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      Ome Dezin restores 1960s California residence by A Quincy Jones

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      US studio Ome Dezin has renovated a large mid-century home in Brentwood, California, using a tonal colour palette and maximising the lush hillside views.

      The six-bedroom 12221 Benmore residence was designed and constructed in 1960 by notable local architects A Quincy Jones and Frederick Emmon.
      Natural materials and neutral colours were chosen throughout the home to highlight the lush viewsWhen Jesse Rudolph and Joelle Kutner of Ome Dezin came to the project, it had undergone a 1990s remodel that had stripped away its character and style.
      The team made it their mission to revive the home’s original charm and connection to the outdoors, bringing in natural tones and materials.
      White oak and travertine are recurring materials, as seen in the bar area”We have always been fans of A Quincy Jones and familiar with his work, which is what prompted us to see the home initially,” the duo told Dezeen.

      “This one did not disappoint — it had the typical Quincy atrium-like living space centered across from the exterior which includes a 40-foot (12-metre) waterfall.”
      The main living spaces all flow together and have expansive views onto the gardenMany of the existing fixtures were retained, including the fixed windows and doors, wherever possible.
      To keep the focus on the views from the large windows, the interior was designed with “a more muted, streamlined aesthetic”.
      Custom pieces designed for the home include a dining table and chairs created in collaboration with Ben Willett”We wanted to ensure the intention of Quincy was intact, so we aimed for a bit of brutalism and connection with nature,” said Rudolph and Kutner. “We opted for a limited material and color palette in favour of natural tones.”
      The new white oak staircase designed for the three-storey atrium features rectangular forms and has an architectural presence, echoing the shape and style of the building.
      Large windows are found in almost every room, so the decor is kept minimal and sparse so as not to draw focusIt sits at the nexus of the living room, dining area, kitchen and bar, which all flow together and enjoy expansive views out the back of the house.
      A den adjacent to these open spaces is furnished with a variety of midcentury pieces, in keeping with the building’s history.
      Dramatically patterned Cipollino stone in the bathroom echoes the grey tones of the rocks outsideTwo types of stone were used throughout the home: travertine, which appears in the kitchen, bar area and powder room, and richly patterned Cipollino in the primary bathroom chosen to pick out the colours of the mountains visible through the windows.
      In the lower-floor bedrooms and around the fireplace, flagstones and cobblestones were laid to create a grounding quality and to connect the spaces to the rocky landscape outside and pavers around the swimming pool.

      Studio Schicketanz renovates Henry Hill’s mid-century house on the California coast

      Custom pieces designed for the project include the dining table created with furniture designer Ben Willett, which allows all of the chairs to be tucked away neatly underneath.
      Two 10-foot-high (three-metre) doors were custom-built for the living space and feature Jean Prouvé-influenced circular window cutouts that allow light to shine through.
      The garden features a swimming pool and a 40-foot (12-metre) waterfall”We paid special attention to the lighting in the home, mostly sourcing vintage lights to add charm and character,” the design team said.
      “With such a large home, and lots of windows and tall ceilings, warm mood lighting really made the spaces feel intimate and magical, particularly in the evenings.”
      The home was designed and constructed in 1960 by A Quincy Jones and Frederick EmmonRudolph and Kutner founded Ome Dezin as a design and development studio focused on residential restoration in and around Los Angeles.
      California has no shortage of mid-century properties in need of revamping. Other recently completed examples include Studio Schicketanz’s renovation of modernist architect Henry Hill’s former seaside home, and Woods + Dangaran’s overhaul of a residence that once belonged to singer Bing Crosby’s manager.
      The photography is by Nils Timm.

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      Martin Brudnizki designs Gilded Age-interiors for The Fifth Avenue Hotel in New York

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      Martin Brudnizki Design Studio has designed the interiors for a 1907 Renaissance-style palazzo building in New York, which has been turned into a luxury boutique hotel by architecture studio Perkins Eastman.

      The Fifth Avenue Hotel sits on the site of what was once one of the last mansions of The Gilded Age.
      Throughout the late 19th century, the home of Charlotte Goodridge at 250 Fifth Avenue hosted receptions and musical evenings as part of New York’s social season.
      Classical fixtures contrast a contemporary colour palette in the hotel’s roomsPerkins Eastman added a 24-storey glass tower, designed with PBDW Architects, to the five-storey brick and limestone building.
      This was originally designed by McKim, Mead & White as the Second National Bank in 1907, replacing Goodridge’s 19th century home.

