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      Keiji Ashizawa designs “home-like” The Conran Shop in Hillside Terrace

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      Designer Keiji Ashizawa has devised the interiors of The Conran Shop Daikanyama in Tokyo, which is located inside a building by architect Fumihiko Maki and spotlights products from Japan and Asia.

      The latest outpost from British retailer The Conran Shop is located in the modernist Hillside Terrace in Daikanyama, a quiet area close to the Tokyo city centre.
      The complex was designed by Pritzker Prize-winner Maki and constructed between 1967 and 1992.
      The Conran Shop Daikanyama was designed to resemble someone’s homeAshizawa aimed to take the existing architecture of the two-storey building into consideration when designing the interior of The Conran Shop.
      “Since the existing space had great potential, we knew that the work had to be put into elevating what was already there – thinking about the proportions of the space, the dry area and so on,” he told Dezeen.

      “Although it is inside a well-known architecture, there were elements where we thought we could bring change to the inside.”
      It features pieces by Japanese and Asian designersThese changes included turning one glass section into a solid wall.
      “Glass walls were used extensively as part of the architectural concept so that the store space could be viewed through the layers of glass,” Ashizawa said.
      “While building the store, we decided that there wouldn’t be a problem in making a section of the glass wall become a solid wall, considering its serenity as a space and its relationship with the street.”
      A mezzanine showcases a sofa and other living room furnitureThe designer created the 200-square-metre store to look like someone’s home, in a nod to the peaceful nature of the surrounding area. It features a large atrium on the ground floor, connecting it to an adjoining courtyard.
      “Daikanyama is a very calm neighbourhood in Tokyo, where we wished to design a store where people could feel relaxed and away from the stimulation of the city,” Ashizawa said.
      “We intended to create a space for people to stay for a long period of time and feel the space.”
      The store is located in the iconic Hillside Terrace complexThe interior design was also based on The Conran Shop’s three keywords – plain, simple and useful – CEO of The Conran Shop Japan Shinichiro Nakahara told Dezeen.
      The store’s product selection also places a special focus on Japanese and Asian design.
      “Specifically for The Conran Shop Daikanyama, the selections were focused on objects from Asia, including Japan,” Nakahara said.

      Keiji Ashizawa and Norm Architects design tactile interiors for “hotel in the sky”

      “The process of [founder] Terence [Conran] travelling around the world, finding and buying items in each place by himself, has not changed,” he added. “Many of the objects selected by the Conran team in Japan have a sense of craftsmanship.”
      “We created the space by imagining a situation in which such objects would be displayed alongside each other. For example, the details of the objects are reflected in the interior design.”
      It features a staircase with a handrail made from black paper cordsThe interior uses materials that are common in Japan including concrete, steel, wood, plaster, Japanese stone and paper.
      “The use of Japanese paper in interior design is an element that is distinctively Japanese,” Ashizawa explained.
      “Shoji screens are an important element in creating a Japanese-style room but I realize that they can also be well used in both functional and aesthetic ways in a modern space.”
      Concrete walls and shoji screens were used for the interiorThe studio also used Japanese paper that had been dyed in a grey hue as wallpaper to give the space a “soft and contemporary feel.”
      “Since we weren’t building an actual house but rather a home-like Conran store, the materials were thoughtfully instrumented to achieve a balance,” Ashizawa said.
      The ground floor of the store holds furniture, homeware and apparel, and also has a mezzanine floor that is accessible by a staircase featuring a handrail made from black paper cords.
      A gallery-like space is located on the basement floorAshizawa designed the basement floor, which functions both as an additional shopping area and a gallery space, to have a calmer atmosphere.
      “Filled with natural light, the ground floor uses colours that bring grandeur and a sense of calmness,” he said.
      “The basement floor is toned to create a more private feeling. We respected the natural colours of the materials as much as possible, while also considering the harmony with the objects on display and in the gallery.”
      The store has a neutral colour palette and wooden detailsThe Conran Shop Daikanyama also has an adjoining bar where visitors can enjoy teas such as sencha and macha.
      Ashizawa has previously worked on a number of other projects in Tokyo, including the Bellustar Tokyo “hotel in the sky” and the Hiroo Residence.

