and history in a typically utilitarian area of the airport.
      The vast space is punctuated by white columns and sculptural installationsThe 1,300-square-meter space is populated by rounded seating in dark blue and green upholstery, which takes aesthetic cues from the 1960s and 1970s, arranged in benches, booths and pairs.
      To zone the space and instill privacy, the studio added partitions and expressive white sculptures by artist studio Les Simonnets, which double as alternative bench seating.
      References to Paris are made at varying scales throughout the spaceThe studio made reference to iconic Parisian monuments by installing archways that nod to the Arc de Triomphe, as well as a fountain that is reminiscent of the water feature in the Jardin du Luxembourg and surrounded by green metal chairs similar to those found in Paris’ parks.

      Rows of wooden tables have been inlaid with chess boards in another reference to the parks of Paris. Passengers can use these as workspaces, to eat at, or to play games on while waiting for flights.
      The miniature fountain is a focal point within the terminalAs well as designing some of the lighting for the interior in-house, the studio also sourced and installed antique lighting and other decorative objects from the city’s St Ouen flea market, including giant wall lights and aluminium sunshades.
      To keep the space relevant to its function, Chzon also made references to aeroplane design by employing metallic details, patterned finishes and reclining plane-style seats designed by Italian architect and furniture designer Osvaldo Borsani.

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      “[The design] dramatises the boarding lounge while keeping the passenger informed,” Dorothée Meilichzon, founder of Chzon studio, said of the interior design.
      “The departure lounge becomes a smooth transition between the Paris that we are leaving and the plane that is going to take off.”
      The mural is applied to perforated sheets and wraps around the walls above the windowsThe space also features a mural inspired by the work of French painter Sonia Delaunay that sits above the windows, which overlook the runways and allow views of planes taking off and landing.
      This fresco also references symbols used in airport signage and carries similar rounded motifs to the ones present in the retro-style seating and lighting.
      Rounded elements in furniture, lighting and decor reference the design of the 1960s and 1970sCharles de Gaulle Airport, also known as Roissy Airport, is the French capital’s principle airport.
      Other airport-related projects published on Dezeen include the cosy remodelling of an airport in Colorado, USA by Gensler and an airport that contains the world’s tallest indoor waterfall by Safdie architects.
      Images are courtesy of Chzon studio

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      Balenciaga opens tinted-glass couture store beneath historic Paris atelier

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      Fashion house Balenciaga has opened a couture store with smoked-glass-panelled walls in the same building as its original couture salon in Paris.

      The store is located beneath Balenciaga’s historic atelier at 10 Avenue George V, which was recently renovated to exactly replicate the interior of the original couture salon that was first opened in 1937.
      The interior of the store was clad in tinted glass”The newly renovated space at 10 Avenue George V is dedicated to preserving Balenciaga’s heritage in its original couture location, first opened in 1937, as well as creating a couture for today,” said the brand.
      The design of the store beneath the couture salon was created by long-time Balenciaga collaborator Sub, a Berlin-based architecture studio that was founded by Niklas Bildstein Zaar and Andrea Faraguna.
      The store is located in the same building as Balenciaga’s original couture salonThe boutique’s exterior is marked by oversized serif Balenciaga signage, a nod to Balenciaga’s 20th-century branding that also forms a distinction from the narrow, sans serif typeface that currently identifies the brand.

      Beneath the signage, four arched openings frame swooping curtains that are given a golden hue by the brown-tinted glazing.
      Grey curtains zone spaces throughout the storeThe interior of the couture store echoes Balenciaga’s raw architecture concept, which was applied internationally across the interior of its stores, but this edition has been clad in panels of tinted glass instead of concrete.
      Between the unfinished but glass-clad walls, ash-hued curtains conceal carpeted areas while wrinkled-leather ottomans were placed throughout the two-storey store.

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      Wrought iron balustrades and a curving marble staircase, with glass panelling slotted around it, hint at the building’s history and the former decor and interior scheme of the atelier above.
      “The concept of the couture store is a gateway to couture, which remains a very closed universe, especially for new generations,” said Balenciaga CEO Cédric Charbit.
      Remnants of the store’s history were incorporated into the design”In this new store, products, made-to-measure services and retail excellence are a reinvention of the Balenciaga client experience,” said Charbit.
      “It is exciting to be able to present this level of craft, creativity and made-in-France savoir-faire in our historical address.”
      Balenciaga’s couture atelier is located above the storeMetal shelving was decorated with couture items, ranging from artisanal to technological, from the brand’s most recent Autumn Winter 2022 couture show.
      Items on display include its speaker bag, which was created in collaboration with Danish audio brand, Bang & Olufsen.
      Earlier in 2022, Balenciaga wrapped its Mount Street store in London in a bright pink faux fur to celebrate its Le Cagole bag.
      Photography is courtesy of Balenciaga.