      Drawing on the history of the neighbourhood and heritage of the building, Martin Brudnizki Design Studio (MBDS) aimed to create an aesthetic for the new hotel that would embrace “Bohemian romanticism and the glamour of the gilded age,” while maintaining contemporary styling.
      Martin Brudnizki has employed colour and texture to reflect global travels”One of the biggest challenges was that we were working with both an existing and a new building at the same time, which each presented their own challenges architecturally,” studio founder Martin Brudnizki told Dezeen.
      “We worked with the architects to marry the historic narrative with the contemporary tower addition, which reflects New York today, and the concept of the modern traveller,” he said.
      A corner bedroom features yellow curtainsRooms feature a rich colour palette of garden greens, buttercup yellow and peony pink with gold accents.
      Bold patterns and textures jostle each other in a “harmonious and fun way, juxtaposing modernity with the classic finishings,” the designer said.
      The hotel’s walls host an extensive art collection”The intersection of interiors with architecture is so important. The mansion is a much more classical response to the history and details of the building, whilst the tower enthuses a more modern touch,” Brudnizki explained.
      “Both are unified by the choices of colours and certain furniture, fixtures and equipment that carry between the two sites.”

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      Bedrooms feature a global blend of references, including Pagoda-style table lamps, custom wardrobes informed by traditional Chinese cabinets, antique inlaid side tables, Murano glass chandeliers and star-like ceiling lights.
      The double-height entrance lobby features walls panelled with faceted antique mirrors, marble floors and grand arched windows – which echo throughout the hotel bedrooms as room dividers between sleeping and sitting areas.
      Rooms have been designed to have a residential feel”We loved the idea that all these great characters had once walked along the boulevard of Fifth Avenue and the fabulous parties hosted within the mansions of Fifth Avenue; the people and the conversations that took place,” said Brudnizki.
      “We wanted to create a space that felt as though its interiors had been brought together over time, pulling items from our muse’s travels and adventures from across the globe.”
      Antique glass panelling and modern mirrored artworks fill the double-height lobby”It is a truly eclectic and layered project that is intended to feel as though it has been around since the days of The Gilded Age,” the designer concluded.
      Other boutique hotels recently published on Dezeen include Christian Louboutin’s hotel Vermelho in Portugal and Trunk Hotel Yoyogi Park in Tokyo, by Keiji Ashizawa Design and Norm Architects.
      Photography is by William Abranowicz.

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      De Durgerdam hotel takes over 17th-century sailor’s inn on dyke outside Amsterdam

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      Dutch hospitality company Aedes has pushed Amsterdam’s building restrictions to their limit to convert a heritage-listed tavern into an all-electric hotel.

      De Durgerdam hotel occupies one in a row of almost identical gabled buildings perched on a seawall on lake IJmeer, which together make up the small village of Durgerdam near Amsterdam.
      Constructed in 1664, the building originally served as an inn for sailors and fishermen, its white-painted clapboard facade acting as a beacon for boats that could pull right up to its deck in the Zuiderzee bay of the North Sea.
      De Durgerdam hotel is set on a seawall outside AmsterdamDue to recurring flooding, the village was cut off from the sea with the construction of a dam in 1932, turning the bay into a freshwater lake while the inn became a ferry terminal and later a cafe and restaurant.
      Following a five-year restoration led by Aedes, the building reopened this year as a boutique hotel with 14 rooms and interiors designed by material research studio Buro Belén.

