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      Nagami 3D-prints recycled plastic to mimic melting glaciers in Spanish boutique

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      Spanish design studio Nagami has completed a shop interior for sustainable clothing brand Ecoalf near Madrid that is almost entirely 3D printed from recycled plastic.

      Walls, shelves and display tables inside the store in the Las Rozas Village designer outlet are made from 3.3 tonnes of repurposed plastic waste, sourced mainly from hospitals and used to create transluscent surfaces that resemble melting glaciers.
      Nagami has 3D-printed the interior of Ecoalf’s boutique near MadridAdditive manufacturing specialist Nagami created the plastic panels using a robotic arm equipped with a custom-built extruder that can print complex 3D forms, with the aim of uniting design and technology to raise awareness about the climate crisis.
      “We wanted to highlight the melting of the polar glaciers due to climate change,” Nagami co-founder Manuel Jiménez García told Dezeen. “So the walls are meant to represent a glacier that is cracking.”
      “The 3D-sculpted texture is a reference to the way the wind and snow erode the ice over time,” he added. “The idea was to recreate the sensation you might have when walking inside a glacier.”

      The interior was designed to resemeble a melting glacierThe Ecoalf store is the first fully 3D-printed interior completed by Nagami. And García believes it may be the first in the world to be fully 3D-printed using recycled plastic.
      The project was completed with a very short lead time of just three months from design to installation.
      Almost all of the surfaces are made from recycled plasticAccording to García, the undulating forms that cover almost all of the store’s internal surfaces pushed the robotic printing technology to its limit.
      “The machines needed to literally dance to create all of these different angles,” the designer explained. “Traditional 3D printing uses layers. But we can change the angle of the robot to make the kinds of curved and wavy forms you see in this project.”
      The walls are divided into panels and joined using connectors that form part of the printed structure. This meant that the tolerances needed to be very precise so that the components can slot together neatly.

      Nagami’s first collection features 3D-printed chairs by Zaha Hadid Architects

      On the floor, natural stone tiles feature veins reminiscent of cracking ice to enhance the feeling of walking on a glacier.
      All of the components used for the interior can be disassembled and reused or recycled for future projects. The plastic itself is almost infinitely recyclable, losing just one per cent of its structural performance with each new use, Nagami claims.
      The shop is located in the Las Rozas Village designer outletBoth companies share an interest in sustainable manufacturing, with Ecoalf creating clothing, footwear and accessories using recycled materials including plastic bottles, discarded fishing nets, used tyres and post-industrial wool and cotton.
      Similarly, Nagami works with recycled plastic to create furniture, sculptures, interiors and architectural elements as part of a closed-loop production process.
      The studio’s previous projects include several window displays for Dior, as well as a mobile toilet cubicle called The Throne and a collection of 3D-printed chairs by designers including Ross Lovegrove and Zaha Hadid Architects.
      Nagami used special robotic arms to 3D-print the panels. Photo by NagamiDuring the coronavirus pandemic, Nagami also made use of its quick-fire production process to 3D print face shields for medical staff.
      “We see 3D printing as one of the most sustainable forms of production,” García explained. “You don’t have to produce stock, it doesn’t create any fumes and it’s very versatile so you can create things on demand.”
      “In the future as we expand we want to have production sites around the world making things locally and reducing our carbon footprint even further.”
      All photography is by Alfonso-Quiroga unless otherwise stated.

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      Gonzalez Haase AAS evokes Iceland's volcanic landscape at 66º North store

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      Architecture studio Gonzalez Haase AAS has completed a store on London’s Regent Street for Icelandic clothing brand 66º North, featuring curved walls and freestanding plinths made from rammed earth.

      The Berlin-based studio headed by Pierre Jorge Gonzalez and Judith Haase set out to create a holistic concept for the store that represents Iceland in an original way, rather than relying on stereotypes.
      The shop interior was informed by Iceland’s volcanic landscapesGonzalez Haase AAS let the natural elements and the country’s geology inform key design features such as curved grey walls that evoke the shifting weather and rammed-earth islands that represent the earth.
      “The weather in Iceland is a very real and prominent feature in the land and we classified this as static (the island) and forever changing (the weather),” the studio explained. “The static island of Iceland stands still in comparison to the constantly evolving and adapting weather, but this influences the perception of the island.”
      Rammed-earth islands add colour and texture to the shop’s interiorUpon entering the space, visitors encounter a series of curved walls rendered in natural pigmented clay sourced from Cornwall in the south of England.