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      Bernard Dubois incorporates nightclub references into Courrèges' Paris store

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      Thick carpets, mirrored panels and fabric-covered walls populate this clothing store in Paris designed by Belgian architect Bernard Dubois.

      The 232-square-metre boutique is located near the Champs-Élysées and belongs to Courrèges – a Parisian label that was launched by fashion designer André Courrèges in 1961.
      Courrèges’ second store in Paris was designed by Bernard DuboisOptimistic and full of energy, the late designer’s creations placed emphasis on structured lines and featured a predominantly white colour palette.
      For the brand’s flagship store, Courrèges’ artistic director Nicolas Di Felice asked Dubois to create an interior that blends this distinctive visual language with subtle references to nightclubs.
      Its interior is lined in fabric and thick carpetThe result is a monochrome space with fabric-lined walls and ceilings, thick carpets and rows of mirrors that are set at an angle in a nod to the perspective-bending decor often found in nightlife venues.

      “White has always been part of the Courrèges universe,” Dubois told Dezeen. “We decided to embrace this and make it our own, by making it warm, intimate, silent, plush.”
      Other references to the brand’s history include shelves and cabinets that were part of a store interior designed by Courrèges in 1967 before being redesigned to match the proportions of the new store.
      Upside-down arches frame the way to the changing roomsCurved U-shaped elements resembling upside-down arches feature alongside the mirrors towards the back of the store in a homage to classical architecture and space travel.
      “I always like to play with classical elements of architecture in my projects, sometimes placing them in different contexts, at different scales than their usual size or context,” Dubois said.

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      “In this case, placing them upside-down is also a reference to spaceships, where the absence of gravity naturally places things upside down and creates different structural constraints,” he added.
      In some areas of the Courrèges store, Dubois deliberately exposed the raw concrete walls, creating a contrast with the softness of the fabric and the carpet.
      The interior is rendered almost entirely in beigeThe mirrored panels were added to provide perspective and direct the eye to the dressing rooms at the back of the store.
      “I always like to structure spaces,” Dubois explained, “give them some depth, play with perspectives, create relationships between different shapes of spaces, giving the impression that the visitor enters into a coherent world.”
      Only clothing displays provide a colourful contrastThe store is the larger of two Courrèges outposts in Paris. The other store in the Marais neighbourhood was also designed by Dubois.
      Bernard Dubois set up his eponymous firm in 2014 after graduating as an architect from La Cambre in Brussels in 2009. Other projects from the studio include a store for Aesop featuring distinctive yellow bricks and a narrow “runway-like” sneaker store for APL.
      The photography is by Romain Laprade.

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      Hotel Rosalie encourages nature to “reclaim its rightful place in the urban landscape”

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      French interior designer Marion Mailaender has worked with hotelier Joris Bruneel to create a hotel in Paris informed by overgrown and abandoned buildings.

      Conceived as a hidden oasis in the city, Hotel Rosalie is set in a courtyard behind a tall iron gate on a tree-lined street in the 13th arrondissement.
      Marion Mailaender has designed nature-informed interiors for Hotel RosalieGreenery is incorporated into every aspect of Mailaender’s design for the 60-room hotel, including a plant-filled terrace and a hidden roof garden.
      Parisian urban gardening collective Merci Raymond was brought on board by Bruneel to make the hotel’s outdoor spaces seem “overgrown” and help nature “reclaim its rightful place in the urban landscape”.
      The hotel’s terrace features outdoor furniture by the Bouroullec brothersBruneel was particularly influenced by Urbex, a series of images by French photographer Romain Chancel that is displayed in the hotel’s guest rooms and depicts abandoned urban buildings that have slowly been reclaimed by plants.

      In a nod to this work, Merci Raymond encouraged lichen and moss to grow and seeds to germinate in the hotel’s nooks and crannies. Meanwhile, Mailaender incorporated urban design elements into the scheme ranging from “Roman-style statues” to an old Peugeot 205 car that is seemingly left abandoned on the rooftop.
      Mirrored yellow columns traverse the lobbyOn the ground floor, the hotel’s Open Garden is accessible to the local community and features steel outdoor furniture by Ronan & Erwan Bouroullec set across a two-level terrace linked by a little staircase.
      A towering six-metre hop plant provides shade while its flowers will be used by a microbrewery in the 11th arrondissement to make beer.
      A Gae Aulenti sofa in the lobby is upholstered in clover-patterned fabricThe hotel’s Secret Garden lies behind a hidden door on the third floor. This is furnished with deck chairs, wooden benches and planters, offering a space where guests can read, relax in the sun, do yoga classes or participate in workshops organised by the hotel.
      Inside, Mailaender has included plenty of nature-inspired elements. In the lobby, a giant coconut-fibre rug leads guests inside while armchairs and couches by Italian architect Gae Aulenti are upholstered in clover-patterned pop art fabric.