      De Durgerdam, the first hotel to be owned and operated by the Aedes, provided an opportunity to see how far heritage restrictions could be stretched to make the building as sustainable as possible.
      The hotel occupies a former inn with a white-painted clapboard facade”What we have done in terms of sustainability is fairly innovative for a historic building of this kind,” said founder Paul Geertman. “We have pushed the boundaries as far as we could to reduce its environmental impact.”
      The 17th-century building now runs on renewable energy – provided by 32 rooftop solar panels and a green energy supplier – and its operations are entirely gas-free.
      This was made possible via meticulous insulation and four separate heat pumps, which cover all of the building’s heating and cooling needs in lieu of a traditional boiler.
      The ground-floor restaurant integrates a small lounge areaWith limited space in the old inn, the heat pumps are dotted across the garden where they are hidden in tiny outbuildings complete with gables and clapboards, which Aedes constructed especially to work around local building codes.
      “A heat pump in Amsterdam normally has to be inside of your building, otherwise you just don’t get the licence,” Aedes head of sustainability Esther Mouwen told Dezeen. “So we had to build a house around them.”
      The windows posed a similar struggle, as the municipality rarely allows the distinctive hand-blown glazing of heritage buildings to be changed.
      But Aedes was able to source an energy-efficient triple-glazed model with a pattern of tiny dots across its surface, which creates the optical illusion of looking at rippled glass.
      An Ingo Maurer chandelier hangs above a vintage sharing table in the restaurantThe renovation itself was a balancing act between changing as little as possible about the building while ensuring that it could survive for another 500 years.
      Although from the outside, the three-storey building looks almost exactly like it did when it was first constructed, large parts of its structure had to be carefully dismantled and reconstructed.
      “The building had deteriorated over time and the structural integrity had been compromised in some areas,” said Aedes marketing manager Monica Hanlo.
      “The interiors had to be carefully renovated and restructured, with beams and stones disassembled, inspected and either reused or replaced.”
      The bedrooms are finished in a moody colour paletteWhere timber could no longer serve a structural function, it was converted into floorboards alongside reclaimed wood sourced from old church pews and demolished timber houses from Austria.
      This wood was smoked for 18 hours to create a rich colour that permeates the timber rather than sitting on top like a stain, which would wear down over time and need re-upping.
      “Normally, they do not smoke it that long,” explained Buro Belén co-founder Lenneke Langenhuijsen. “Now it will patina super beautifully because all throughout, it became this really dark wood.”
      “It was important to us to make well-based decisions, maybe invest a bit more but it’s a long-lasting product that ages with the hotel and makes it even nicer over time.”

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      De Durgerdam marks the first time that Buro Belén has applied its material research approach to an entire hotel interior.
      “We did a lot of research so that the hotel also feels very grounded in what it once was, in its place,” Langenhuijsen said. “And if you look at the Zuiderzee, it was a very important part of the Netherlands, all the villages around made their living from it.”
      Layered throughout the hotel’s interior are references to this seafaring history, delivered via an eclectic mix of new, vintage and bespoke elements created by Buro Belén.
      A rusty red colour was used to highlight the building’s beamsIn the ground-floor restaurant De Mark, framed photos provide a glimpse of the inn’s evolution over the years.
      A shaggy curtain frames the lounge area near the entrance, made from traditional flax rope and raw flax fibres that were once used by local fishermen to make their nets.
      Weather permitting, patrons can dine outside on the jetty atop lake IJmeer or sit at a long sharing table that forms the centrepiece of the restaurant.
      The same colour dominates the guest bathroomsOverhead, Buro Belén suspended Ingo Maurer’s chandelier Lacrime del Pescatore – or “fisherman’s tears” – made of sparkling crystals that droop from a nylon net.
      Its name, according to Langenhuijsen, acts as a subtle reference to the plight of the local fishers, who lost their livelihoods as the village was cut off from the sea.
      Upstairs, the inn accommodates three suites and one room, accessed via the building’s untouched original staircase, which still shows the deep grooves that were worn into the wood by thousands of shoes over the centuries.
      Ten of the hotel’s 14 rooms are housed in a garden annexe added in 2006De Durgerdam’s remaining 10 rooms are housed in a garden annexe that was added to the building in 2006. All share a moody colour palette that was drawn from the craft and building traditions of the Zuiderzee.
      A rusty red colour – reminiscent of sails treated with tree-bark tannins to prevent rot – was used to highlight key architectural features like the building’s timber beams and the monochrome bathrooms.
      Similarly, the inside of the bedrooms’ Shaker-style built-in wardrobes was painted in a sky blue colour that nods to a traditional paint made from buttermilk, chalk and a particular blue pigment, historically used by locals across cupboards and box beds to repel insects.
      The hotel’s heat pumps are hidden in tiny gabled outbuildingsEven though construction is complete, Aedes is still working on reducing the hotel’s operational footprint, with the aim of getting 80 per cent of the way towards being zero waste by the end of next year.
      The company is also looking into a reliable way of offsetting the building’s whole-life carbon emissions via a reforestation scheme but has so far struggled to find a reliable company that can guarantee measurable, traceable carbon removals.
      “We’re not fans of offsetting, because we think we have to make sure we don’t create emissions,” Mouwensaid. “But it’s not possible yet.”
      Aedes has previously converted Amsterdam’s art deco Bungehuis building into a Soho House members’ club.
      The photography is by Chantal Arnts and Studio Unfolded.