      The designers said the use of different grey tones represents the changing weather: “the immaterial, movement, changing, blurry and informal”.
      Grey walls represent Iceland’s shifting weatherThe curved walls vary in height and frame different views within the store. At the entrance, one of the walls stretches back 18 metres, drawing the viewer’s gaze into the space and offering a tactile introduction to the experiential interior.
      “These curved walls create different perspectives and atmospheres,” the design team added. “They sit in front of the existing white walls to create a dramatic foreground of rolling soft curves.”

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      A series of monumental rammed-earth islands are inserted throughout the floor plan, adding colour and texture that evokes the earth and magma of Iceland’s volcanic landscape.
      The islands were created by artist Lennart Frank, who cast and sculpted them from an aggregate mix of different lava rocks to create a layered effect.
      The islands were made from an aggregate mix containing different lava rocksA combination of pigmented aggregate and sand gives the islands their reddish-brown hue, while the rugged texture brings a tactile element to the space that complements the brand’s clothing.
      The earthy tones are echoed in the metal clothes rails, as well as in the colour of a carpet applied to the surfaces within a more intimate space at the rear of the store.
      Earth-toned carpet was used in parts of the shopA custom-made mesh ceiling was designed to evoke a misty white sky, while also concealing lights and technical equipment.
      Mirrors and screens displaying films of the Icelandic landscape help to define the flow of movement through the space and add a playful dimension to the shopping experience.
      The shop is located on Regent Street in LondonGonzalez and Haase founded their Berlin-based studio in 1999. The firm works on commercial, residential and cultural projects, developing spatial concepts and experiences that foreground the interplay between light and architecture.
      Previous interiors designed by Gonzalez Haase AAS include a minimal office for a Berlin communications firm and a sparse, white-walled concept store in Lisbon that occupies a disused warehouse.
      The photography is by Thomas Meyer, Ostkreuz Photography.

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      Pink-tinged paint store Lick pays homage to London's art deco buildings

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      Dusky pink surfaces appear throughout the Lick store in southwest London, which local practice Oskar Kohnen Studio has designed as a “deliberate celebration of paint”.

      Lick’s store is nestled among a parade of boutiques on Northcote Road and is the first brick-and-mortar outpost opened by the paint brand since its launch in 2020.
      Lick has opened its first physical store in LondonTo honour the occasion, Oskar Kohnen Studio wanted to design the 55-square-metre store as a “deliberate celebration of paint”, which he describes as “one of the most immediate and most intuitive ways to create a space”.
      “We live in a time where interiors are full of marble and precious finishes and I wanted to do the opposite,” said the studio’s titular founder.
      Pink paint was applied to the store’s ceiling and part of the wallsPink-tinged paint store Lick pays homage to London’s art deco buildings

      Lick’s facade, ceiling and a majority of its walls were therefore painted a bespoke dusky pink hue called Northcote 65 that the brand created specifically for the opening.
      Walnut wood trims run around the central tableKohnen says this largely monochromatic colour scheme is a nod to the Northcote Road of the past.
      “Looking at old pictures of the high street shops from the 1950s, every one of those stores used their own simple colour combination to give identity,” he explained. “It’s so beautiful how colour was used back then.”
      The store’s floor has white and grey tilingIn the store’s central room, the lower half of the walls was painted off-white to create a contrast with the ceiling and in turn draw more attention to the loftiness of the space.
      This room was designed to have a distinctly art deco feel with the help of a handful of clean, shapely details. At its centre is a white oval table with walnut wood trims and a curved metal pendant lamp suspended directly above.
      “Northcote Road pretty much ends at the iconic Battersea Power Station, which has exactly those deco elements,” said Kohnen. “I’ve always been a fan of London art deco, which is somehow less fancy and simple, quite often just painted simple ornaments.”

