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    Sergio Mannino enlivens Philadelphia pharmacy with mauve and silver

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    Brooklyn-based designer Sergio Mannino has chosen a palette of purple and silver for a Philadelphia pharmacy that helps patients affected by the opioid crisis.

    Located in the Philadelphia suburb of Cheltenham, the Angel Care Pharmacy is owned by Olivia Tchanque, who wanted the design of her space to reflect the care and sensitivity offered to her patients.
    Sergio Mannino designed the mauve and chrome seats that populate the waiting area at Angel Care PharmacyTchanque looked to Sergio Mannino Studio to create an environment that feels distinctive, clean and contemporary.
    The pharmacy was born in part to help deal with the ongoing opioid crisis in the US, and those with addictions to OxyContin and deadly substitute Fentanyl.
    Mannino designed the interiors and branding for the pharmacyIts mission revolves around “providing the community with the best medical supplies and care they need”, said Tchanque.

    Mannino was responsible for the interior design and branding for the space, including its angel-wing logo used for signage and across marketing materials.
    Once two separate units, the space is divided into retail and prescription areas that are connected by an open doorwayOnce two separate units, the 1,800-square-foot (167-square-metre) pharmacy is divided into retail operations and prescription areas now connected by an open doorway.
    In the retail area, the designer intentionally chose colours that are bold but would not be overbearing.
    The pharmacy windows are surrounded by pale purple walls with a grid overlaid”Mauve is the colour of balance: it represents tenderness and it’s frequently associated with femininity and motherhood,” said Mannino.
    “White brings a feeling of safety and purity. It represents the absence of things and a sense of relaxation and clarity. Silver has always been associated with the moon, inspiring a feeling of joy and peace.”
    Oak-framed shelving from Blu Dot and Hem is used to display productsTwo chairs designed by Mannino with soft purple-upholstered bases, minimal chrome backrests and oak armrests provide a waiting area for patients along with a built-in window seat.
    These are accompanied by two side tables designed by Ettore Sottsass for Kartell, in violet and pink finishes.

    Pharmacy waiting room in Brooklyn features calming turquoise tones

    The room is decorated with silver-toned wallpaper on two sides and purple grid pattern on the others.
    Shelving displays along the walls came from Blu Dot, while freestanding units in the centre of the room are by Hem – both crafted from oak.
    The pharmacy is located in the Philadelphia suburb of CheltenhamThe colour palette extends to the minimalist branding, which features mauve hues, grid patterns and contemporary typography.
    At Tchanque’s request, Mannino also introduced compostable vials and bags instead of plastic packaging, since “every year, each local pharmacy in the US fills 60,000 prescriptions on average,” according to the pharmacist.
    The branding for the pharmacy follows the same colour palette as the interiorsSergio Mannino Studio was established in 2008, and the firm’s early projects included a showroom for footwear brand Kensiegirl and another shoe shop where the walls were covered in interchangeable panels.
    More recently, Mannino completed a pharmacy waiting room in Brooklyn featuring graphic floor tiles, a pigmented cement desk and curved leather chairs.
    The photography is by Sergio Mannino Studio.

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      Post Company restores hotel known as birthplace of Apple’s Macintosh computer

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      New York design studio Post Company has revived a historic hotel in Carmel-by-the-Sea, California, drawing on the building’s illustrious past and recent acclaim to inform its interiors.

      The 75-key La Playa Hotel is situated a few blocks from the beach in the town, located on California’s Pacific Coast Highway and renowned for its bohemian spirit.
      The moody lobby of La Playa Hotel features dark coffered ceilings and textured plaster wallsIt was taken over in 2012 by Marc & Rose Hospitality – which also operates the recently overhauled High Country Motor Lodge in Flagstaff, Arizona – and reopened in October 2023 following a long renovation process.
      “As the fifth owners in its more than 115-year history, we focused on letting the building lead us to a design that supports the stories of the past, while infusing thoughtful amenities to meet the expectations of the modern traveller,” said Marc & Rose president John Grossman.
      Restored elements of the building include a staircase with tiled risers and iron railingsThe team worked with Post Company to uncover historical details about the property, which was originally built in 1905 by landscape painter Chris Jorgensen for his wife, chocolate heiress Angela Ghirardelli.