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      Neuhäusl Hunal divides Sculptor’s Apartment in Prague using curved glass partitions

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      Czech architecture studio Neuhäusl Hunal has renovated a prefabricated apartment in Prague, turning it into an open-plan home and workspace for sculptor and glassworker Vladimír Bachorík.

      Neuhäusl Hunal opted for curved translucent glass partitions in place of doors to divide the interior spaces and create a sense of openness and fluidity.
      U-profiled glass partitions divide the interior spacesIn order to maximise floor space, the studio removed all non-load-bearing elements, leaving just a single load-bearing concrete wall that cuts through the living and workspaces.
      Three U-profiled glass partitions were then used to enclose a cloakroom, storage space and kitchen, while the remaining floor space can be used flexibly.
      An existing load-bearing concrete wall separates the living and work spacesA centralised, curved bathroom, raised by a small platform for waste management, is similarly enclosed by translucent glass panels and protrudes into the main space.

      The bathroom interior was lined extensively with white ceramic tiles and features a walk-in shower.
      Meanwhile, matching ceramic tiles were also used in the kitchen, which doubles as a work area for the artist.
      White mosaic tiles line the kitchen and bathroom”To design the maximally open and flowing space without doors, infrastructure, besides statics, was a key constraint, which defines the location of the single-almost-enclosed space: the bathroom,” studio architect and founder David Neuhäusl told Dezeen.
      “Therefore we emphasized [the bathroom] as the most prominent element in the apartment to create a strong spatial experience,” Neuhäusl continued.

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      The interior material palette was defined by the stripped concrete wall as well as the translucent panels and ceramic tiles, set on a background of white plaster walls and grey-toned rubber flooring.
      Metal furniture and shelving was used throughout the minimalist interior, with cubic plinths used to display Bachorík’s glasswork around the space.
      Existing windows draw daylight into the interior spacesDaylight shines through the existing windows at either end of the apartment and penetrates the glass partitions to create a brightly lit interior, while carefully positioned strip lights and spotlights provide artificial lighting.
      “These translucent glass blocks of high order ensure the penetration of light and create identity of the apartment,” Neuhäusl explained.
      “Their materiality and character naturally refer to the client’s lifelong work. They can be naturally composed in curves to formulate the softly shaped partitions.”
      Metal furniture is used throughout the spaceNeuhäusl Hunal is an architecture studio founded by David Neuhäusl and Matěj Hunal in the Czech Republic.
      Other projects recently completed in the Czech Republic include a winery topped with a sweeping concrete roof and an angular black extension to a neo-gothic church.
      The photography is by Radek Úlehla.

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      Cake Architecture draws on Bauhaus principles for Hoxton bar

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      Cake Architecture has renovated A Bar with Shapes for a Name, an east London cocktail bar featuring “utilitarian” interiors.

      A Bar with Shapes for a Name owes its title to the yellow triangle, red square and blue circle that are emblazoned on its facade in a nod to the primary colours and understated geometry commonly associated with the Bauhaus.
      Tall tubular chairs feature on the ground floorWhen creating the bar’s minimalist interiors, Dalston-based Cake Architecture took cues from the influential German art and design school that was established in 1919 and advocated for an emphasis on functionality, among other similar principles.
      Located at 232 Kingsland Road in Hoxton, the cocktail bar was renovated by the studio to serve as a multipurpose venue.
      Cake Architecture created a smooth ground-floor bar from reddish plywoodCake Architecture doubled the bar’s capacity by adding a basement, which acts as a “kitchen-bar” room, and refurbished the ground floor’s existing seating area as well as a classroom-style space that offers a location for rotating events or workshops.