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      Fred Rigby Studio creates dried flower meadow inside Lestrange’s Coal Drops Yard store

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      Forest sounds and furnishings made from storm-stricken trees bring elements of nature into this menswear boutique in London’s King’s Cross, designed by local practice Fred Rigby Studio.

      The store is the fourth outpost from men’s fashion brand Lestrange and was conceived based on blueprints by biophilic design expert Oliver Heath, combining greenery with reclaimed and natural materials to forge a greater connection to the outdoors.
      Fred Rigby Studio has designed the latest Lestrange boutique in LondonAccording to Fred Rigby Studio, this approach was chosen to reflect the brand’s philosophy of using renewable and recycled fibres to produce clothing with longevity.
      “We wanted to create a sense of calm within the space, which didn’t feel like a generic shop but an interior which told a story behind the clothing and the brand’s ethos,” explained the studio’s eponymous founder.
      Rice paper lanterns are suspended at varying heights throughout the spaceThe Lestrange store is set inside the Thomas Heatherwick-designed Coal Drops Yard shopping centre, formed of two converted warehouses that were originally built in the Victorian era to store the vast quantities of coal needed by the capital.

      Rigby wanted to incorporate this imposing brick structure into his final design.
      Tactile plaster was used to cover the walls”We didn’t want to hide this history by covering it up, which would have also entailed using construction materials,” he told Dezeen.
      “So we celebrated it, breaking the space up using timber walls and cladding, then adding the rice paper lights to give the space a more intimate feel.”
      The same finish was also applied to a trio of display shelvesUsing the existing site as his canvas, Rigby focused on sourcing a tight edit of natural and reclaimed materials.
      “There are lots of new materials on the market, but finding those that are produced in quantity and applicable to commercial use can be a challenge,” he said.

      Bath’s Francis Gallery is set inside a Georgian townhouse

      London plane timber – harvested from “storm-stricken and diseased trees” within a few miles of King’s Cross – was used to form the partitions that define the store’s display and changing areas, as well as some bespoke furniture pieces.
      British manufacturer Clayworks blended unfired clays with minerals and natural pigments to create the tactile wall finishes, while the terrazzo-style countertops were made by Welsh company Smile Plastics using a mix of recycled plastics from discarded mobile phone casings and chopping boards.
      The changing rooms are clad in panels of London plane timberAs the ultimate counterpoint to the mass and severity of the brick, Rigby conceived the idea of an indoor meadow that meanders through the Lestrange store.
      The arrangement of natural dried flowers and grasses was realised by award-winning garden designer Lottie Delamain, integrating a carefully chosen mix of species to reflect the fibres commonly used in apparel manufacture such as cotton and flax.
      “We wanted to bring nature inside, using plants linked to the clothes while creating a touch point to the materiality,” said Rigby.
      Garden designer Lottie Delamain created a dried flower meadow for the storeClothes are displayed on simple white metal rails and the capacious open-topped dressing rooms feature speakers playing forest sounds, complemented by discreet wall lights that cast a subtle glow.
      There are also subtle nods to Japanese design in the form of the rice paper lampshades that float at varying heights throughout the store.
      The flowers are set in wood-framed stone beds”We started with a mixture of initial references, one of which was a teahouse designed by Charlotte Perriand,” said Rigby.
      “We wanted to create a material-focused space with nods to natural materials such as the rice paper lights, which we felt would add to the space and create a sense of calm and stillness.”
      The Lestrange shop is set inside the Coal Drops Yard shopping centrePrevious projects from Rigby, who founded his studio in 2008, include bespoke furnishings for a renovated 1920s office building in London as well as the interiors of Bath’s Francis Gallery, which is set inside a Georgian townhouse.
      The photography is by Felix Speller.

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      MRDK uses arches and mosaics for Ciele Athletics store in Montreal

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      Rounded walls and archways create a flow through this Montreal boutique, designed by local studio MRDK for Canadian sportswear brand Ciele Athletics.