      After the death of her niece at Carmel Beach, the couple sold the mansion and it was converted into a hotel by adding 20 rooms, then further expanded to its current size in 1940.
      The hotel bar, Bud’s, is designed to be dark and intimateIn 1983, it was the site of an Apple company retreat, during which founder Steve Jobs unveiled the first working prototype of the Macintosh computer.
      With all this history, as well as ties to key figures of the bohemian movement, Post Company restored the Spanish Colonial-style building in a respectful manner while introducing new elements to enhance its character.
      A brighter approach to the decor was taken in the hotel’s guest rooms and suites”Our design honours the hotel’s history and vernacular while ushering in the works and objects of contemporary artists and muses,” said Post Company.
      “Each space is a singular and inviting design – much like the diverse cast of patrons and local characters engrained in its extensive past – resulting in an eclecticism that is a deeper reflection of what has always been and paves the way for a new generation to gather, create, and explore.”
      Cream walls and linen curtains complement the original shell pendant lights by Frances Adler ElkinsThe moody and atmospheric lobby features terracotta floors, a dark coffered wood ceiling and textured plaster walls, and is furnished with a variety of vintage pieces.
      A sweeping staircase leading upstairs to the guest rooms is adorned with patterned tiles on its risers and thin iron railings.
      Dark wood furniture contrasts the lighter-toned walls and textilesThe hotel’s bar, Bud’s, is named after Howard E “Bud” Allen – a Carmel local who took over the hotel in the 1960s and introduced a full-time bar and 10-minute happy hour.
      The space is dark and intimate, with plenty of wood panelling, leather-upholstered booths and banquettes, and decorative unlacquered brass and carved details.
      One of the guest rooms boasts a star-shaped stained-glass windowIn the guest rooms, Post Company took a lighter approach to the decor by choosing cream for the walls and the linen curtains.
      Curvaceous furniture is complemented by modern sconces and original plaster shell pendants by Frances Adler Elkins.

      Post Company imbues Mollie Aspen hotel interiors with earthy hues

      Each room has a curated bar, while the bathrooms have been updated with colourful tiles and blackened nickel fixtures.
      One of the ground-floor rooms boasts a star-shaped stained glass window, which is surrounded by foliage on the exterior.
      The hotel’s grounds are landscaped with brick paths and patios between plantingThe hotel’s grounds are landscaped with flowerbeds and lawns, criss-crossed by brick pathways that connect arched colonnades with patios and the outdoor swimming pool.
      Several guest rooms open directly onto the gardens, and a handful are in the pavilion that faces the pool terrace.
      The building’s historic Spanish Colonial architecture, typified by the arched colonnades around it periphery, was restored during the renovationLa Playa has multiple spaces for meetings and events, including a game room and the 2,160-square-foot (200-square-metre) Pacific Room that is typically used to host weddings.
      Breakfast is served in an indoor-outdoor dining room, whose covered terrace extends towards the ocean and provides a spot for evening cocktails while watching the sunset.
      The dining area extends out to a covered terrace where guests can watch the sunsetPost Company, formerly known as Studio Tack, is renowned for its hospitality projects and also recently completed the warm, wood-filled interiors for the Mollie Aspen hotel.
      The studio’s earlier work includes The Lake House on Canandaigua in New York’s Finger Lakes region, the Sound View hotel on the North Fork of Long Island and The Sandman converted motel in northern California.
      The photography is by Chris Mottalini.

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      Rockwell Group creates “the cathedral of fried chicken” for New York restaurant

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      Arches of light warmly illuminate this Korean fried chicken restaurant in New York’s Flatiron district, designed by Rockwell Group.

