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    Kelly Wearstler designs Ulla Johnson store to capture the “spirit of southern California”

    American interior designer Kelly Wearstler has paired a towering tree with speckled burl wood panelling and vintage furniture by Carlo Scarpa at the Ulla Johnson flagship store in West Hollywood.

    Wearstler created the light-filled, two-storey shop as the flagship Los Angeles location for Johnson’s eponymous clothing brand.
    Kelly Wearstler has designed the interiors for Ulla Johnson’s LA flagshipThe duo worked together to envisage the sandy-hued interiors, which Wearstler described as “something that really speaks to LA”.
    “A priority for me and Ulla was to ensure that the showroom encapsulated the quintessence of the West Coast, firmly grounded in both the surrounding environment and local community,” the designer told Dezeen.
    The “Californian idea of merging indoor and outdoor” permeates the interiorVisitors enter the store via a “secret” patio garden lined with desert trees and shrubs rather than on Beverly Boulevard, where the original entrance was.

    “This Californian idea of merging indoor and outdoor is evident from the moment you approach the store,” said Wearstler, who explained that her designs tend to nod to the “natural world”.
    Wearstler designed textured interiors to reflect Johnson’s collectionsInside, three interconnected, open-plan spaces on the ground floor were dressed with textured interiors that mirror Johnson’s similarly rich collections, which hang from delicate clothing rails throughout the store.
    Standalone jewellery display cases by Canadian artist Jeff Martin feature in the cavernous accessories space. Clad with peeling ribbons of grooved, caramel-coloured tiles, the cases echo floor-to-ceiling speckled burl wood panels.
    The mezzanine includes a double-height treeThe other living room-style area was designed as a sunroom with a pair of boxy 1970s Cornaro armchairs by modernist Italian architect Carlo Scarpa, as well as parquet flooring with Rosa Corallo stone inlay.
    “Vintage pieces are infused into all of my projects and I enjoy experimenting with the dialogues created by placing these alongside contemporary commissions,” explained Wearstler.
    A lumpy resin table features in an upstairs loungeThe largest of the three spaces, the mezzanine is illuminated by skylights and houses a double-height Brachychiton – a tree that also features in the designer’s own Malibu home.
    A chunky timber staircase leads to the upper level, where another lounge was finished in burnt orange and cream-coloured accents including a lumpy marbelised resin coffee table by LA-based designer Ross Hansen.
    “We collaborated with a variety of local artisans to imbue the spirit of Southern California into every facet of the project,” said Wearstler.

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    Ribbed plaster walls and textured flooring line a fitting room close by, which was created to evoke a residential feeling, according to the designer.
    “We wanted people to feel at home in the store so we prioritised warm and inviting elements,” she said.
    Another striking display cabinet made from wavy burl wood evokes “a touch of 1970s California nostalgia”.
    Wavy burl wood evokes “a touch of 1970s California nostalgia”The Ulla Johnson store is also used as a community space, which hosts rotating art installations, talks with guest speakers and other events.
    Wearstler recently designed an eclectic cocktail bar at the Downtown LA Proper hotel, which she previously created the wider interiors for. Her portfolio also features a 1950s beachfront cottage renovation in Malibu.
    The photography is by Adrian Gaut. 

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    Es Devlin reveals “miniature parallel practice” for New York exhibition

    Student drawings, scale models, and a life-size recreation of set designer Es Devlin’s London studio are on display at an exhibition exploring the designer’s 30-year archive at the Cooper Hewitt, Smithsonian Design Museum.

    Presented in conjunction with her debut monograph, An Atlas of Es Devlin, both exhibition and publication showcased sketches, paintings, small-scale work and more behind 120 projects spanning Devlin’s career in set design.
    An exhibit exploring Es Devlin’s career is on display at the Cooper Hewitt. Photo and top photo by Jason West”My craft is to imagine worlds that don’t yet exist, to invite audiences to practice ‘interbeing’ within psychological architectures they have not previously inhabited, to remind viewers that they are not separate but connected to one another and to the biosphere,” said Devlin.
    “For this exhibition, I have gathered the drawings, fragile paper sculptures and small-scale revolving cardboard models that I and my studio team have been making over the past three decades, a miniature parallel practice at the root of the large-scale public performance and installation works.”
    It coincides with the publishing of a monograph of the set designer’s workVisitors entered the exhibit via a recreation of Devlin’s London office, where they could sit at a central table scattered with paper and art tools representative of works in progress.