      The first boutique for Ciele, which sells technical headwear and apparel for running, opened in April 2023 on Notre-Dame Street in Montreal – the brand’s hometown.
      Black and white mosaic tiles form a pattern based on Ciele’s apparel at the entrance to the storeThe 3,000-square-foot (279-square-metre) flagship store was designed by MRDK to be as much a boutique as a community space for runners to meet and socialise.
      Along the narrow entryway, flooring comprises black and white mosaic tiles that form a graphic pattern based on select items of the brand’s apparel.
      Visitors are lead past a quartet of mannequins to a community lounge areaAscending four steps or a ramp leads visitors past a large white-tiled planter, then a display of mannequins lined up in front of a brick wall.

      A lounge area at the end is designated for gathering and conversation, offering “anyone with an interest in movement and connection a chance to experience running and the many facets of its dynamic community through regular meet-ups and events”, said MRDK.
      Access to the main retail space is via an archway that punctures a dark green partitionAccess to the main retail space is through an archway with rounded corners that punctures a deep, dark green partition.
      “An arched wall gracefully separates the more public community area from the rest of the store, creating a sense of intrigue and inviting exploration,” MRDK said.
      The green hue continues behind the fluted white service counterOther similar openings in this spatial divider are used to display clothing on single or double-stacked rails.
      The same forest green shade continues on the wall behind the service counter, which is fronted by a white fluted panel and includes a small glass vitrine set into its top.
      Lime plaster covers the angled walls, which feature bull-nose edges that soften their appearanceHerringbone white oak parquet floors are laid wall to wall, running beneath a low central island that is designed to be broken apart and moved around the store depending on merchandising needs.
      A textured lime plaster finish was applied to the walls, wrapping around the bull-nosed corners that soften the angles created by the offset displays.

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      “The play of light and shadows on these textured surfaces creates a sense of dynamism, accentuating the uniqueness of the space,” said MRDK.
      In one corner, a 12-foot-tall (3.7-metre) shelving system presents Ciele’s range of hats on cork mannequin heads.
      A tall shelving system displays Ciele’s hat collectionFitting rooms at the back of the store are kept minimal, with green velvet curtain draped behind the arched openings to the cubicles.
      “The thoughtful combination of materials, textures, and colours creates an atmosphere that seamlessly blends modernity with a touch of timeless elegance,” said MRDK.
      The fitting rooms are kept minimalist and feature green velvet curtainsFormerly known as Ménard Dworkind, the studio was founded by Guillaume Ménard and David Dworkind, and has completed a variety of retail spaces in Montreal and beyond.
      Most recently, these have included a store for plastic-free beauty brand Attitude.
      The photography is by David Dworkind and Alex Lesage.
      Project credits:
      Team: David Dworkind, Benjamin Lavoie LarocheContractor: Groupe ManovraCeramic floor tile: DaltileLighting: SistemaluxLime plaster: VenosaWood profiles: Brenlo

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      Roar recreates dizzying Indian stepwells in Jaipur Rugs’ Dubai showroom

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      UAE-based studio Roar has paid homage to the Escher-esque stepwells of India in its interior design for Jaipur Rugs’ showroom in Dubai, which features cascading, rainbow-coloured staircases.

      The Jaipur Rugs showroom, the Indian brand’s first in the Middle East, is located in the creative district of Aserkal, in one of the former industrial area’s previously abandoned warehouses.
      Roar’s design for the space nods to the architecture of Jaipur, the rug manufacturer’s home city, and in particular its famous stepwells — reservoirs built with staggered terraces and dizzying sets of stairs all the way down into their depths.
      The Jaipur Rugs Dubai showroom is designed with reference to India’s stepwells”The design concept was born from a simple sketch that I did after my first meeting with the client,” Roar founder and architect Pallavi Dean told Dezeen.
      “I was so inspired by the stepwells that I’d seen in Jaipur during my first visit that I wanted to bring them to life in my design,” she added.

      “I wanted to strip the idea to its bare minimum though, and work within its architectural purity, in order to avoid any plain pastiche.”
      The stairs are carpeted in a gradient of rainbow huesIn Dean’s design, the repeating staircases feature across three of the walls, making a striking impression in the double-height space while connecting the ground-floor browsing area to the offices and sales suites on the mezzanine.
      The arches that are typical to stepwells also feature in the 780-square-metre showroom, forming doorways or alcoves wallpapered with decorative rugs.
      The hues in these rug displays are echoed in the carpet on the stairs, which is rendered in a jewel-toned rainbow colour gradient starting at indigo on one side of the space and ending in ruby red.
      Some of the stairs read to alcoves with rug displaysDean called the construction of the staircases a “structural feat” that required navigating challenging approval processes.
      “We had to ensure the steps were safe to use by installing a glass balustrade, which gives the impression that they’re floating when they’re actually carefully enclosed!” she said.

