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    Miriam Barrio creates “organic and natural” interiors for Barcelona curly hair salon

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    Barcelona-based Miriam Barrio Studios has transformed the interiors of a modernist building into Curly Lab, a curly hair salon incorporating curved shapes and copper-toned surfaces.

    Located at the base of a gothic and modernist building designed by Catalan architect Enric Sagnier in 1895, Curly Lab is situated at Diputación in the Eixample district of Barcelona.
    Miriam Barro has designed curly hair-informed interiors for Curly Labs salonMiriam Barrio Studios designed Curly Lab’s 65-square-metre-interior to convey an “organic and natural language”. The space, previously occupied by a real estate agency, now features rich textures that contrast the surrounding architecture.
    Continuous microcement surfacing was used across the salon’s light-toned floors and its terracotta-toned wall to create a distinct backdrop. This microcement was locally sourced and manufactured within the vicinity of Barcelona.
    Microcement was used for the light-toned floors and terracotta-hued wallsNew elements include curved shapes that form the structure of salon countertops, furnishings and lighting fixtures, creating pathways and routes across various workstations.

    “The organic shapes were a match because in the modernist world they symbolised beauty and were entirely aligned with the DNA of curly hair,” designer Miriam Barrio told Dezeen.
    Polished copper tiles decorate these countertop bases, coexisting with historical features also on display.
    Copper-toned tiles furnish the bases of workstation countertopsRemnants of the previous interior are still visible throughout the renovated space. They include exposed brick walls and a Catalan vault ceiling with original floral paintings, which the studio preserved in their current state.
    This process involved a thorough cleaning. The studio then unified the ceiling backgrounds using plain colours, followed by a matte and transparent patina application.
    “The colour of the original ceiling drawings, they were pure inspiration!” Barrio said.
    “A great find and a stroke of luck since there is nothing more natural and special than copper tones,” she added.
    “We wanted to choose a colour derived from the tones of the ceiling and make it the protagonist. It needed to be warm and deep at the same time, neither too feminine nor too masculine. Based on that colour, all the materials for the project were chosen.”
    Preserved features include exposed brick walls and a Catalan vault ceiling with original floral paintingsThe lighting in the space was arranged to highlight the interior’s key architecture and design components, creating an eye-catching display at night when viewing the salon from outside.
    “The lighting in the main space with high ceilings needed to serve two functions: technical lighting for work and decorative lighting to set the atmosphere and enhance the architecture,” Barrio said.

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    “They were positioned at mid-height to illuminate the ceilings from the same element. Curved track lights were designed to flow in the space in the same way as the other elements,” she added.
    Barrio used black metal for the majority of the fixtures besides lighting, including oval-shaped mirrors on dressing tables and Color Bar furniture. Other notable accessories include ceramic lamps and velvet sofas.
    Lighting fixture positioning accentuates the architecture and design of the space”I think it is important to feel beautiful in a salon, for the space to be a fitting companion,” Barrio expressed.
    “We want [consumers] to feel welcomed and inspired, close to feeling like they are in a special temple. In a place of care on all levels.”
    Curly Labs combines new and old shapes and colours to create an “organic and natural” atmosphereOther innovative salon interiors across the globe include the Buller and Rice in London designed by Anita Rice and Stephen Buller, Koda in Sydney by Arent & Pyke and Treadwell by Gin Design Group.
    The photography is by Salva López.

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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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      Arent & Pyke designs Sydney hair salon to be “best appreciated from seated height”

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      Triangular slabs of terrazzo and a vintage chandelier frame Sydney’s Koda hair salon, which local studio Arent & Pyke has conceived as an eclectic mishmash of old and new.

      Located on the upper mezzanine level of the city’s George McRae-designed Queen Victoria Building, the salon was created for Australian hairdresser Koda.
      Arent & Pyke created terrazzo tiling for the floorArent & Pyke created the interiors to “be best appreciated from seated height”, placing wide quartzite-rimmed mirrors at angles in front of the curved black styling chairs to offer a contrast with the salon’s tall ceilings.
      The move was made “given that clients are accustomed to looking up and down” when getting their hair done, the studio explained.
      The studio painted the ceilings in an “energising” gold hueTriangular slabs of dusty pink and forest green terrazzo line Koda’s floors, which Arent & Pyke chose to mimic the marble flooring of Villa Planchart – a house in Caracas, Venezuela, completed by architect Gio Ponti in 1956.