      “These spaces have specific functional requirements and we selected colours and materials to suit,” studio director Hugh Scott Moncrieff told Dezeen.
      It was positioned opposite a rectilinear light installationUpon entering the bar, visitors are greeted by the main seating area or “showroom”, which was designed to be warm and inviting.
      Tall tubular chairs finished with neutral rattan were positioned around chunky geometric tables made from birch ply stained to a rich, reddish-brown hue.
      The renovation included the addition of a new basementThe team also used the same timber to create the space’s curving bar, which is illuminated by a squat, cordless table lamp by lighting brand Flos.
      Opposite the bar, a glowing rectilinear light installation by photographer Steve Braiden was fitted to the wall underneath bench-style seating reminiscent of early Bauhaus furniture designs.
      A steel, glass-topped table sets an industrial tone”We looked in particular at projects by the Bauhaus founder Walter Gropius,” reflected Scott Moncrieff.
      “Gropius is a master of this elegant zoning through the application of colour and form,” he added.
      The “classroom” includes steel-framed tablesDownstairs, the low-lit basement was created to house additional seating as well as “all of the crazy machinery they use to prepare the drinks,” the designer said.
      The basement is characterised by a bespoke central table by Cake Architecture and furniture designer Eddie Olin.
      Red, yellow and blue accents define a sculptural lampConsisting of a steel frame that “floats” over a central leg, the table was topped with a glass surface and its base was clad in phenolic-coated plywood to match the floor and walls.
      “This new basement is predominantly a production space – so the palette reflects this with hardwearing, utilitarian and industrial materials,” said Scott Moncrieff.

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      A thick, felt curtain in ultramarine adds a pop of colour to the otherwise pared-back space.
      With its pale blue walls and Valchromat-topped, steel-framed tables, the ground-floor “classroom” pays homage to the Bauhaus as an educational institution.
      A tall blackboard provides space to learn in the classroomBrighter blue vinyl covers the floors while a sculptural lamp featuring red, yellow and blue circles echoes the bar’s logo.
      A tall blackboard and overhead strip lighting add to the classroom feel of the space, which is used for various group events.
      Thin vertical lights frame the bathroom sinkCake Architecture worked closely with the bar’s founders Remy Savage and Paul Lougrat when creating the interiors, which were primarily informed by the duo’s way of working.
      “The team has a conceptually driven ethos drawn from the theory and practice of Bauhaus embedded in everything they are doing. We found that incredibly exciting,” explained Scott Moncrieff.
      A Bar with Shapes for a Name is located on London’s Kingsland Road”The Bauhaus phrase ‘party, work, play’ was pertinent to some early ideas and this carried through all our design discussions,” noted the designer.
      “The space enables these three things. Separately as individual functions and simultaneously as a representation of the overall atmosphere of a bar!”
      Cake Architecture previously worked with interior designer Max Radford to create a curtain-wrapped speakeasy in London’s Soho. The studio also designed a workspace for London agency Ask Us For Ideas in the same part of the city.
      The photography is by Felix Speller. 

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      Adean Studios overhauls High Country Motor Lodge with nods to astronomy

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      An old roadside motel on America’s iconic Route 66 has been renovated by San Francisco-based Adean Studios to reflect the culture and enviromnent of Flagstaff, Arizona.

      Adean Studios worked with local architecture studio Synectic Design to overhaul the High Country Motor Lodge, which is operated by Marc & Rose Hospitality.
      Dark blue walls and amber lighting set the tone inside the High Country Motor Lodge lobby loungeThe mid-century property is accessed directly off the historic, cross-country Route 66 highway that runs through Flagstaff – the city that provides a base for visitors to the Grand Canyon, the Arizona Snowbowl ski resort and miles of hiking trails through the surrounding wilderness.
      Almost 7,000 feet (2,100 metres) above sea level, the city is also home to the Lowell Observatory where Pluto was discovered in 1930.
      The hotel was renovated by Adean Studios to reflect the landscape and history of FlagstaffAll of these elements were combined as influences for the hotel’s design, which lands somewhere between a mountain lodge and a retro motel.