      Coqodaq is the brainchild of restauranteur Simon Kim’s Gracious Hospitality Management, the group behind the Michelin-starred and James Beard-nominated COTE Korean Steakhouse.
      At Cododaq, glass and bronze modules form arches of light over dinersThe new restaurant offers an elevated take on traditional Korean-style fried chicken, encouraging diners to indulge in nuggets topped with caviar and to pair its “bucket” dishes with champagne.
      “Designed by Rockwell Group as ‘the cathedral of fried chicken’, the restaurant design delivers a daring, yet refined dining experience that skillfully integrates Korean and American influences, placing them at the forefront of this enticing culinary adventure,” said the restaurant team.
      The restaurant’s moody material palette and warm lighting set the tone for an elevated take on Korean fried chickenTo create the right atmosphere for this experience, Rockwell Group opted for a dark and moody interior of rich materials and low, warm lighting.

      “Our goal was to capture the essence of this unique concept and innovative approach to fried chicken and translate it into a memorable dining experience,” said founder David Rockwell.
      Plaster wall panels feature a crackled effect akin to fried chicken skinUpon entry, guests are invited to wash their hands in leathered soapstone basins, above which a row of pill-shaped light bands glow within a bronzed mirror that also wraps onto the side walls.
      Past the host stand, an area with four high-top tables offers a space reserved for walk-ins in front of garage-style windows.
      The long bar is topped with black soapstone and fronted with tambour woodThe main dining area is formed by a series of green leather and dark walnut booths on either side of a central walkway.
      A series of illuminated arches soar overhead, formed from rippled glass and bronze modules that resemble bubbling oil in a deep-fat fryer.
      The restaurant’s extensive champagne collection is displayed in glass cases with bubble-like lightingAt the end of this procession, a mirrored wall reflects glowing arches and creates the illusion of doubled space. Meanwhile, plaster wall panels feature a crackled effect, nodding to the crispy skin of the fried chicken.
      “The material palette was driven by a desire to surround diners in an envelope of warmth, creating a joyful place to be at any time,” Rockwell said.
      Rockwell Group creates atmospheric interiors for Perelman Center in New York

      Additional booth seating to one side is followed by the long bar, topped with black soapstone, fronted by tambour wood and backed by a luminous black liquor shelf.
      The restaurant’s extensive champagne collection – which it claims is the largest in America – is displayed inside glass cabinets installed with globe-shaped lights that look like giant bubbles.
      At the front of the restaurant is an area with high-top tables reserved for walk-in diners”Simon and I share the belief that the most important thing about restaurants is how they ritualise coming together for a shared, celebratory experience and Coqodaq provides the perfect template for that,” said Rockwell.
      Since Tony Award-winning designer founded his eponymous firm in New York 40 years ago, the studio has grown to a 250-person operation with additional offices in Los Angeles and Madrid.
      Upon arrival, guests are encouraged to wash their hands in leathered soapstone basinsAmong Rockwell Group’s recent hospitality projects are the Metropolis restaurant and lobby spaces at the Perelman Arts Center (PAC NYC) and Zaytina inside the Ritz-Carlton Hotel.
      We’ve featured a few fried chicken restaurants recently, including a 1960s-influenced spot in Los Angeles and a neon-illuminated eatery in Calgary.
      The photography is by Jason Varney.

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      Timothy Godbold adorns Tribeca loft with modernist relief panels

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      New York interior designer Timothy Godbold has renovated an apartment in a historic Tribeca building, adding various relief treatments across its neutral walls including panels influenced by a 1970s sci-fi series.

      The spacious loft is located in an 1881 cast-iron building on Franklin Street, which was formerly a textile factory and was overhauled by Pritzker Prize-winning Japanese architect Shigeru Ban in 2019.
      The most dramatic space in the loft is a double-height living room surrounded by windows”The homeowners, a young family with two children, set out with the objective of creating a great home for entertaining that simultaneously utilized space efficiently to create a comfortable family living space,” said Godbold’s team.
      The designer helped to organise the layout so that it functioned optimally for the family, and despite opting for a neutral colour palette, Godbold upped the drama through the scale of the furniture and artwork.
      Rather than disguise a structural column, Timothy Godbold used it as an anchor for the dining tableA double-height living room occupies a corner flooded with light from windows on two sides, which can be diffused by drawing the sheer curtains.