      Ceilings were painted an “energising” shade of gold and fitted with delicate timber battens that conceal various services while in one corner, a geometric 1970s chandelier illuminates the space from above.
      Koda’s interior was designed to “be best appreciated from seated height””Both nostalgic and futuristic, Koda is a majestic work of sculpt fiction,” Arent & Pyke said.
      “Four elongated windows crowned with coloured glass pool light from within, so the built spine intentionally reaches approximately half of the rear salon’s 4.5-metre ceiling height, enabling appreciation of their beauty from every vantage point.”

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      Brightly coloured accents were paired with burlwood mid-century furniture including a low-slung credenza topped with glossy cobalt-blue display shelving.
      The studio aimed to rid the space of “transactional” clutter, replacing traditional tool trolleys with cylindrical styling stands with aged brass details designed by Arent & Pyke.
      Arent & Pyke aimed to rid the salon of “transactional” clutterCurving light-hued timber cabinetry was also mounted to the blush-toned walls to create eclectic storage.
      A translucent pale pink curtain was suspended from a rail to create a layer of privacy for the wash bay, which was positioned on a raised platform.
      A translucent pale pink curtain creates a layer of privacy for the wash bay”Koda is a crafted tale of artisanal vision balancing angled poise with organic shapes and undulating forms,” said Arent & Pyke.
      Founded by Juliette Arent and Sarah-Jane Pyke in 2007, the studio previously renovated a 1930s Sydney home with a monochromatic interior.
      Other notable hair salon interiors include a minimalist Swedish outlet finished in pastel colours and a US barbershop with a cavernous cork lounge.
      The photography is by Prue Ruscoe. 

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      Gin Design Group creates radial layout for Treadwell barbershop in Houston

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      A cave-like cork lounge is hidden at the back of this barbershop in southwest Houston, by Gin Design Group, which also offers IV drips to cure customers’ hangovers.

      This second location of the Treadwell men’s salon chain in situated the Texas city’s Southside Place neighbourhood.
      Treadwell customers are greeted at a curved reception desk wrapped in white mosaic tilesPart of the Southside Commons development, the 2,697-square-foot (250-square-metre) space was designed to echo the first outpost in Houston Heights, but have its own distinctive character.
      The history of this area, as a once “meager” and overlooked suburb that slowly became a thriving community, guided some aspects of the design.
      The “cutting floor” has a unique radial layout”Taking cues from the cultural fibre of Southside Place, Treadwell’s second location will allude to the industrious nature of the area through the use of more industrial touches like steel and concrete,” said Gin Design Group, which is led by founder Gin Braverman.

      “While these materials speak to the strength of the community, they’re softened by clean mosaic tiles, wood, and woven rattan,” the team continued. “Paired with organic architectural elements, this diverse blend of materiality helps to create an illustrious, yet comforting, medley.”
      A central circular unit acts as the barbers’ stationCustomers are greeted at a reception desk fronted by square white tiles, which match the walls behind.
      They then proceed to the “cutting floor”, which has a unique radial layout. Six identical chairs face outward at lozenge-shaped mirrors suspended in the middle of white metal poles.
      At the back is a cave-like bar and lounge area lined entirely in corkA central circular unit forms a stand and incorporates storage for the stylists’ equipment. It wraps a wooden column, from which matching ceiling beams radiate like wheel spokes.
      Tucked away at the back of the salon is an area lined entirely in cork, which features a curved bar made from glass bricks.