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      Lick’s paint tins are showcased on a custom shelving unit, with one side finished in pegboard panels for mounting brushes, rollers, finishing tape and other handy tools.
      “I wanted to create the feeling of a workshop or atelier,” added Kohnen. “I wanted to stay true to the Lick DNA, making sure the store was a place one could not only pick colours but also try them out and get creative.”
      In this spirit, the store’s grey-and-white tiled flooring mimics that seen in the Atelier Martel – an art studio that architect Robert Mallet-Stevens completed for sculptors Jan and Joël Martel in Paris in 1927.
      Products are mounted on pegboard panellingShould customers want a more in-depth consultation with one of the Lick team, they can head to the back of the store. This area is centred on a vintage steel-legged table by Danish designer Nanna Ditzel and black editions of the curved 3300 chair by Swiss designer Bruno Rey.
      Another small seating area located near the storefront features a duo of sage-green velvet armchairs.
      Vintage furnishings feature throughout the interiorAnother striking paint store to be featured on Dezeen is Helsinki’s Cover Story, in which a number of unfinished details are meant to evoke thoughts of renovation and home improvement.
      Previous colour-focused retail projects by Oskar Kohnen Studio include a mint-green eyewear store in Berlin with towering floor-to-ceiling cabinets.
      The photography is by Alexander Edwards.

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      FOG Architecture transforms Beijing courtyard house into fragrance store

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      Chinese studio FOG Architecture has turned a courtyard house in Beijing into a flagship store for fragrance brand ToSummer with exposed wooden roof trusses and columns.

      Located within a 500-square-meter Siheyuan complex, the store occupies  a 280-year-old courtyard house that are common in the region.
      The store is located at a restored courtyard house in BeijingFOG Architecture renovated the building to reveal its original architecture, which features triangle-shaped timber roof trusses and series of wooden columns.
      Layers of decorations added on the structure over the years as well as some of the interior walls were removed to expose the core wooden structure of the building as well as to create an open view of the space.
      The studio exposed the wooden roof trusses and columns of the original building”We ‘skimmed’ the building to expose its ‘skeleton’,” said the studio. The resultant ‘column field’ became the visual centre of gravity of the space as well as what defines its outline.”

      “One of the challenges of the project had to do with the building’s old and new functions – more specifically, how to transform this venerable courtyard which has stood for nearly 300 years as a private residence into a commercial space that is neighbourly, communal, and all-inclusive,” it continued.
      Product display areas are arranged around the courtyardsGlass windows were installed at the storefront, inviting visitors on the street to observe the complex layout of the old courtyard house, while glass walls were used to divide the space.
      Product display areas were arranged around three courtyards of various sizes at the ground level of the complex, each connected by a bridging hallway, which the studio described as “symbol of graduating from the past to the present”.

      FOG Architecture creates kinetic display for Super Seed’s Hangzhou store

      On the first floor,  FOG Architecture remodelled the roof space to create a lounge area overlooking the building’s roofs.
      These roofs were restored with the same grey brick tiles from the original building layered in the same density.
      Grey brick tiles from the original building are restoredA rain chain was hung from the roof connecting to a hundred-year-old well of the site. The well-preserved brickwork of the well echoes the delicate crafts of the roof tiles.
      FOG Architecture was founded by Zheng Yu and Zhan Di and has offices in London, Shanghai and Chongqing.
      Previously the studio has completed flagship stores for ToSummer in Beijing and Shanghai. Other recent retail project from the studio include Super Seed’s Hangzhou store featuring kinetic display.
      The photography is by InSpace Architectural Photography.
      Project credits:
      Design team: Zou Dejing, Wu Leilei, Wang Shengqi, Tang Mo, Lei Ronghua, Jiang Lu, Huang Yingzi, Zhuang Shaokai, Sun Yuan, Zhang Xinyue, Chen Yixuan, Zheng Yining, Tao Xinwei, Cao Xiaomao, Hou Shaokai, Xiong Aijie, Khoon Choi (client representative), Zhan Di, Zheng YuProject management: Shen Qianshi (client representative)Lighting Design: Zhang Xu, Liben DesignStructural engineering Consultant: Tao Xinwei, Wang HaiboConstruction drawing: BS DesignContractor: Youlong Jinsheng

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      Biophilic design informs “otherworldly” moss-covered installation at luxury bag store

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      Creative studio Spacemen looked to biophilic design principles to construct a tree-like installation covered in moss, which forms the centrepiece of a flagship outlet for luxury leather brand Braun Büffel in Malaysia.