    Devlin’s voice narrated thoughts about early school days, belonging, and the intersection of creative disciplines as projections animate the space, with scribbles and writings appearing on the table’s pages and along the walls.
    The exhibit combines projections and audio recordings with scale models, sketches and notes from the designer’s life”The first thing I wanted to do was to invite visitors into my studio,” said Devlin. “Many of the people coming into this exhibition will not have a clue what it is I do or what are the processes that go into it at all.”
    “You come into the studio and already I hope you get the sense I had when I first walked into a room full of people making work like this.”
    Visitors enter through a replica of Es Devlin’s London studio before entering rooms displaying her creative process. Photo by Elliot Goldstein | Smithsonian InstitutionA projection of Devlin’s hands pulled an entryway open to the adjoining room, where Devlin’s Iris installation displayed the names of her many collaborators on a series of rings, a motif the designer often uses to “express the overlaid perspectives of creative partners and audiences”.
    The next installation displayed a wall covered in early sketches, paintings, collages, and diaries Devlin produced during her years at a music school and in her early career, which she noted were delivered to her later in life in “four big black beanbags” by an old boyfriend who had kept them.
    Both the exhibit and monograph showcase the creative process behind some 120 showsWhite, scale models of set and production designs made by Es Devlin Studio were displayed throughout succeeding rooms, accompanied by process sketches, documents and notes that include mark-ups on song lyrics by musicians Miley Cyrus, U2, The Weeknd, Beyoncé and more.
    Devlin noted that her work often begins with analyzing a “primary text” like pop-song lyrics or play before delving into further research.
    Scale models of set and production design are on display”I have spent 30 years translating words into images and spaces – transforming texts on a page into kinetic sculptures that encompass viewers with light and song and use magic to alter their perspective,” Devlin said.
    Another room contained a model theatre with a screen on its stage that displayed films of previous performances, while another displayed short films from Devlin’s various installations.

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    The last had a large table in which a number of Devlin’s monographs were displayed for visitors to thumb through, with pages of the recent book pinned along the walls.
    “The biggest challenge was to make the book,” Devlin told Dezeen “The book and the exhibit are kind of continuous of one another. Normally, my practice is a small group of people in my studio, resonating out to wider groups.”
    Unseen student work by Devlin also features”But this was the opposite centripetal force of drawing everything into a really small series of rooms, and a small object, the book. It’s the inverse of what I normally do.”
    According to the designer, the book-making process took nearly seven years and was edited by Cooper Hewitt associate curator of contemporary design Andrea Lipps, who also curated Devlin’s exhibit.
    Dezeen recently spoke with Es Devlin on her career, her work on the Sphere and more in an exclusive interview.
    The photography is courtesy Es Devlin Studio unless otherwise noted.
    An Atlas of Es Devlin will take place at the Cooper Hewitt, Smithsonian Design Museum in New York from 18 Nov to 11 August 2024. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world.
    Project credits:Exhibition design: Es Devlin StudioCurator: Andrea LippsCuratorial assistant: Julie PastoCuratorial interns and fellows: Madelyn Colonna, Bailey de Vries, Barbara Kasomenakis and Sophie ScottDesigners of record and fabrication: Pink SparrowGraphic design: Morcos KeyProjection and video design: Luke Halls StudioComposition and sound design: PolyphoniaLighting design: Bruno Poet and John ViestaAudiovisual production and integration: AV&C

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    Adean Studios overhauls High Country Motor Lodge with nods to astronomy

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

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

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

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

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    Gachot Studios creates cosy New York neighbourhood bar

    New York City-based Gachot Studios has revamped a NoHo townhouse to host a snug cocktail bar, in which exposed stone walls and dark wood contrast a creamy colour palette.

    Named after Jack Champlin, a beloved member of the NoHo community, Jac’s on Bond opened in February 2023 within a 1800s townhouse formerly occupied by The Smile cafe.
    Jac’s on Bond features a series of niches for enjoying cocktailsBoth the previous and new iterations are owned and operated by Authentic Hospitality, which tapped Gachot Studios to overhaul the interiors.
    “We wanted to open a place that felt like a causal hang out for our Bond Street neighbours, but also elevated and expertly executed, where adults could gather around a well-made cocktail and meet each other – a lost art in New York!” said the Gachot team, whose office is just a few blocks away.
    Original fireplace surrounds were recovered in limewash plaster during the renovation workEntered below grade through a heavy velvet curtain, the main bar space unfolds as a series of cosy niches and warmly lit corners.