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      The dark and moody lounge is completed with turquoise bar stools and custom 1970s-influenced furniture, “speaking to the history of the mid-century architectural style of Southside Place”, according to Gin Design Group.
      Other brighter rooms where the white mosaic tiles are continued include a hair-washing space, and another reserved for treatments including cryotherapy, pedicures, and IV drips intended to rehydrate the body and help alleviate hangovers.
      White tiles are continued in the space for washing hair”The overall interior design aesthetic marries the branding and concept to convey a cohesive design intent, felt in every detail,” said Gin Design Group.
      “Bridging minimalist materiality with optimal functionality, Treadwell will remain a clear expression of innovation for the men’s grooming industry.”
      The barbershop also offers treatments including pedicures and IV dripsOther unusual, design-forward barbershops around the world include a minimalist space by Ivy Studio in Montreal, a “brooding” men’s spa by Nicholas Szczepaniak Architects in Dubai, and a salon with greyscale interiors by Sivak & Partners in Odessa.
      The photography is by Cladia Casbarian for Julie Soefer Photography.

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      Pastel colours and textured concrete decorate Stockholm hair salon

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      Westblom Krasse Arkitektkontor has designed the interior for a minimalist hair salon that was informed by architect Carlo Scarpa’s geometric designs and the muted colours of 1920s swimming baths.

      Called Little Faktory, the salon was designed and renovated by the local architecture studio for hairdresser Sofia Geideby and is located in a former office in Stockholm, Sweden.
      Circle and square shapes define Little FaktoryWestblom Krasse Arkitektkontor overhauled the 220-square-metre basement space, which is over one hundred years old, to reveal its original textured concrete walls and exposed steel structure.
      As the salon is located underground, the studio explained that it also had to be “very careful working with artificial light”.
      Round mirrors hang above black chairsIts design for Little Faktory was intended to be minimalist and streamlined.

      “Our aim was to declutter the former office and create one big open space, making its four pillars the heroes of the main room again,” studio co-founder Jesper Westblom told Dezeen. “The challenge was to reduce, rather than to add things.”
      The salon features four original pillarsIn line with this pared-back approach, the firm painted the salon’s walls in a delicate, light yellow hue that intends to brighten its basement setting and maintain but soften the space’s industrial feel.
      Circles and squares are dotted throughout the salon in the form of mirrors and furniture. According to Westblom, they were informed by the geometric shapes seen in the late Italian architect Scarpa’s designs.
      The studio also drew on Scarpa’s use of contrasting colours.
      A washing station is located behind a perforated metal screenFreestanding haircutting stations are arranged in the centre of the salon’s main studio. These feature thick side tables shaped like plus-signs, as well as round mirrors mounted on powder-coated steel tubes.
      On one side of the main space, black leather chairs sit opposite a floating table that lines the concrete wall, above which embellished circular mirrors and square-shaped display shelves are positioned.
      Gustaf Westman recreated one of his mirrors in a bespoke colour for the projectA washing station can be found on the other side of the room, which is subtly separated from the rest of the area by a cloverleaf perforated metal screen that echoes the plus-shape used elsewhere.
      “The customer and the hairstylist represent one square each, on both sides, resulting in the plus shape,” Westblom explained.

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      A colour lab, VIP area and private office space are located behind bespoke, glazed double doors, while the entrance stairwell is illuminated with spidery neon lights by designer Josefin Eklund.
      Also among the salon’s bespoke elements is a rectilinear mirror with a bulbous blue frame by Gustaf Westman, a design that the Swedish artist recreated in a custom colour specifically for the project.
      LED lights illuminate the stairwell in neonAll of Little Faktory’s interiors are created in a muted combination of the primary colours of red, yellow and blue, which Westblom explained is an ode to the salon’s slogan, “the colourful kind”.
      “We looked at some early, inspirational images that set the tone of the project,” he said.
      “One image, in particular, was of 1920s public baths with beautiful cream-coloured tiles, orange and red details and, of course, a blue swimming pool. This ended up forming our main colour scheme.”
      Mirrors shaped like paint splashes liven up the customer toiletThe project’s emphasis on colour is repeated in the customer toilet, where playful mirrors shaped like paint splashes are arranged opposite each other in an attempt to create an infinity effect.
      Little Faktory’s material palette includes rubber flooring, reeded glass and dyed fibreboard, which intend to complement the salon’s existing elements and provide functional solutions to its customers’ needs.
      Little Faktory is a basement hair salonJesper Westblom and Robin Krasse founded their eponymous Stockholm-based architecture firm in January 2021.
      Other recent hair salon designs that have colour and texture at their core include Danielle Brustman’s Mitch Studio – a Melbourne salon that features yellow accents and glass partitions – and Mood, a hair studio by Casa Antillón in Madrid with bold mint-green ceilings sprayed with insulation foam.
      The photography is by Mikael Olsson.