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      Also nestled between the staircases on the ground floor are two rooms described as immersive experiences, the Sapphire and Emerald rooms, which are covered floor to ceiling with rugs custom-made by Jaipur Rugs’ weavers as part of the brand’s Manchaha intiative.
      In the project, the artisans design the rugs themselves spontaneously on the loom as they weave, using leftover yarn from the industry.
      Two “immersive” rooms are carpeted in rugs designed by Jaipur Rugs’ weaversThey would typically use a broader range of colours for the rugs in this series, but were briefed to work with emerald and sapphire tones for the showroom and given the precise dimensions.
      The lack of sound in these rooms, created by the acoustic properties of the rugs, adds a dramatic dimension to visitors’ experience, according to Dean.
      One room is emerald and the other is sapphire huedNext to the rooms, along the fourth wall, is the showroom’s rug library, with custom-made sliding panels allowing visitors to browse freely.
      The walls and floors are finished with a warm-grey micro-cement and textured paint, forming a neutral base for the colourful features.
      Metallic rose gold features in doorframes, cabinetry and other details, in another reference to Jaipur, which is sometimes called the Pink City.
      Metallic rose gold touches nod to Jaipur’s nickname of the “Pink City””All of our designs come from a place of empathy, and this one is no exception,” Dean said. “We always endeavour to understand what the client is trying to achieve – here, the client was trying to create a bold statement for their first flagship store in the Middle East.”
      “It also had to be an experiential space, which can be intuitively navigated by its users. This is why, for example, we decided to build bespoke rug libraries with sliding doors for clients to flick through instead of having the rugs stacked on the floor, which, in my opinion, are so inconvenient to browse!”
      The showroom is located in a formerly abandoned warehouseDean founded Roar in 2013. The studio’s past projects include the interiors for cafe Drop Coffee and the Nursery of the Future, both in Dubai.
      Last year it announced it was expanding into digital design after purchasing two plots of land for a showroom in the metaverse.

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      EBBA Architects designs sculptural pop-up shop for Rotaro at Liberty

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      London-based studio EBBA Architects has channelled the environmental ethos of fashion rental platform Rotaro for its pop-up boutique at department store Liberty.

      The project aimed to show that beautiful and interesting spaces can be created for temporary use, while still considering the environmental impacts of materials and construction.
      “We are very aware of our environmental impact and we believe design should speak to this, while also trying to make a unique experience for the visitor,” EBBA founder Benjamin Allan told Dezeen.
      EBBA designed a pop-up shop for fashion rental platform Rotaro”Rotaro is all about fashion rental, as a response to waste in the industry,” he added. “Circularity is key to their ethos and we wanted to connect to this, both in the use of material and form.”
      Bringing definition to Rotaro’s space within the wider store, EBBA has demarcated the area with a pair of substantial columns, each with an elongated, semi-circular cross-section.

      “The position and shape of the columns create the sense of walking into an entirely new space within the historic context of Liberty,” said Allan.
      The studio demarcated the area with a pair of substantial columnsEntwining the two columns, a pair of metal rails have the dual function of creating a display area and introducing a sculptural element that further defines the space, with soaring, free-form curves.
      “The two rails rotate and wrap around each of the columns, while also simultaneously responding to the opposite rail, a bit like a choreographed piece,” Allan said.
      Cork is the project’s primary materialContinuing the theme of duality, just two key materials have been used in the space – cork and metal.
      EBBA was influenced by the work of artists Donald Judd and Carl Andre and their elevation of humble materials through detailing and construction.
      A pair of metal rails have a dual function”We always look to push the potential of a project, to make the most impact through the simplest of means and also address the need to be economical,” Allan said.
      “Essentially the design revolves around only two materials which, working together, give a sense of regularity in the layouts of the blocks, combined with the sculptural forms of the rails.”
      Curated garments hang from the railsCork was used as the primary material, cladding the two columns and creating the backdrops that zone Rotaro’s area.
      EBBA aimed to use a material that had an environmental quality, while using the standardisation of the blocks to set parameters for the design.