      To work around a large structural column disrupting the view to the living room, Godbold used the column to anchor a stone dining table to turn it into a focal feature.
      The kitchen is intentionally minimal, benefitting from the absence of cabinet and drawer pullsThe table references a 1930s design by Hans and Wassili Luckhardt and Alfons Anker, in keeping with the industrial style of the building.
      The kitchen is very minimal, thanks to the omission of cabinet and drawer pulls, and includes an island with a waterfall stone top that creates space for a breakfast bar.
      An area behind the kitchen was converted into a flexible office and bar spaceHidden behind the kitchen is a former TV room converted into a bar room and an office “to maximise the versatility of the space and meet multiple needs”.
      The walls in this flexible room are covered in geometric plaster-relief panels, which add shadows and texture, while the furniture is darker and more masculine.
      Plaster relief panels based on a 1970s sci-fi series cover the wallsA Reprise pendant light from New York design studio Apparatus hangs in a corner that has been curved to accentuate the modernist-style wall panelling.
      “The wall details in this Tribeca space are inspired by a classic 1970s sci-fi series that showcases an all-Italian modern aesthetic within a futuristic environment,” said the team.
      A feature wall behind the bed in the primary bedroom is fluted across its full widthA row of plastered arched niches separates the formal entertaining areas from a more casual seating area, where a large pale grey sofa shifts the tone from the warm whites found elsewhere.
      In the primary bedroom, the built-in bed and nightstands are installed below a tufted upholstered headboard that runs the full width of the room, and a fluted wall feature that extends to the ceiling.
      The bedroom also features a sculptural sofa, large planters and a huge artwork by Etienne MoyatOpposite the bed is a sculptural sofa surrounded by oversized planters and a large, carved relief artwork by French sculptor Etienne Moyat on the wall.
      Godbold custom-designed many of the pieces throughout the home, including most of the furniture and decorative elements.

      Timothy Godbold turns his Hamptons home into a “villain’s hideout”

      His references included mid-century Italian designers like Joe Colombo, whose space-age shapes are echoed in the dining chairs, sofas, and smaller lighting and decor items.
      Godbold also played with proportion to add drama, as seen in the living room’s custom stone sofas that are upholstered in a “brutalist” fabric made in England, and the coffee table with an integrated planter.
      A variety of space-age shapes and materials can be found throughout the loftThe rugs also feature custom designs that outline the furniture in the same space.
      Overall, the goal was to “marry the industrial, the art deco and the more surreal aspects of 1970s noir cult cinema for a glamorous and intriguing end product.”
      The home’s neutral colour palette continues through to the nurseryOriginally from Australia, Godbold is currently based in the Hamptons, where he renovated his mid-century home to resemble a “villain’s hideout”.
      He also aims to preserve other modernist dwellings built across the area through the nonprofit organisation Hamptons 20th Century Modern.
      The photography is by David Mitchell.

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      Crosby Studios creates office-themed installation in LA for The Frankie Shop

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      New York-based Crosby Studios has piled office equipment around a long metallic table as part of a pop-up installation for fashion brand The Frankie Shop in Los Angeles.

      The month-long installation titled The Office was launched to coincide with LA Art Week and the Sag-Aftra film festival and marked the New York label The Frankie Shop’s first presence in the Californian city.
      A long, metallic conference table formed part of The Office installation created by Crosby StudiosThe brand’s founder Gaëlle Drevet and Crosby Studios creative director Harry Nuriev met at his studio, talked for 2.5 hours and decided to work together.
      The resulting installation occupies a trapezoidal building on Sunset Boulevard wrapped in metallic film on all sides.
      Equipment like printers, office chairs and water coolers were arranged around the perimeter of the spaceInside, the warehouse-like space features a long table also covered in a reflective material, with matching cube-shaped stools set along either side.