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      Nordic functionalism informs Stockholm beauty clinic by ASKA

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      Swedish architecture studio ASKA has drawn on the existing 1930s architecture for its refurbishment of Stockholm beauty salon MBS by Malika, adding arched shapes and oak veneer panelling.

      The beauty clinic in central Stockholm is located in a building designed in the Scandinavian modernist style known as Nordic functionalism – or simply funkis in Swedish.
      Doorways were given subtle arched shapesASKA, which is led by Polina Sandström and Madeleine Klingspor, made a number of structural changes to the space as part of the refurbishment, but wanted to keep the interior design both functional and stylish.
      The studio tore down most of the interior walls in the 70-square-metre salon to make more space for private rooms for its beauty therapists.
      The designers used oak veneer in reference to modernist designsAdditional walls were designed with the building’s modernist architecture in mind.

      “The new walls were designed in a way so they would go hand in hand with the rest of the architecture with oak detailing and structured glass, which also helps the daylight to get through the whole space,” Klingspor told Dezeen.
      “The centrally-placed dividing wall with the pseudo three arch was also an addition by us,” Sandström added.
      “From a functional aspect, it helps separate the public part of the clinic from the more private one.”
      A pale blue shade lines doorways and skirting boardsWood was used throughout the space, with oak veneer chosen as it was popular during the era when the building was constructed.
      The material added “the right nostalgic association” to the interior, while balancing out the otherwise clinical aesthetics and the salon’s cool colour scheme.
      ASKA aimed to create a light, clean atmosphere for the salon and chose to work with blue and white hues, with a pale blue shade lining the wooden skirting boards and door frames for a stylish contrasting detail.
      Colour was used to contrast against the abundant wood”We chose to add the popping blue colour because it works as a good contrast against the warm oak adding a fresh and clinical touch, while at the same time being a somewhat unusual choice for a beauty salon – adding a surprising element to the design,” Klingspor explained.
      In addition to changing the layout of the space, the studio also created a new showpiece for the salon, a tile-clad reception desk that greets visitors and references Finnish modernist architect Alvar Aalto.

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      “The reception desk is something of a key element that captures the essence of the concept in one piece – a homage to the functionalist era with a modern twist,” Sandström said.
      “The white tiles were inspired by Aalvar Alto’s interior designs and help define the shape of the desk-corners thanks to their slightly rounded aesthetic.”
      A tiled desk with a contrasting laminate tabletop was designed for the receptionBoth the shape of the desk and the materials were also chosen to evoke the era.
      “The compact laminate was also a material choice that is true to the mid-century design era, whilst the blue colour and dark blue grout add a bold, unique element to the expression,” Sandström added.
      “The different heights of the desk helps to create two different areas in a true ‘form follows function’ manner.”
      Cream-coloured manicure tables are dotted throughout the spaceASKA also designed cream-coloured lounge tables and nail manicure stations for the salon.
      The studio has previously created a hair salon in Stockholm that features an undulating ceiling installation that looks like dripping shampoo, as well as a pastel-coloured cafe that references Wes Anderson’s film aesthetic.
      The photography is by Mikael Lundblad.

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      Danielle Brustman creates yellow highlights in sunny Melbourne hair salon

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      Yellow-tinted glass partitions and droplet-shaped mirrors give a unique personality to Australian hair salon Mitch Studio, renovated by interior designer Danielle Brustman.