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      “We chose blocks of a specific dimension that could then be adapted to create both the walls and the columns themselves,” Allan said.
      “The cork is a natural material that has an inherent warmth and depth, while also being incredibly versatile and easily recycled,” he added.
      Texture characterises the pop-up shopBrushed stainless steel was used for the metalwork, with each rail comprised of a single piece of metal that was bent and sculpted to wrap around the columns.
      This rail’s curving form relates to the idea of circularity in Rotaro’s business model, while also bringing an adaptability to the space by allowing the garments to be shown in a variety of ways.
      Brushed stainless steel was used for the metalwork”The primary purpose is to display the continuously updated collection while also adding a sculptural aspect that helps to create a sense of space,” said Allan.
      Within the ornately-detailed Liberty store, the project offers a bold, contemporary response to the interior, while finding common ground with the wider building.
      The rail’s curving form relates to the idea of circularity”The tones and textures in the warmth of the cork, tie in with the timber and natural colours of Liberty’s interior spaces,” Allan said. “Detailing and decoration in the original columns relate to nature and vegetation, which also tie into the use of cork and its qualities.”
      Because the Liberty building has Grade II listed status, no fixings were allowed into the building fabric.
      “The benefit of the lightweight cork material meant we could also adapt the Rotaro space with minimal impact on the wider building,” he added.
      Cork was chosen for being lightweightTo create a plinth that provides a flat surface for displaying objects, EBBA used the same semi-circular form of the columns, but flipped onto its side.
      This element has been given an ultramarine blue coating to add a sense of playfulness and catch the attention of visitors, using one of Rotaro’s key colours to connect with the brand’s identity.
      A semi-circular plinth features an ultramarine blue coatingWhile the space has been designed as a pop-up, EBBA worked – through the quality of the materials and the construction of the walls and blocks – to give it a sense of permanence.
      “All of our projects aim to achieve a quality of permanence through the use of natural materials and the detailing of the construction,” Allan said.
      “We believe that this level of quality helps to create a design that feels purposeful, even for temporary uses.”
      Other recent projects by EBBA Architects include a shop for Cubitts in an old pie-and-mash restaurant and a house extension with brutalist-style materials.
      The photography is by James Retief

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      Loewe ReCraft store in Osaka finds ways to let leather live on

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      Fashion brand Loewe has opened a store in Osaka that, for the first time, is specifically dedicated to the repair and preservation of its leather goods.

      The opening of Loewe ReCraft continues the “obsessive focus” that the brand has had on leather since 1846, when it initially launched as a leather-making collective.
      The store is set inside luxury department store Hankyu Umeda, and – thanks to the presence of an in-house artisan – is able to offer maintenance services ranging from re-painting and stitching to the replacement of handles and eyelets.
      The store is exclusively used to preserve and repair Loewe’s leather goods”The launch [of the store] builds on Loewe’s ongoing commitment to the longevity of its handcrafted bags,” explained the brand. “It’s about the joy of craft beyond the new; it’s a commitment to breathing fresh life into long-cherished possessions.”
      The store’s open facade allows for uninterrupted sightlines through to the interior, which has been decked out in natural tones and materials.

      Dotted across the recycled-wood floor is a trio of chunky consultation islands, each clad with glossy emerald-green tiles sourced from Spain.
      Thread, cutting tools, and leather swatches lie behind a glass windowThe longest of the three islands has a thickset countertop made from limestone and wood.
      It features a series of inbuilt flat trays from which customers can select straps, charms or studs to customise their items. Monogramming services are also available.
      A window in a tile-covered wall looks through to a small repair room that houses a sewing machine, various cutting tools, swatches of leather, and a rainbow of different threads.
      Loewe bag models with surplus-leather patches and pockets will be for sale in the storeAnother tiled wall at the rear of the Loewe ReCraft store showcases bags crafted from leather left over from Loewe’s past collections, which customers can purchase.
      Limited editions of the brand’s signature Basket bag are also available to buy, updated with patches and pockets made out of surplus leather.
      As well as leather items, Loewe also makes clothing, accessories and pieces for the home.
      Earlier this year the brand released a pair of trainers covered in shaggy green raffia, emulating the appearance of grass. It also collaborated with French metal artist Elie Hirsch to produce a series of bulbous pewter and copper jackets.