    A neutral palette of creams, browns and black was applied to create “a wonderful juxtaposition of the old and new; the rough and the sophisticated that we felt accurately captured the building and neighborhood’s history”, according to the team.
    A new guardrail with curved newel posts surrounds the staircase to the basementThe bar counter is wrapped in dark wood panels and features a St Laurent marble top, while a mahogany-framed arched bronze mirror reflects the scene from the bar back.
    Two cylindrical columns and a pair of vintage 1920s sconces frame the bartenders as they mix cocktails, including the establishment’s signature Caprese Martini.
    A pool table with a custom camel-coloured top is positioned towards the back of the main barOpposite, newly revealed stonework above charcoal-painted wainscoting and a drinks rail spans between open fireplaces, which are lime plastered above.
    “When considering the build out of the bar, we knew we wanted to preserve and showcase as much of the original 1800s townhouse as possible,” the design team said.
    The Back Room offers additional space for expanded weekend service or private eventsA series of circular two- and four-top tables topped with back-painted glass run along this wall, while seven Artemest barstools line up along the underlit bar.
    In the centre of the room, a solid guardrail with curved newel posts wraps around an opening for a staircase, which descends to the basement.
    A dining table is placed within a niche accessed via mahogany-trimmed archesA geometric fabric-wrapped pendant light hangs above the stairwell, and a pool table with a custom camel-coloured surface is positioned behind.
    Formerly a wine cellar, the downstairs space has a dimly lit speakeasy vibe and features velvet-upholstered seats built into arched niches in the stone walls.

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    The original metal and wood ceiling was restored, and four 1970s table lamps by Czech lighting firm Kamenicky Senov Preciosa were added to create the right ambience for small private parties.
    For larger events and expanded walk-in service on weekends, The Back Room is decorated like a parlour with lime-washed bricks.
    In the former wine cellar is another space that can be rented for private eventsThis space has a second bar, and can be configured with long dining tables, seating for small groups, or cleared for standing room depending on its requirements.
    There’s also a dining space with tiled flooring tucked into a corner, accessed through mahogany-trimmed arched openings.
    Banquettes are built into the original stonework and the lighting is kept low for an intimate atmosphereAdorning the walls throughout Jac’s on Bond are photographs of New York’s hip-hop scene in the 1980s and ’90s, by local artist Janette Beckman.
    “Her photos are of a New York past – they highlight the up and comers of 1980s and 90s New York hip hop, including some names that went on to become world famous: Run DMC, LL Cool J, Salt n Pepa, Andre 3000,” the team said.
    Jac’s on Bond occupies the lower floors of an 1800s townhouse on Bond Street, in New York’s NoHo neighbourhoodFounded by John and Christine Gachot, Gachot Studios has previously completed hospitality projects that range from a boutique hotel in Detroit for watchmaker Shinola to an open-air restaurant on NYC’s Union Square.
    The firm also designed the New York flagship store for the cosmetics brand Glossier, which includes soft-pink plasterwork and a Boy Brow Room.
    The photography is by William Jess Laird.

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    PLY+ and MPR Arquitectos convert historic Detroit building into colourful school

    PLY+ and MPR Arquitectos have transformed a building at a former Catholic college into the School at Marygrove Elementary, filling it with colours and shapes that help spark “experimentation and exploration” among children.

    Located in northwest Detroit, the building is part of the School at Marygrove, a new educational institution that will eventually serve students in kindergarten through 12th grade (K-12). The curriculum has a special focus on engineering and social justice.
    PLY+ and MPR Arquitectos converted a Catholic college in Detroit into an elementary schoolThe school occupies the site of a former religious college, Marygrove College, that closed in 2019. The campus – which is listed on the US National Register of Historic Places – is now owned and managed by a nonprofit organization, the Marygrove Conservancy.
    Several buildings on the 53-acre (21-hectare) campus are being converted into facilities for the School at Marygrove.
    The school is on a historic campusThis project involved transforming a brick-faced, concrete building that first opened in 1941 into a public elementary school for children in kindergarten through fifth grade.