      “Our goal was to incorporate the rich astronomical history of Flagstaff, while also creating an environment that blends elements of a retro 1960s lounge with modern mountain design,” said Adean Studios principal Alexa Nafisi-Movaghar. “The entire property showcases a darker colour palette accented with rustic woods and 1960s-inspired fixtures and furnishings.”
      Guest room interiors are a cross between mountain cabins and retro motel roomsPainted midnight blue, the hotel buildings form a U shape around a central lawn and a large swimming pool, which was also renovated as part of the project.
      The lobby, restaurant and other public areas face the highway, while the majority of guest rooms are located in perpendicular two-storey blocks behind.
      Low furniture and cassette players add to the nostalgic atmosphereOn the west side of the site, three new shingle-clad cabins were constructed to house larger suites, bringing the total number of keys to 123.
      The dark facade colours continue inside the lobby, lounge and bar areas, where a variety of seating types and configurations allow guests to dine or relax as they choose.
      Dark green and blue hues throughout the property nod to the forested surroundings and night skyAmber-hued glass light fixtures emit a soft, warm glow in these spaces, while velvet curtains and blankets were included.
      The bar and lounge opens onto a stepped outdoor terrace, where more dining tables and low chairs are arranged around a series of fire pits.
      The property is arranged around a central lawn, which public events are held, and a large renovated swimming poolA general store off the reception area sells a curated selection of snacks, merchandise and other locally sourced gifts.
      In the guest rooms, navy blue wainscoting wraps the lower portion of off-white walls, and dark wood floors and low furniture add to the mid-century aesthetic.
      Three shingle-clad cabins that house suites were built as part of the projectEach is equipped with a cassette player and a set of three tapes, which play tracks that evoke nostalgia for the road trip era.
      High Country Motor Lodge also boasts a Nordic spa, comprising two private wood-lined saunas that guests can reserve for one-hour sessions.

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      These cabins are accessed from an enclosed courtyard with an outdoor shower and fire pits, and have direct access to the hot tub for further relaxation, or the swimming pool for a cold plunge.
      “Inspired by the local lifestyle of adventure-seekers, day-sleepers, and night-watchers, the great lawn, private cottages, and the Nordic Spa have been designed to enhance the outdoor experience, constantly reminding guests of the beautiful nature that surrounds,” Nafisi-Movaghar said.
      The hotel has a Nordic spa that guests can book for private experiences. Photo by Landon KroegerThe hotel’s branding was created by Charleston-based SDCO Partners, and also plays up the retro and astronomy themes.
      “Nestled between the Grand Canyon and Barringer Crater, the High Country Motor Lodge is at once both celestial and earthly, and the brand design honors both,” said creative director and founding partner Amy Pastre.
      The sauna cabins are located close to the hot tub. Photo by Landon Kroeger”An eclectic family of hand-rendered typographic and illustrative graphic elements celebrate the motor lodge’s vintage style, contemporary design, and the love of high desert adventure.”
      A range of public programming is organised at the location throughout the year, including theatrical performances, and a folk music festival in the fall.
      The private saunas can be reserved for an hour. Photo by Landon KroegerMany former motels and motor lodges across the US have been bought up and renovated into boutique accommodations over the past decade.
      From Hotel Joaquin in Laguna Beach and The Drifter in New Orleans, to Scribner’s in New York’s Catskills Mountains and Tourists in the Berkshires, these hotels are often designed with a location-specific twist.
      The photography is by Werner Segarra, unless stated otherwise.

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      REV Architecture decorates Carita Maison de Beauté with “translucent clouds”

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      Local studio REV Architecture has completed an interior renovation of the Maison de Beauté in Paris, France, for L’Oréal Luxe skincare brand Carita.

      Surrounded by other luxury brands along the Rue du Faubourg Saint-Honoré, the studio aimed for the space, which houses a hair salon and skincare treatment rooms as well as a restaurant and eye studio, to be an embodiment of the brand’s identity.
      REV Architecture gave the Parisian beauty house an update”Our aim was to convert a commercial space into a cultural space,” REV Architecture said. “We wanted the Maison Carita to stand out as a new must-go-to destination in Paris, with all the legend that goes with it to reflect what these modern, timeless women were like.”
      Design efforts focused on the 2,000-square-metre building’s former courtyard, which was restored to its original proportions by removing recent additions and raising the height of the glass roof.
      A raised glass roof extends across the renovated atrium”To transcend this heritage, it was necessary to identify the logic of the space,” the studio explained. “The architecture becomes the singular experience that leads to the discovery of the brand’s culture.”