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      Alex Cochrane Architects designs shops to “embrace the elegant proportions” of National Portrait Gallery

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      London studio Alex Cochrane Architects has created a trio of museum shops at the recently revamped National Portrait Gallery in London.

      Completed as part of a wider three-year refurbishment of the Victorian Grade I-listed building by Jamie Fobert Architects and Purcell, the retail outlets had to be respectful and, where possible, non-intrusive.
      Alex Cochrane Architects overhauled the National Portrait Gallery’s shopsAlex Cochrane Architects worked closely with the lead studios to create a main shop next to the museum’s new entrance, and two further shops that service temporary exhibition spaces,  that each “brought together the monumental and the intimate”.
      “The challenge with this project was to design hard-working retail spaces that would provide an inspiring shopping experience while delivering a design that embraced the elegant proportions of the Grade I building,” Alex Cochrane Architects founder Alex Cochrane told Dezeen.
      Arched architectural details are repeated in the displaysThe main shop’s two adjoining rooms have impressive ceiling heights of between six and 7.5 metres and Cochrane designed the space to emphasise verticality.

      “The best way to celebrate these magnificent heights was for our retail architecture to reach tall and stop respectfully short of the period cornicing,” said Cochrane.
      “There’s an obvious vertical accent to our designs that allows you to look up and appreciate the vast heights and period detailing.”
      Tall cabinets emphasise the height of the spaceMindful that their display framework would need to be taller than conventional retail furniture, they have made it deliberately architectural in scale.
      “We wanted to celebrate the heights of these two rooms,” he said. “We wanted the visitor to look up, as well as ahead. And of course, we wanted visibility from the street.”
      A green marble cash counter adds a subtle pop of colourThe practice used arched forms in their design, taking their cues from the historical door and room openings within the space and in the wider gallery.
      “We repeated the shape of these soaring arches around the room creating a rhythm so all the arches, both old and new, became of a singular and familiar language,” Cochrane said.
      To bring definition to the space without the need for further structural intervention, he used thin “halos” of light to outline the arches, as well to highlight the large plaster-cast busts that hang within the display arches, increasing the shop’s visibility from the street.
      The two rooms are connected via a row of archesThe plaster casts, representing the artists Holbein, Chantry and Roubillac, were discovered in the gallery’s attic during the refurbishment and are prototypes for the stone versions seen on the rear elevations of the building.
      “We love how they are framed in the arches,” said Cochrane. “They have a roughness, a texture that compares well with our metallic finishes.”
      Similarly, an original lantern light in the roof, which had been boarded up for many years, now takes centre stage, amplifying the impressiveness of the space.