    The design was led by PLY+, a studio based in Ann Arbor, Michigan, and MPR Arquitectos, which is based in Ann Arbor and Murcia, Spain.
    It was led by firms run by Michigan architecture professorsBoth firms are led by professors at the Taubman College of Architecture and Urban Planning at the University of Michigan.
    The architects aimed to preserve original features in the 65,000-square-foot (6,039-square-metre) building while integrating a host of new elements.
    Features of the original architecture were maintainedThe goal was to “establish a foundational, collaborative educational environment” while preserving the historic components.
    The building’s exterior was kept intact, the only change being the addition of an accessible entrance.
    Plywood millwork was addedWithin the building, the team modified rooms and added new finishes and plywood millwork. The decor was carefully selected, and special details – such as visually dynamic ceiling baffles – were incorporated.
    The building’s original layout was mostly retained, as the double-loaded corridor layout was deemed historically significant and kept in place.
    The brick of the original building was kept exposed for some of the interiorsThe corridor received new storage nooks with spots for bags, coats and shoes. In the classrooms, the team inserted counters, sinks, benches, chalkboards and storage space.
    “Custom millwork elements provide design flexibility without impinging on historic elements,” the team said.
    Colourful patterns adorn the walls and floorsThe project also called for the creation of maker spaces, reading rooms, a media centre and a restorative justice centre. An existing gymnasium was renovated.
    Throughout the facility, the team used a mix of soft and bold colours, ranging from bright peach to pale yellow-green.

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    The palette was informed by historic hues and the desire to introduce colours that signal “the new use of the building and the new model of pedagogy being fostered”, the team said.
    “Colour and form play an important role in establishing unique identities for individual classrooms and signal the vibrancy and joy of collaborative learning,” the team added.
    The design is meant to encourage exploration for the childrenOverall, the design is meant to speak to its young users.
    “The design engages children’s sense of curiosity and encourages experimentation and exploration,” the team said.
    The project was a collaboration between Detroit Public Schools Community District, which operates the school, and the University of Michigan’s School of Education.
    Other school projects include an athletic centre at an Oregon school that features trellises laced with climbing vines and a boarding school in southern California that has buildings with jagged rooflines.
    The photography is by Jason Keen.
    Project credits:
    Architect: PLY+ and MPR ArquitectosPly+ team: Craig Borum, Jen Maigret, Andrew Wolking, Yusi Zha, Olaia Chivite Amigo, Yibo Jiao, Masataka YoshikawaMPR Arquitectos team: Ana Morcillo-Pallares, Jon RuleArchitect of record: Integrated Design SolutionsClient: Marygrove ConservancyCollaborators: Detroit Public Schools, University of Michigan School of Education

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    Ennead Architects and Rockwell Group create “floating” classrooms for Johns Hopkins University

    New York-based studios Ennead Architects and Rockwell Group have completed the renovation of an academic building for Johns Hopkins University in Washington, DC with “floating” classrooms at its core.

    Called the Johns Hopkins University Bloomberg Center, the 435,000-square-foot (40,400 square metre) building will serve as an interdisciplinary educational and event centre for the university and the public.
    Ennead Architects and Rockwell Group have renovated an academic building for Johns Hopkins University. The photo is by Jennifer Hughes.Located at 555 Pennsylvania Avenue, the 10-story building was designed to evoke a “democratic society”, with a large central atrium that contains conference and classrooms seemingly suspended in its core.
    A central staircase doubles as seating and sits at the base, while multiple floors span upwards and contain a number of classrooms and event spaces.
    It will serve as both an education and event centre for the university and the public. The photo is by Jennifer Hughes.”The design is focused on multiple gathering spaces that can shrink and grow to accommodate every type of convening, from an intimate policymaker breakfast to a teeming global conference,” said interior architect Rockwell Group.