      Articulated desk lamps, microphones and bottles of water were arranged on the table as if set up for delegates at a convention.
      The central table featured microphones and water bottles as if set up for a meetingAround the perimeter, Nuriev placed recycled office equipment, such as a large printer, a stack of binders and a pile of plastic-wrapped office chairs.
      A row of water coolers was lined up along one end of the room, encircled with glowing light boxes to create sharp silhouettes of the equipment in front.
      Light boxes that encircle the space create sharp silhouettes of the office furniture placed in front”It’s not really about the office, it’s more about what happens after the office,” Nuriev told Dezeen. “I was thinking it’s time to officially move on from the office and consider the future. However, in this project, we’re uncertain about what the future holds exactly.”
      A selection of apparel by The Frankie Shop is interspersed among the vignettes, while a “storage” area in the back serves as a fitting room.
      Some of the furniture is plastic-wrapped, appearing as though just installed or ready to be shipped awayTogether, the industrial style of the building, the silvery materials, the lighting and the equipment served to highlight the brand’s reinterpretation of businesswear.
      “The pop-up design blends a dynamic combination of fashion and nostalgia, where the power suits of the past seamlessly align with the modern attitude of The Frankie Shop,” said the team.

      Crosby Studios looks to the “signature red” of David Lynch for Silencio New York

      Metallics are commonplace in Nuriev’s interior projects, appearing prominently in a Berlin jewellery store, a Moscow restaurant and his own New York apartment amongst others.
      However, he is vague about the reasons or intentionality behind this recurring theme.
      The exterior of the building on Sunset Boulevard is also covered in reflective film”I don’t really think about ‘why’; it’s just my instincts, and I prefer to follow my feelings,” said Nuriev. “For this project, I had a vision of silver, and I think it works perfectly.”
      Originally from Russia, the designer founded Crosby Studios in 2014 and is now based between New York and Paris.
      The month-long installation marks The Frankie Shop’s first presence in LA and was timed to coincide with the city’s art weekHe recently completed the interiors for New York nightclub Silencio, based on the original location in Paris designed by film director David Lynch.
      Nuriev frequently collaborates with fashion brands, on projects ranging from a virtual sofa upholstered with green Nike jackets to a transparent vinyl couch filled with old Balenciaga clothing.
      The photography is by Josh Cho.
      The Office is on show in Los Angeles from 23 February to 24 March. For more events, talks and exhibitions in architecture and design visit Dezeen Events Guide.

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      Bruno Mars and Yabu Pushelberg design cocktail lounge at Las Vegas casino

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      Musician Bruno Mars and design studio Yabu Pushelberg have teamed up to create the interiors of a cocktail lounge and live music venue at the Bellagio casino in Las Vegas.

      Named The Pinky Ring, the 5,000-square-foot (465-square-metre) lounge is accessible directly from the casino floor, but designed as an entirely separate experience away from the bright lights, bustle and noise.
      The stone bar at The Pinky Ring is surrounded by golden drapes that are reflected in the mirrored ceilingGrammy Award-winning artist Mars collaborated with Canadian studio Yabu Pushelberg to craft an elevated and luxurious space within the Bellagio Resort and Casino.
      The bar serves a curated collection of cocktails and hosts live entertainment by top musicians and DJs – though no phones are allowed inside.
      A huge crystal chandelier hangs in the centre of the lounge and is visible from all cornersThe entry sequence begins with a dimly lit mirrored passageway, where Mars’ collection of Grammy trophies is displayed.