      Described by Shanghai-based Spacemen as a store that straddles an art gallery and a laboratory, the studio wanted to create an interior that would attract a younger audience and serve as “an abstract oasis” in Putrajaya’s IOI Mall.
      Spacemen designed the store interior for bag brand Braun BüffelCentral to this design is an oversized, organic-shaped sculpture clad in preserved flat moss, ball moss and lichen that is suspended from an illuminated disc in the middle of the shop.
      A rounded table clad in the same plants was positioned directly below to complete the installation. It also doubles as a plinth for Braun Büffel leather bags, which are displayed sparsely across the store like museum artefacts.
      It is characterised by a central moss-covered sculptureThe sculpture takes cues from biophilic design – a concept that encourages a closer connection between humans and nature when creating interior spaces.

      “The form was designed to seem as though it is sprouting from the ground towards the ceiling – towards the sun – hence why we integrated the membrane lighting ceiling above it, just like how it would grow out of a beaker in a mad scientist’s lab towards natural light,” explained Spacemen founder Edward Tan.
      “We envisioned an otherworldly concept akin to something out of a Hollywood sci-fi movie,” he told Dezeen.
      A green onyx feature wall was placed at the back of the storeTan said that Spacemen adopted a “maximal minimalism” approach when creating the store interiors, in an attempt to challenge the neutral shapes and colours often associated with luxury.
      Throughout the shop, lime plaster walls and bright white terrazzo floors are interrupted by various ornate display units and shelves magnified by floor-to-ceiling mirrors.

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      This cabinetry is made from decadent slabs of swirly orange onyx and jade marble, some of which are topped with glass vitrines that reveal small leather goods.
      Spacemen placed a green onyx feature wall at the back of the store, which sits behind furniture including a bespoke curved bench created from the same material as well as a custom oak armchair.
      Bespoke seating creates a waiting area for customersExplaining the decision to incorporate biophilic design into the Braun Büffel outlet, Tan said, “I think with the pandemic, people have taken to appreciating nature a lot more than before.”
      “This is especially true for people living in big cities where they live in apartments and are confined to office cubicles all the time, and do not have access to nature and greenery as much as they should.”
      “Therefore it has become a new form of luxury to be able to afford lush greenery and gardens indoors,” he concluded.
      Green and orange hues add colourful accents to the spaceOther retailers featuring similar designs include a store in Seattle for beauty brand Glossier with a mossy mushroom-covered mound and a Celine boutique in Paris that is characterised by large expanses of brass and marble.
      The photography is by David Yeow Photography.
      Project credits:
      Interior design: SpacemenMoss artist: Ohsum Mossum

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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.

      Hedi Slimane uses “French elegance” to define Celine store in London

      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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      RtA NYC store by Dan Brunn features broken crystal and red fitting rooms

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      Pieces of broken crystal fill a display case that runs the length of this Manhattan boutique, completed by Los Angeles-based architect Dan Brunn for streetwear brand Road to Awe.

      The store on Mercer Street in SoHo is both the third location for Road to Awe, also known as RtA, and the third designed by Dan Brunn Architecture.
      Road to Awe’s third store by Dan Brunn is divided by a central displayFollowing outposts in West Hollywood and Las Vegas, the new 2,152-square-foot (200-square-metre) space occupies the ground floor of a historic landmarked building.
      “Honoring the more industrial nature of its surroundings, RtA Soho takes on a streamlined and contemporary approach with a raw edge directly opposing the more playful and ostentatious style of the Vegas location and serene nature of its West Coast counterpart,” said Brunn’s studio.
      The row of vitrines is filled with pieces of broken Baccarat crystalThe open floor plan is divided along the centre by a line of mirrored chrome vitrines.

      Created in collaboration with crystal brand Baccarat, the display contains 2,000 pounds (907 kilograms) of broken crystal that would have otherwise been discarded.
      Clothing is hung from suspended steel beamsEach case has an angled top to create a faceted surface, while a red glow surrounds the base of the structure.
      The crystal pieces are also back-lit, “casting rays of light throughout the store like a reverse disco ball” according to the brand.
      At the rear, a fitting room area is entirely red and illuminated with neon stripsMenswear and womenswear are displayed either side of this central axis, hung from floating horizontal blackened steel beams that help to divide the space.
      Brunn retained the original wooden flooring, but painted it in a gradient that blends from white to black towards the rear of the store.