      Natural light is filtered through what the studio describes as a series of “translucent clouds” – circular glass panels that overhang the length of the restored atrium.
      The portico entryway is defined by a series of staggered archesTo draw visitors in from the street, REV Architecture introduced a series of staggered arches along a portico leading from the Rue du Faubourg Saint-Honoré.
      “[The arches create] a subtly accelerated perspective that gradually reveals the vision of the atrium, the epicentre of the new Maison de Beauté,” the studio said.
      The studio incorporated a restaurant by French chef Amandine Chaignot into the designPublic spaces and private rooms are alternated throughout the layout, and are connected through the central atrium by a raised path network.
      “The different spaces of the Maison de Beauté are linked to the atrium by aerial paths, a unique architectural promenade [experienced] as a promise or souvenir of the visit,” the studio said.

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      Materials were selected to reference the white-and-black colours of Carita’s most iconic products, as well as to evoke their fluid textures and its brand identity.
      “We have cultivated a sense of natural materiality [and] tactile surfaces where charm, contemporary purity and responsibility come together; the sensuality of gypsum, white and black marble warmed by touches of pink onyx and chromed metal,” the studio said.
      “Sensitive, natural, responsible [materials] made more beautiful by the passage of time.”
      The treatment rooms were informed by the clean lines of the Carita brand logoThe studio was further informed by the Carita brand logo and how it could be fused with the forms of the renovated rooms and treatment spaces.
      “It is the lines and the femininity of this simple and poetic monogram that we have chosen to define the overall expression of the new architecture,” REV Architecture said.
      The house of beauty includes a salon by John NolletREV is a Paris-based architecture and design studio founded by Cristiano Benzoni and Sophie Thuillier. The project has been shortlisted in the health and wellbeing (interior) category of Dezeen Awards 2023.
      Other recent beauty and well-being projects include a beauty store which takes its cues from underground factories in China and a spa embedded in the Mexican jungle by Soler Orozco Arquitectos and Javier Sánchez.
      The photography is by Benoit Linero.

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      Cox Architecture celebrates heritage features of its own Sydney studio

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      A brick, steel and timber structure is left exposed in this office interior in Sydney, which local firm Cox Architecture has revamped to house its own studio.

      Cox Architecture removed previous alterations to the structure, which occupies five floors of the heritage-listed Metcalfe Bond Stores warehouse in Tallawoladah, to highlight its original features and complement them with pared-back, flexible workspaces.
      Cox Architecture has designed its own studio in a Sydney warehouse”Our objective was to do more with less, balancing the poetic with the pragmatic,” explained the studio.
      “Restrained interventions allow the heritage to be the hero and minimise the project’s embodied energy,” it continued. “Our starting point was a process of reduction, removing non-heritage elements to create clarity.”
      The studio exposed its existing structureThe interior is defined by the original steel and timber structure’s columns and beams that have been painted white, and the brickwork of the outer walls that are left exposed.

      New elements such as glass doors and walls, room dividers, curtains and furniture were chosen to touch the existing structure “as lightly as possible”, and feature alongside dark-wood carpentry and gallery-style lighting tracks.
      Dark-wood carpentry features throughoutThe workspaces themselves are designed to be flexible and “hackable”, allowing areas to be reconfigured and subdivided easily by staff.
      This includes a forum space on the fifth level of the building, which has a wall lined with magnetic whiteboards and can be used as anything from a collaborative workshop space to a presentation area for 200 people.

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      Alongside it is a kitchen with a backdrop of exposed brickwork and two long counters topped with unsealed brass that will patinate over time.
      A black-steel stair leads up to a mezzanine level above containing further desk spaces. This sits at the top of the building, lit by skylights in the apex of the pitched roof.
      The workspaces are designed to be flexible”Anchored by a generous kitchen, a flexible forum space is a magnet for serendipitous exchange between Cox’s own people and the wider design community,” said the studio.
      “The majority of elements within the space are movable, creating an experimental, nimble workspace allowing teams the autonomy to control their space and future-proofing the studio as the workplace evolves,” it continued.
      The presentation space is lined with magnetic whiteboardsFacing the street, Cox Architecture created a “shopfront window”, giving staff the opportunity to populate vitrines with the studio’s work.
      Cox Sydney Studio has recently been shortlisted in the large workplace interior category of Dezeen Awards 2023. Another office interior completed by the studio is the Midtown Workplace in Brisbane, which features a large, plant-filled atrium with by a weathered-steel staircase.
      The photography is by Nicole England and Cameron Hallam.

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