      “Inspired by contemporary museum design, the corridor was designed as a soothing and discreet exhibition space where guests can cleanse their visual palette from the outside world and begin to submerge into The Pinky Ring,” said the design team.
      A VIP area is lined with faceted mirrored panels that create infinite reflectionsGuests arrive at the main bar and lounge in front of a sunken conversation pit, wrapped with a wavy banquette and furnished with soft armchairs gathered around a series of small tables.
      The carpet, the leather and the velvet chair upholstery are shades of green – colours also found in the richly veined stone tabletops.
      Other niches with additional seating feature dark wood-veneer panelsA giant halo-like chandelier with tiers of glowing crystal hangs from the ceiling above, providing a central focal point that can be seen from every corner.
      At the rear of the space is a gently curved, dramatically patterned stone bar, topped with a row of metallic Flowerpot lamps by Verner Panton.
      In the central conversation pit, various shades of green were chosen for the carpet, chairs and banquettesThe back bar is housed within an elongated pill-shaped, mirrored recess, which displays a wide range of liquor bottles and is ringed with stepped cove lights.
      Golden drapes run floor to ceiling across the back wall and are reflected in more mirrors on the ceiling.
      The green hues of the seating are echoed in the richly veined stone tabletopsOff the main lounge are various niches and VIP areas that offer additional seating, some lined with dark wood-veneer panels.
      “See or be seen, each area is composed of its own suave and purpose that echoes into the next,” said the team.

      AvroKO designs Supper Club restaurant at Justin Timberlake’s The Twelve Thirty Club in Nashville

      One organically shaped space is lined with faceted, smokey mirrored panels that create infinite reflections, and features a banquette that wraps around a large table fitted with a giant ice bucket for chilling drinks.
      An important factor in the design was the lighting, which comprises under-seat and ceiling coves, along with wall lights with five globe-shaped diffusers attached to vertical brass rods.
      Patterned crushed velvet covers the curved banquette back, while the seat is wrapped in leather”In the pursuit of perpetual allure, where lighting not only transforms spaces, but perceptions, The Pinky Ring unveils a strategic lighting innovation, schemed to make people look and feel their best,” the team said.
      “Through a strategic interplay of low-level, contrast, and accent lighting, The Pinky Ring lighting design unveils the unseen.”
      Mars joins a long line of famous musicians to open entertainment venues. Among others is singer Justin Timberlake, who put his name behind an AvroKO-designed Nashville dining and drinking destination in 2021.
      Pink-red stone tiles across the bathroom walls nod to the lounge’s nameYabu Pushelberg was founded by George Yabu and Glenn Pushelberg in 1980, and the studio has designed some of the most recognisable hospitality interiors over the past four decades.
      Shortlisted for Dezeen Awards 2021 design studio of the year and judges for the program in 2023, Yabu Pushelberg’s recent projects include the Moxy and AC Hotel in Downtown Los Angeles – of several they’ve completed for the Moxy brand – and The Londoner hotel on Leicester Square in the UK capital.
      The photography is by Sean Davidson.

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      Lissoni Architecture creates expansion for Design Holding with “melting pot attitude”

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      Local studio Lissoni Architecture has expanded the Design Holding flagship in New York City, creating an entirely new floor outfitted with light displays and curving metallic installations.

      Lissoni Architecture, the US branch of Italian studio Lissoni & Partners, created an entirely new second floor and redesigned a portion of the first floor for the Design Holding showroom, which displays furniture and lighting brands including B&B Italia, Flos, Louis Poulsen, Maxalto, Arclinea and Azucena.
      Lissoni Architecture has created an expansion for the Design Holding showroom in New YorkLighting and design elements from the brands were distributed across the second-floor space, spread out amongst vertical stone-clad panels, transparent, metal showcases, and curving chrome benches and walls.
      Each area of the floor was dedicated to a specific brand and the interior architecture was tailored to each brand’s identity, according to the studio.
      The project encompasses a new second floor and an expansion and redesign of the first”We wanted to share the melting pot attitude of New York City where everyone and everything can blend together holistically so we went to the essence of the iconic brands,” said Lissoni Architecture founder Piero Lissoni.