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      Several factors shaped the pared-back material palette of the project.
      “The materials needed to be complimentary to those of the period finishes, but also remain easily distinguishable,” said Cochrane.
      “And we chose our materials in consideration of their low-impact environmental credentials. Local, reusable, recycled, second-hand and certified materials were prioritised, while materials with high embodied carbon and VOCs were avoided.”
      Alcoves are highlighted via narrow strip lightsThe stone was sourced within Europe, while the signature material of choice was brushed metal, “which is neutral in both tone and colour.”
      Mindful of the carbon footprint of steel and other metals, Cochrane chose Arper for the metallic furniture because of their innovative and “low-impact” manufacturing processes.
      “We favoured matt finishes over polished ones, as they reflect less light ensuring the products remain the focus,” he said.
      The second room features punchy yellow cabinetsFor the first-floor exhibition shop, much of the furniture was constructed in Richlite. Durable and sustainable, it’s an FSC-certified material made using post-consumer recycled paper.
      For the ground floor exhibition shop the mid-floor furniture was constructed in Linoleum, made from 97 per cent natural materials, that are 30 per cent recycled and 100 per cent recyclable and compostable.
      The practice sampled numerous paint colours, settling on Farrow & Ball’s ‘Lamp Room Gray’ for the walls, with ‘School House White’ on the ceilings.
      The cabinets are designed for displaying jewellery”These colours follow on well from those in the adjacent entrance hall and the east staircase and contrast subtly with our own metallic finishes.”
      “We wanted to be strategic about using strong colours, as we were conscious that the merchandise would also have a considerable amount of colour.”
      The cabinets are centred between the two monumental teak-framed windowsThe practice opted to use a vivid colour for the stand-alone jewellery cabinet, centred between the two monumental teak-framed windows, “that could really catch the eye of the passer-by with an invigorating colour”.
      “We explored different colours, settling on a punchy yellow that we called ‘Starling’s Yellow’ due to the commercial director’s love for this colour.”
      Likewise, Cochrane wanted the payment counter to be eye-catching and used a highly patterned green marble to draw the customer to this end of the space, where there are views out over the newly re-landscaped forecourt and Charing Cross Road beyond.
      “As a practice, we are minimalists, with a love for bold colour. We feel colour can really invigorate a room,” said Cochrane.
      The museum reopens today following its renovationThe National Portrait Gallery reopens its doors for the first time this week, following its renovation as well as a wider rebrand. Earlier this year, the museum unveiled an overhaul of its logo by illustrator Peter Horridge based on a sketch by the gallery’s first director.
      The photography is by Alex Cochrane Architects and Andrew Meredith.

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      Checkerboard walls wrap Awake NY store by Rafael de Cárdenas

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      Local architect Rafael de Cárdenas referenced lost landmarks of New York for the interiors of this streetwear store in the city’s Lower East Side.

      De Cárdenas worked with Angelo Baque, the former brand director of streetwear brand Supreme, on the design of a retail location for Awake NY, which Baque founded in 2012.
      Large sculptures are placed throughout the store, including a replica of the Flushing Meadows Corona Park UnisphereThe new home for the men’s clothing line at 62 Orchard Street is a homage to New York City’s fashion meccas of the 1980s and 90s, many of which have since shuttered.
      “Both De Cárdenas and Baque grew up in New York around the same time, which informed their design direction,” said a joint statement from the duo. “They built upon shared memories of lost landmarks in New York design and youth culture: Canal Jean, Antique Boutique, and Unique — and used them as reference points for the store identity.”
      Several elements leftover from the store’s previous occupants were retained, including carved wooden frames above the clothing racksThe store retains some of the features leftover from the family-owned suiting business that formerly occupied the space.

      Logos of brands carried by the previous tenants are still visible on the glass vitrines on either side of the entrance.
      The walls at the back of the space are covered in a checkerboard patternThese display cases now carry bright blue carpets and colourful portraits by local artist Alvin Armstrong.
      Other remnants from the store’s past include the original exterior signage, which reads “Mens Clothiers”, and carved wooden frames above the clothing racks inside.
      Other large sculptural elements include a giant plywood ‘A’New elements include the flooring, sourced from a school gym in Cleveland, and wood shelving affixed to the walls with ratchet straps.
      At the back of the boutique, the walls are covered in a checkerboard pattern that is repeated on a display stand closer to the centre.

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      Some of the industrial-style columns and areas of the metal-panelled ceiling are left exposed, while other structural elements are painted white or wrapped in mirrors.
      Murals by Larissa De Jesús Negrón adorn the fitting room area, and checkered chairs were sourced from B&B Italia.
      Plywood is also used to form storage and display casesThere are also several large sculptural pieces placed on the shop floor, helping to create a flow for shoppers.
      “The store is anchored by a replica of the Flushing Meadows Corona Park Unisphere, originally built for the 1964 World’s Fair in Baque’s hometown of Queens, and a floor-to-ceiling Awake NY ‘A’ built from plywood in the centre of the store,” said the design team.
      The flooring was sourced from a school gym in ClevelandDe Cárdenas, who is one of the judges for this year’s Dezeen Awards, has designed a variety of retail projects during his career.
      His studio recently completed the Miami store for French shoe brand Nodaleto, with sci-fi-influenced interiors, and previously created a split-level bar in Nordstrom’s flagship store in Midtown Manhattan.
      The photography is by Adrian Gaut.

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