USA

Subterms

    More stories

    • 125 Shares139 Views

      in Rooms

      CO Adaptive overhauls Queens home to meet Passive House standards

      by

      Brooklyn studio CO Adaptive has retrofitted a terraced house in Queens, New York to meet Passive House energy efficiency standards.

      The 1,152-square-foot (107-square-metre) brick townhouse was originally built in 1945 and has undergone a considered “deconstruction” process during its recent renovation.
      Throughout the home, CO Adaptive removed perimeter flooring to install a membrane, then replaced it with reclaimed boards at an angleRather than throwing out the contents of the existing structure, all of the removed materials were separated by type and sent to new homes.
      The renovation work revolved around the goal of the unit becoming a Passive House – or Passivhaus – a certification that recognises outstanding energy efficiency in buildings.
      The kitchen was fully replaced using maple-faced plywood for millworkThis is the first project undertaken by CO Adaptive Architecture’s construction management arm, CO Adaptive Building.

      “We believe building to Passive House standards is the future of ensuring resilience for our cities, particularly in the restoration and upgrade of the older building stock,” said CO Adaptive co-principal Ruth Mandl.
      “We want to work on simplifying and scaling this endeavor; ideally ensuring that we can bring the cost down on Passive House for our clients, and make it a solution that is more affordable and available.”
      Counters and backsplash are made from blue porcelain with coloured specklesChanges to the layout of the compact two-storey, three-bedroom home were kept to a minimum since the room program was already efficient.
      The perimeter of the existing wood floors and subfloors was removed, enabling the team to install an airtight membrane that seals the wood joists – which were in good condition – to prevent heat loss.
      Bright blue was chosen for new window and door framesWhere the flooring was removed, reclaimed red oak planks that matched the originals were laid at an angle to highlight the minor intervention.
      Larger windows were added to bring more light into the dining room, which overlooks a new rear deck.
      Upstairs, features include a built-in ladder that provides roof access via a skylightThe home was refitted to be fully electrified, powered by a solar canopy from Brooklyn Solarworks on the roof, and is now net positive, according to the studio.
      “The solar array provides more than enough energy to cover the significantly reduced heating and cooling loads of the building, in addition to heating water, cooking with an induction stovetop and charging an electric vehicle,” said CO Adaptive.
      Through-wall AC units were replaced with an energy-recovery ventilator systemAny holes in the exterior previously used for through-wall air conditioning units are now occupied by an energy recovery ventilator system, which helps to control the interior humidity.
      All changes to the facade are denoted by a checkerboard brick infill pattern, similar to the approach taken inside.
      Black-and-white details, such as the bathroom tiles and fixtures enliven the minimal interiorsSouth-facing openings are shaded by Hella operable Venetian blinds, coloured bright blue to match the new window frames.
      Natural materials were prioritised inside, such as a lime and sand-based plaster layer that allows the masonry walls to breathe.

      CO Adaptive Architecture converts Gowanus foundry into flexible theatre spaces

      The kitchen millwork is maple-faced plywood, while the countertops and the backsplash are blue porcelain with coloured speckles.
      The red kitchen floor is made of solidified linseed oil, pine resin and sawdust, which forms a natural linoleum that’s soft underfoot.
      On the south-facing front of the house, openings are shaded by Hella operable Venetian blindsOther details include a ladder built into the wall on the upper-floor landing that provides access to the roof via a skylight.
      “This project prioritises careful deconstruction rather than demolition, to ensure that whatever is removed is either reused or sorted for down or up cycling,” said CO Adaptive co-principal Bobby Johnston.
      A solar array added to the roof provides more energy than the house needs to runAmong the firm’s previous renovations is an industrial building in Gowanus converted into bright and spacious theatre rehearsal spaces, which was shortlisted in the rebirth project category of Dezeen Awards 2022.
      Passivhaus is a popular standard for achieving energy efficiency in residential and other buildings, with other recent examples to have achieved this certification including a stucco-clad, cube-shaped holiday home in Mexico, and a house in the UK with an undulating green roof and timber cladding.
      The photography is by Naho Kubota.
      Project credits:
      Architect: CO Adaptive ArchitectureConstruction management: CO Adaptive BuildingMEPS engineers: ABS EngineeringStructural engineers: ADoF Structural EngineersConstruction manager: CO Adaptive BuildingSolar panel installation: Brooklyn SolarWorksKitchen millwork: ArmadaWood flooring, stair and other millwork: Trilox

      Read more: More

    • 113 Shares129 Views

      in Rooms

      Eames Institute renovates 1990s industrial building to house headquarters

      by

      The design team at the Eames Institute of Infinite Curiosity has renovated an industrial building in California to host the organisation’s headquarters and a 40,000-object archive.

      Launched in 2023, the Eames Institute of Infinite Curiosity is a non-profit dedicated to preserving the Eames legacy through digital and physical public programming, including hosting tours of the designers’ extensive archive.
      The Eames Institute has renovated an industrial building to house offices and an archive dedicated to its designersThe institution recently completed a gut renovation of a building previously dedicated to the manufacturing of medical devices, opening up the floor plans on two storeys to accommodate staff.
      Originally built in 1997 and designed by California architect Jim Jennings, it features a saw-tooth-shaped body with a glass-enclosed lobby at its front that follows the form of its site, a wedge-shaped parcel tucked in between the off-ramps of a highway.
      The building was originally built in the 1990s by local architect Jim Jennings”The space began as dated, awkwardly-scaled private offices,” said the team.