      “[We highlighted] their DNA and proposed a common ground that could host and enhance the design codes of each identity.”
      The studio created dedicated areas for brands including Flos and B&B ItaliaFor lighting brand Flos, the studio created a series of display cases backed by a transparent mesh. A magnetized, geometric Bilboquet light by designer Philippe Malouin is on display, as well as the Almendra chandelier affixed with almond-shaped flakes by Patricia Urquiola.
      A testing room for clients was also created for the brand, which consists of a curved, metal wall that meets a series of angled panels that act as an entrance for the room.
      The various displays were informed by the “melting pot” attitude of New York CityAnother corner of the floor was dedicated to the display of the Skynest chandelier by Marcel Wanders, which resembles an inverted basket interlaced with cords of light.
      Displays for Flos and Louis Poulsen consist of inserted panels and curving planting beds that are populated with a number of lighting fixtures from both brands.
      Metallic panels, warm wood, and dark cladding were used throughout the second-floor spaceDark, metal cladding used in the Flos displays contrasts the off-white and beiges used throughout the Louis Poulsen space, but both flank a B&B Italia lounge that sits at the centre of the floor, which features a bright-red chair from the Up series by Gaetano Pesce.
      A B&B Italia wardrobe was also created for the showroom, which sits next to an Arclinea kitchen display.

      US becoming more open-minded says Piero Lissoni as he announces New York architecture office

      A black ash finish was used to clad a large cabinet unit, which sits behind a Thea island topped with a quartz waterfall countertop.
      Lighting by Louis Poulsen, including the Patera Oval pendant by designer Øivind Slaatt, was tucked into the furthest corner of the space, with pieces distributed amongst wooden tables and a low-lying display unit.
      A separate entrance leads to a Maxalto space on the first floorOn the first floor, a new space dedicated to Maxalto is accessible through a separate entrance, with pieces such as the brand’s Arbiter sofa system positioned against walls clad in black.
      Design Holding, a global retailer founded in 2018, recently added furniture brands Menu, By Lassen and Brdr Petersen to its portfolio after an agreement with Denmark-based company Designers Company.
      Piero Lissoni announced the founding of the US branch of his studio last year, saying that the US has become more “open-minded” in terms of architecture.
      The photography is courtesy Design Holding.

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      Sundholm Studio revamps Nanas restaurant to capture “spirit of grandmothers”

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      Interiors practice Sundholm Studio has refreshed the 30-year-old Nanas restaurant in Durham, North Carolina, with strong colours, bespoke timber joinery and metalwork.

      Previously named Nana’s, the restaurant was renamed Nanas, in tribute to “not one nana, but rather the entire genre,” Sundholm Studio creative director Shaun Sundholm told Dezeen.
      The space – intended to capture the hospitable “spirit of grandmothers” – comprises a bar, salon, dining room and an outdoor patio.
      Navy fluted walls form the backdrop to the salonSundholm’s aim was to update the space with “modern details that bring the outside in”.
      The existing curved walls in the entryway were retained and reworked with wooden slats, which light passes through to evoke “a walk through the woods”.

      Wooden window blinds and sheer drapes in the dining room help with acoustic absorption and adjusting the natural light levels.
      The seating is a mixture of banquette booths and chairsThe dimly lit entrance was contrasted with the bar, dining area and salon, where jewel-toned colours like emerald green, sapphire blue, and rich amber orange have been used.
      “I aimed to pay homage to aspects of the previous design where possible, accentuating some of the interesting bits of the existing physical space, such as the curved wall at the entrance and the hints of orange throughout – recalling the bright, blaze orange walls of the past,” Sundholm explained.