      Mitch Studio is located in a double-storey 1950s building in the Melbourne suburb of Ashburton, in a shopfront that had already operated as a hairdressers for a number of years.
      Danielle Brustman wanted to use Mitch Studio’s brand colour, yellow, in the interior designBrustman’s client wanted to update the space to reflect their brand, which uses yellow as its signature colour. The designer set out to give the space a fresh and modern feel while using the sunny hue as a key part of the colour palette.
      The designer started by gutting the space entirely, leaving only the original concrete floor, which has been polished to achieve its final look.
      The reception area includes a custom-built retail display shelf and a six-globe chandelier by EntlerShe reconfigured the layout across two floors: on the ground floor is the reception and waiting area along with hair washing and cutting stations – the latter separated with the distinctive yellow glass partitions.

      The partitions create privacy and personal space while also, Brustman points out, proving useful when social distancing is required.
      The ground floor area includes hair washing and cutting stationsThe droplet-shaped mirrors at these stations were chosen to give the salon a bespoke touch, while referencing ideas of water and washing.
      “There is something lovely about the way the droplet mirrors create an infinity effect in the space, adding to the spaciousness,” Brustman told Dezeen.
      The space is designed to facilitate an easy flow of movement for the stylists throughout the dayAll the joinery on the ground floor is bespoke, including a reception desk clad in mustard-yellow glass mosaic tiles and a retail display shelf with similar white tiles.
      Most of the surfaces and finishes are in white, as is the sculptural six-arm chandelier by US design studio Entler.

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      Upstairs, there are additional haircutting stations along with bathrooms, a kitchen and a small worktable – meant for customers who want to pull out their laptops while waiting for their hair treatments to take effect.
      The haircutting stations here have a different configuration, facing each other but divided by mirrors. Completed with pale moulded plywood chairs, they give the space an almost cafe-like appearance.
      The upstairs haircutting stations have a different configuration”We wanted to keep the spaces light and airy with a great deal of airflow and enough room for the clients and staff to feel spacious and comfortable in their surrounds,” Brustman said.
      She also paid attention to the employees’ workflow and aimed to design the space to be intuitive and relaxing for them. For instance, there are hair-recycling bins integrated into the joinery, so that stylists can dispose of waste on the spot.
      There is also a worktable that customers can use while they wait for their hair dye to takeBrustman is a Melbourne-based interior designer whose previous work has included the Brighton Street Early Learning Centre – a childcare centre with a different bright colour palette in every room.
      The photography is by Nicole England.

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      Greek islands inform design for Monastery Studio facial spa

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      A pale green lacquer table and dried plants are among the references to Greek architecture and “Californian freshness” in this spa in San Francisco designed by Jacqueline Sullivan.Monastery Studio is a spa and retail space in San Francisco, founded by Athena Hewett, that offers a range of facial and body services.
      The light-filled space is designed to take cues from Hewett’s Greek heritage and her time spent in the Cyclades.

      “Monastery Studio is inspired by Athena’s Greek heritage and memories of summers in the Cyclades – sun bleached architecture, ancient pottery, soft stones, the salty sea, diffused sunlight,” Sullivan told Dezeen.

      “Though the space has an old world feel it also has a distinctly Californian freshness and sensibility,” she added.
      Walls and flooring in the space are painted white to provide a neutral backdrop for the custom-built furnishings, ceramics and dried floral sculptures.

      At the centre of the shop there is a chartreuse-coloured lacquer table with chunky circular legs and rounded edges designed by Shin Okuda of Los Angeles furniture studio Waka Waka. The surface forms a display area for the spa’s range of oils and serums.

      Bottles of products and other trinkets, including dried flowers, rocks and pottery, are arranged across the thin boards that comprise a massive built-in shelving unit.

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      To add texture to the space Sullivan installed a curving sculpture of brown and red plants that extends from the ground to the ceiling onto one of the walls.

      “We played with shape, texture, colour and scale in a way that feels informed by the past but simultaneously very contemporary,” the designer added.
      “Ultimately, we wanted the space to feel soft, special and thoughtfully considered, just like the Monastery oils themselves.”

      Curved archways lead into the treatment rooms which are also painted white and flooded with natural light from a row of windows. The rooms are outfitted with a wood chair for patients, wooden stools and potted plants.
      The exterior of the spa and store is clad with planks of black wood and fronted with three large windows.

      Other facial spas include a skincare studio in Los Angeles with light pink accents designed by Proem Studio and a skincare store in England with cane and ash wood cabinets.

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