    “A large floating transparent classroom and treehouse-like, stacked assemblage of glass classrooms and open lounges hang, suspended on either side of the atrium, providing vistas of the Hopkins community at work and evoking the openness of academic inquiry in a democratic society.”
    The team updated both the interior and exterior of the building. The photo is by Jennifer Hughes.Rockwell Group worked with exterior architect Ennead Architects and architect of record SmithGroup to renovate the interior into a “vertical quad”, distributing 38 classrooms, a library, a multimedia studio, 26 study rooms, three floors of conference centre space, workspaces, a banquet hall, a fitness centre and a 375-seat theatre around the building’s central atrium.
    Ennead Architects, then Polshek Partnership, previously built the building in 2008 for the Newseum before undertaking its current transformation for Johns Hopkins University.
    The team opened up the interior to create a “vertical quad”. The photo is by Alan Karchmer.16,888 square feet (1,586 square metres) of outdoor terraces were also added to the exterior.
    “As architects, it is a rare opportunity to revisit an earlier design and reimagine it for an entirely new purpose,” said Ennead Architects design partner Richard Olcott.
    Suspended classrooms hang in the interior of a central atrium. The photo is by Alan Karchmer.”Major interventions include the complete reworking of the vertical circulation to suit the needs of the complex academic program, numerous realigned floors, and structural transfers to accommodate classrooms and a completely reconfigured auditorium.”
    “The new central spaces will create a nexus of activity throughout the day and evening, offering meeting, classroom, lounge and gathering spaces of varying types and scales, and blurring the traditional boundaries between them.”
    A floating unit at the centre of the atrium contains classrooms and workspaces. The photo is by Jennifer Hughes.The exterior was also refinished to reflect the architectural language of the surrounding buildings such as John Russell Pope’s National Gallery of Art and IM Pei’s National Gallery East Building.
    Pink Tennesse marble wraps around a newly installed, central glass curtain wall with horizontal sunscreens trimmed in bronze and copper.

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    The sunscreens provide protection from heat gain, while Ennead Architects shifted facade elements to bring more daylight to the space.
    Rockwell Group outfitted the interior palette to include a warm mixture of wood walls and panels, terrazzo tile floors, brick and wood floor tiles and accents of an earthy red, blue and grey.
    Warm wood panelling, terrazzo floors, and accents of an earthy red complete the interior. The photo is by Alan Karchmer.”The Hopkins Bloomberg Center is a holistic example of everything our studio is interested in – creating an urban environment within the larger structure, gathering spaces within larger spaces, and a sense of place that is defined in part, by adaptability and use,” said Rockwell Group founder David Rockwell.
    “How people move, interact, and meet is at the core of every inch of the building.”
    Elsewhere, Ennead Architects recently completed a research facility at the University of Oregon, while together, Ennead Architects and Rockwell Group recently created a food distribution centre in Brooklyn.
    The photography is by Jennifer Hughes and Alan Karchmer. 
    Architect: Ennead ArchitectsInterior architect: Rockwell GroupArchitect of record: SmithGroup

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    ICRAVE unveils sci-fi interiors of MSG Sphere Las Vegas

    US studio ICRAVE has revealed images of the public spaces inside the world’s largest spherical structure in Las Vegas.

    Chosen through an international competition, ICRAVE was tasked with designing the interiors of the public spaces within the MSG Sphere Las Vegas by Sphere Entertainment – the giant venue’s operator.
    Upon entering the MSG Sphere Las Vegas, visitors are ushered through an arched passagewayThe scope included the building’s entry bridges, lobby and guest welcome areas, the main concourse, food and beverage outlets, as well as private artist dressing rooms, and VIP clubs and suites.
    The 20,000-person venue, designed by architecture firm Populous, was unveiled over the summer.
    In the main atrium, the building’s curves continue across the intersecting balconies and bridges. This photo and top are by Rich Fury / Sphere EntertainmentWhile the building’s exterior is covered with 580,000 square feet (53,900 square metres) of programmable LED panels, the inside glows with bands of coloured indirect lighting.

    “The spectacle that is Sphere on the outside sets the stage and bar for how magical the designed experience ICRAVE was tasked with must be on the inside,” said the studio, which has offices in New York City and Miami and is led by Lionel Ohayon.
    The colourful indirect lighting throughout the public spaces can be customised for different performancesUpon entering the venue, visitors are ushered through a series of repeated illuminated archways before arriving in a vast eight-storey atrium.
    Here, the building’s curved form is continued through a series of sweeping balconies and bridges, which intersect at different points across multiple levels to create “a sense of continuous motion”.