      Gachot Studios creates cosy New York neighbourhood bar

      In line with the jewel-toned colour palette, Sundholm selected a variety of textures to use across the restaurant, including glossy green handmade Italian tiles and brass finishes.
      Blue velvet upholstery covers the banquettes in the bar, while “vintage luggage” orange leather covers the banquettes in the salon and dining area.
      The dark entrance leads into a curved passage, through to the dining roomBrass archways designed by local metal art studio Andrew Preiss Designs feature across the restaurant, including as a portal between the salon and dining area. This arch motif is echoed in the bathroom mirrors.
      Earth-toned grasscloth wallpaper and a plaid-patterned carpet contrast the solid colours and textures.
      “For this restaurant, our initial mood boards culled from a diverse range – from The Golden Girls and vintage Ralph Lauren textiles to 1970s Cadillacs and abstract impressionist art inspired by the Smoky Mountains,” Sundholm said.
      Bold colour is used for the restaurant seatingThe studio’s goal was to “distill these inspirations into their core elements” and use them to inform the interiors in a “non-gimmicky” way.
      A collection of mixed-media artworks by local artist Jason Craighead featured across the restaurant add to this aesthetic.
      Tartan carpet introduces a pattered counterpoint to the block coloursOther recently renovated restaurants featured on Dezeen include Aino and Alvar Aalto’s Savoy restaurant in Helsinki restored after 80 years and The Bird in Montauk designed by Home Studios.
      The photography is by Lissa Gotwals and D L Anderson.

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      22RE invokes “stillness” inside green Miami golfing boutique

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      Los Angeles studio 22RE has used pale-green stucco informed by Miami’s colours and golf courses for the interiors of a golf clothing boutique in the city.

      A few blocks from the ocean, the Malbon store in Coconut Grove serves a large customer base for the brand in South Florida – a popular golfing destination thanks to year-round warm weather.
      The Malbon Miami store revolves around a central area, from which handmade tiles emanate in a radial pattern across the floorThe verdant neighbourhood and Miami’s distinct architecture provided 22RE with a starting point to build upon, aiming to create a tranquil space amongst such vibrancy.
      “We intended to create an oasis within the city, one that invoked stillness – a feeling that Malbon customers are accustomed to while they’re out on the green,” 22RE founding principal Dean Levin told Dezeen.
      Pale green stucco covers the walls, columns and ceiling beamsThe store’s most striking feature is the pale green stucco that covers the majority of vertical surfaces and ceiling beams that form square archways overhead.

      “The shade of green used throughout the space was inspired by the studio’s first visit to the location, and inspired by the vibrant hues associated with Miami as a city,” said Levin.
      Merchandise is kept to the perimeter of the store, displayed on stainless steel rails and shelvesThe placid hue is contrasted with stainless steel elements including the sales counter and a doorway to the stock room.
      From the centre of the space, mid-grey handmade Mexican tiles are laid across the floor in a radial pattern, emanating from a circular plaque that displays the brand’s monogram.
      Filleted stucco surfaces contrast the aluminium open-cell grid ceilingA ring-shaped installation above, suspended from an aluminium open-cell grid ceiling, also bears the Malbon logo scribed repeatedly in white neon.
      Four columns and a pair of stainless steel benches define this central area, which is intentionally devoid of merchandise to create a moment for pause and conversation between customers.

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      Clothing and accessories are kept to the perimeter, displayed in illuminated niches on stainless steel rails or shelves.
      “In retail stores, there is a predominantly unchanging relationship between salesperson and customer,” Levin said. “We wanted to consider and account for the things we could – foot traffic, merchandising and general flow.”
      A pair of stainless steel benches offer a place for pause and conversation in the middle of the boutiqueBehind the street-facing windows, white stones cover the floors and plants so that the store “feels like a natural extension of the vegetation and foliage” in the surrounding area, said Levin.
      “Through juxtaposing a variety of different materials both organic and industrial, the Malbon Miami storefront is an accurate reflection of the values we celebrate and preserve as an architecture and design firm,” he added.
      The storefront contains greenery to create a natural extension of the verdant surroundings of Coconut GroveMiami has grown significantly as a retail destination over the past decade, with a large concentration of new luxury stores in the city’s Design District.
      Brands including Louis Vuitton, Off-White and Christian Louboutin all have distinctly designed outposts in the neighbourhood.
      The photography is by Erik Stackpole.

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