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      Meanwhile, guest rooms feature galvanised steel furniture, which is typically used outdoors, and floral William Morris carpet that extends up from the floor and across the headboards.
      The interior blends new and reclaimed pieces in an approach that Mailaender describes as “intentional ambivalence”.
      In the bathrooms, for instance, traditional baths are paired with counters made from terrazzo-style recycled plastic.
      Floral William Morris carpet covers floors and headboards in the guest roomsAll materials were chosen for their aesthetic as well as their environmental impact, according to Mailaender.
      For example, the carpet in the guest rooms is made from recycled fishing nets and wood offcuts were used to make a marquetry tabletop in the lobby.
      Bathrooms feature counters made from recycled plasticCork clads the restaurant’s floor and the walls of the elevator, and many of the chairs are pre-owned pieces that were carefully restored.
      “I believe that we can mix furniture designed by the Bouroullec brothers with random pieces from a gardening catalogue,” explained Mailaender. “Embracing current concerns means selecting sustainable materials alongside aesthetically pleasing design pieces.”
      Planting surrounds an old Peugeot 205 in the hotel’s rooftop gardenThe hotel has its own coffee shop The Common, finished in a distinctive blue hue that nods to 90s air hostess uniforms.
      This colour is echoed on a glossy pillar in the bar, a trellis in the secret garden and on the guest room doors, where it offsets the grass-green carpet that winds through the hotel corridors.
      Dezeen recently rounded up ten verdant hotel interiors from our archive that show how adding greenery to public spaces can help give them a friendlier, more organic feel.
      The photography is by Christophe Coenon unless stated otherwise.

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      Concrete infrastructure informs Acne Studios' limestone-clad Rue Saint Honoré store

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      Fashion brand Acne Studios has opened a “monolithic” store on Paris’ Rue Saint Honoré, designed in collaboration with architecture studio Arquitectura-G, that references a Stockholm skatepark and its Parisian setting.

      Located on Rue Saint Honoré, a historic street and renowned shopping destination in the 1st arrondissement of Paris, the store was created by Acne Studios founder Jonny Johansson in collaboration with architecture studio Arquitectura-G.
      Acne Studios Rue Saint Honoré store was created in collaboration with Arquitectura-GJohansson explained that after spending time in a skate park situated beneath a concrete bridge in Stockholm, he wanted to replicate the look and feel of sitting under a piece of concrete infrastructure within its Paris store.
      “It’s finding these poetic spots – under a bridge, where you have sort of like a beautiful concrete wave motion, and this whole idea of being under a bridge where nobody wants to be, where it’s beautiful, I thought was quite a beautiful idea,” he said.
      “I want it to feel like you’re sitting under the bridge. So that’s when the whole idea – because I like that, sort of like a secret society – I thought it was good for us as a brand on the big fashion street.”

      The design was informed by skateparks and concrete infrastructureThe interior of the store can be characterised by Arquitectura-G’s use of Saint Maximin stone, a French limestone sourced from a nearby quarry that is synonymous with Parisian buildings as a result of Napoleon III and Baron Haussmann’s radical reimagining of Paris, which was built from the stone.
      Rectangular slabs of the golden-hued stone cover the walls, floors and ceiling of the store blending the 19th-century, Saint Maximin stone-clad exterior with the now similarly clad interior.

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      Arquitectura-G opened up the ground floor of the store incorporating a double-height space that is connected to its first floor through glass balustrades lined between stone columns.
      Black, amorphous-shaped furniture and dyed-fabric display units by long-time collaborator Max Lamb were positioned throughout the store like soft, quarry boulders.
      It used Saint Maximin stone throughout”If you look at [Paris] as a whole, it’s beige. If you squint you see this stone, this pale colour,” Johansson said.
      “Then you have these dots of black which are like cars. And they’re moving fast, and sort of shiny and black, quite scary in one way. That’s Max’s work.”
      Furniture and display units were designed by Max LambLighting by designer Benoit Lalloz was organised throughout the store and placed across its stone-lined ceilings to mimic the effect of daylight.
      Acne’s West Hollywood store, which was opened in 2018,  features a bright yellow interior that was designed by London-based firm Geoff Crowther Architects.
      In 2019, the fashion brand relocated its headquarters to a 1970s brutalist-style building, that belonged to the former Czechoslovakian embassy, in Stockholm.
      Photography is courtesy of Acne Studios.

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