      Delicate glass shelves illuminate Las Vegas boutique by Dan Brunn Architecture

      At the back is an entirely red area that provides access to the fitting rooms.
      A velvet-covered seating module runs down the middle of this space, flanked by repeated arches that puncture the side walls and are outlined by neon lights.
      Areas of missing brick in the fitting rooms are lined with gold leafNeon strips also traverse horizontally across the ceiling, while an LED display on the back wall plays RtA’s merchandising videos and fashion shows.
      Inside the fitting rooms, “valleys” in the existing brick wall “were sporadically filled with gold leaf paint employing the Japanese kintsugi method of embracing the beauty in imperfection”, said the studio.
      The RtA NYC store is located in a historic building on Mercer StreetBrunn’s first store for RtA opened on Melrose Avenue in 2017, followed by his boutique at the Wynn resort in Las Vegas in 2019.
      The architect has also renovated a Frank Gehry-designed house for an illustrator and designed a long slender home spanning a brook for himself.
      The photography is by Brandon Shigeta.

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      JamesPlumb fuses bulrush and hemp elements at Cambridge Aesop store

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      London design studio JamesPlumb blended handwoven bulrush shelves with earthy hemp accents to create the interiors for this Aesop store in Cambridge, which takes cues from the nearby River Cam.

      Located on the city’s Trinity Street, the Aesop outlet was conceived as a “woven reading room” that provides a place to shop and leaf through books, according to the Australian skincare and cosmetics brand.
      The JamesPlumb-designed shopfront features a facade informed by leatherThe store’s understated shopfront is painted a dark brown hue informed by well-worn leather, which nods to antique book bindings in reference to Cambridge’s history of academia.
      Inside, a curved and slatted window seat doubles as a plinth for potted pelargoniums that frame the store’s light-filled, street-facing room featuring earthy-toned walls.
      Potted pelargoniums line a street-facing window seatThis space is defined by oversized, textured shelves created from freshwater bulrush plants – locally sourced and handwoven by rush weaver Felicity Irons of Rush Matters.

      “The city itself and the surrounding landscape were the starting point for our design,” studio founders Hannah Plumb and James Russel told Dezeen.
      “The River Cam plays a huge part in that – we were increasingly drawn to it and felt strongly that it sets the pace and the pulse of the city of Cambridge.”
      Hemp and bulrush form shelving and other cabinetryOther shelving in this room is made from hemp grown on the nearby Margent Farm, which was combined with bio-resin to form geometric slabs of cabinetry that display various Aesop products, as well as a large sink.
      “[The hemp] absorbs a huge amount of carbon as it grows, and to be so local to the project was wonderful,” acknowledged Plumb and Russel.
      “We wanted to use materials that were as local as possible, and bulrush being literally of the local waters made sense – both because of its beauty and tactility, and also because of the chance to use a material that would travel so few miles, and use so little energy in production,” they added.

      Aesop’s London store takes its colour from the red sandstone of Glamis Castle

      At the back of the store, another room features walls painted in a darker hue than the street-facing space, which takes cues from the brown flowers of bulrush plants.
      Visitors are invited to sit in a low-slung antique armchair upholstered in floral fabric or browse the various books displayed on the same hemp and bulrush cabinetry that exists throughout the store.
      The back room is dressed in darker huesOriginal nineteenth-century polished wooden floorboards also feature in both rooms and intend to echo the outlet’s emphasis on local history.
      “Each Aesop store has its own character, and for this one, we responded specifically to its location in the heart of Cambridge,” concluded Plumb and Russel.
      Similar shelving found in the front room features various books on displayThis Cambridge branch is not the first Aesop store designed by JamesPlumb. The studio also created one in London’s Bloomsbury where water runs from shelf to shelf and a stone-based store in Bath that celebrates the city’s architectural landscape.
      Other Aesop outlets worldwide include a Tokyo branch defined by plaster and steel and a Toronto store featuring Victorian balustrades.
      The photography is by Oskar Proctor. 

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