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    Thresholds and doorways are also shaped as either circles or ovals, while beside the escalators, a 160-foot-tall (49-metre) scrim wall hanging acts as a huge lenticular light installation.
    Reflective black terrazzo flooring creates a sci-fi feel within the public spaces, which is further enhanced by the coloured lighting.
    Thresholds and doorways are shaped as circles and arches, while black terrazzo flooring reflects the light”The lighting sets the tone and ‘performs’ as part of the Sphere experience from entry, to Atrium activation, to showtime, and as you transition out of Sphere and back to the bustle of Vegas,” ICRAVE said.
    The studio also designed the various food and beverage spaces within the venue, each carrying a distinct character.
    Each of the food and beverage outlets features a different designTucked into areas where the ceiling height is lower, these bars and food vendor spots include fluted panels, dark counters, and more indirect lighting.
    Throughout the building, mathematical graphics added to surfaces are derived from the equations used in the Sphere’s construction.

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    In the dressing rooms, artists can enjoy lounge areas and massage chairs, as well as makeup stations, private bathrooms and showers.
    Meanwhile, the VIP viewing suites feature a mix of absorptive and reflective materials intended not to distract from the performances.
    The venue can accommodate up to 20,000 visitors”In an effort to create a transformative entertainment space that takes artists and fans out of the mundane and into the future, ICRAVE sought to bring life to every inch of Sphere, not just the stage,” said the studio.
    “With a sophisticated mix of lighting, soundscape, visuals, ambiance and tactile elements, audiences and the artists will have a captivating experience like nowhere else in the world.”
    A huge scrim wall behind the escalators acts like a lenticular lighting installation. Photo by Rich Fury / Sphere EntertainmentThe Sphere began its programming in October with a concert by U2, featuring visuals by designer Es Devlin, artist John Gerrard and more on an enormous wrap-around screen.
    A similar venue was also planned for London, but the government put the project on hold earlier this year to give the Secretary of State more time to review the proposal.
    The photography is by ICRAVE unless stated otherwise.
    Project credits:
    Owner and developer: Sphere EntertainmentArchitect: PopulousInterior designer: ICRAVELighting designer: JourneyAudio engineer: ARUPAudio tech / manufacturer: Holoplot

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    Giampiero Tagliaferri lines Aspen coffee bar with green marble and faux fur

    Milanese restaurant group Sant Ambroeus has opened a coffee bar in Aspen, Colorado, where Giampiero Tagliaferri Studio has filled the space with vintage Italian furniture.

    The Sant Ambroeus Coffee Bar Aspen draws references from the Alpine design found across the popular ski town, as well as the heritage of the brand, which was founded in Milan in 1939.
    A retro atmosphere in the coffee bar is created by faux fur, green marble and walnut wall panelsMilan-born, LA-based designer Giampiero Tagliaferri aimed to combine the two, creating a cosy and intimate space that nods to the glamour of midcentury Italian design.
    “As a Milanese myself, and a Sant Ambroeus regular, I felt an immediate connection to this project,” he said. “I hope the space will become a staple for Aspen locals and visitors; a refuge where one can go in the morning for an espresso and croissant, or stop by for a quick lunch or a delicious hot chocolate after a day on the slopes.”
    Designer Giampiero Tagliaferri drew references from Alpine interiors and midcentury Italian design for the interiorThe designer selected a variety of vintage pieces by famous Italian designers to populate the coffee bar.

    Le Bambole sofas by Mario Bellini are upholstered in dark green velvet, while 1950s curved plywood chairs by Carlo Ratti accompany the small cafe tables.

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    A series of 1970s wall sconces add to the nostalgic atmosphere in the space, which is exaggerated further by Mongolian lamb faux fur panels affixed to the walls between sections of mirror and walnut.
    Richly veined Verde Alpi marble also clads portions of the interior and forms the snaking bar countertop that’s fronted with grooved concrete.
    Vintage furniture pieces sourced for the space include green velvet Le Bambole sofas by Mario BelliniBuilt-in bench seating with yellow corduroy covers runs along one side of the cafe, following the dark flagstones that span the length of the narrow room.
    Additional seating is positioned in the window overlooking E Hyman Avenue, a block away from the Shigeru Ban-designed Aspen Art Museum.
    Additional seating is tucked below the window of the Sant Ambroeus location in AspenThe Aspen location joins several Sant Ambroeus outposts in New York City, including a spot in the expanded Sotheby’s auction house, as well as those in the Hamptons and Palm Beach.
    The photography is by Billal Baruk Taright.

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