      “Recognizing the innate value of Jennings’s design and the building’s history, The Eames Institute’s internal design team set about transforming the interiors to better fit its architectural bones.”
      “The renovated office channels the design genius of Ray and Charles Eames and notably showcases vintage furnishings from the Institute’s namesakes.”
      The new offices encompass a 2,755-square-foot (255 square metre) first-floor workspace and a 4,793-square-foot (445 metre) second-floor space, while the archive, a gift shop and a small gallery take up the rest of the building.

      The offices feature an exposed wooden structure, white walls, and Eames furniture and other pieces in the designers’ characteristic primary colour palette spread throughout.
      They are designed for “multi-disciplinary” work, with an assortment of different seating arrangements such as enclosed and semi-enclosed spaces offered for employees, including a long, wooden bar and multiple lounge areas.
      A mixture of enclosed and semi-enclosed spaces offers a variety of workspaces”Key initiatives included designing offices that offer a wide breadth of work points for both individuals and groups, as well as offering both opportunities for heads-down focused tasks and more social and collaborative activities,” said the team.
      Besides the “countless” Eames furniture pieces, lighting by Isamu Noguchi, textiles designed by Alexander Girard for Maharam, and furniture by MillerKnoll and vintage Herman Miller fill the space.

      Manual creates branding for Eames Institute of Infinite Curiosity with “dynamic configurations”

      “The interior design drew from the wellspring of creativity and design excellence intrinsic to the organization’s identity and – as everything the Institute oversees – honors the rich legacy of Ray and Charles Eames.”
      The completion of the offices coincides with the opening of the Eames Archive, which encompasses a collection of “tens of thousands of artefacts” including furniture and objects organized among rows of shelving.
      The Eames’ characteristic primary colour palette marks the interior designThe institute offers guided tours of the archive led by chief curator and Eames granddaughter Llisa Demetrios.
      It also oversees the Eames Ranch, a Sonoma Country property dedicated to “land stewardship, habitat restoration, farming, and ranching” which is currently under renovation.
      Recently, it announced new branding by design agency Manual while Reebook released a series of sneakers that incorporate Eames design signatures.
      The photography is courtesy of the Eames Institute

      Read more: More

    • 113 Shares119 Views

      in Rooms

      Tile mural fronts Cult Gaia Miami boutique by Sugarhouse

      by

      A hand-painted tile mural covers the front of this Miami Design District boutique designed by New York studio Sugarhouse Design and Architecture for fashion brand Cult Gaia.

      Sugarhouse Design and Architecture designers Jess and Jonathan Nahon followed up their New York City store for Cult Gaia founder Jasmin Larian Hekmat with a flagship in Miami intended to align with the brand and the location.
      The gabled front of the Cult Gaia boutique in Miami is covered in a hand-painted tile muralThe duo “sought inspiration from temple architecture, Larian Hekmat’s Persian heritage and iconic historical archetypes” for the 1,502-square-foot (140-square-metre) retail space, and also modelled the building on local casitas.
      To cover the gabled front facade, Design and Architecture commissioned artist Michael Chandler to create a mural using ceramic tiles.
      The mural by artist Michael Chandler is titled Tree of Life and references Henri Rousseau’s painting The DreamThe resulting 1,800-piece Tree of Life mural is based on French post-impressionist artist Henri Rousseau’s painting The Dream.

      “The hand-painted ceramic mural depicts a silhouetted tree with its branches extending across the storefront, featuring stylised vegetation, birds and flower-crowned nymphs,” said Sugarhouse Design and Architecture.
      In the centre of the store’s first space is a concrete sculpture by Angela LarianPainted in blue “lapis lazuli” hues, similar to those that decorate Persian mosques, the artwork references everything from Indian textiles to botanical illustrations.
      A trio of arched openings in the facade contain windows and a larger, recessed entryway that holds wood-framed glass doors and aligns with the store’s central axis.
      The 12-foot sculpture of the Greek goddess Gaia stands below an oculusThe first in a series of interiors spaces is an open room decorated in creamy Bianco Avorio limestone and Bianco Santa Caterina travertine.
      Unlacquered brass rods, designed to mimic Cult Gaia’s jewellery, drop from behind ceiling coves to display garments and custom amorphous mirrors by New Vernacular Studio hang on the walls.

      BoND’s PatBo Miami boutique features soft curves and floral touches

      On both sides of the central axis, sandstone blocks are stacked into vertical checkerboard grids that allows accessories to be displayed in the gaps.
      These partitions enclose the fitting rooms, which can be illuminated from within so that light glows through a translucent membrane and the grid holes.
      “Designed to reference rock-cut cave temples, the structures provide privacy while also allowing merchandise to be displayed within their illuminated niches,” said the team.
      In the second space is a banyan tree that grows from a pale-green sofaA second space identical to the first is reached past the threshold created by the fitting rooms, and a bar is hidden beyond a brass door on the far wall.
      Over each of the two main rooms presides a domed ceiling and a seven-foot-wide oculus, based on the roof of the Pantheon in Rome.
      Brass rods drop from behind ceiling coves to display garments and custom amorphous mirrors hang on the wallBelow the first is a 12-foot-tall concrete sculpture of the Greek goddess Gaia – after whom the brand is named – by Larian Hekmat’s mother, artist Angela Larian.
      “An elongated, Giacometti-like female nude that soars toward the heavens, the work is a foil to the nymphs from the facade and her angularity is intentional: like the brand, this is a fully composed, confident, and in control Gaia,” said the team.
      The banyan tree also sits below a domed ceiling and oculus, which are based on the roof of the Pantheon in RomeIn the second room, a large banyan tree reminiscent of the facade decoration is planted within a serpentine sofa designed by Brandi Howe.
      “Like the sacred tree from Buddhism, it invites visitors to sit and achieve their own awakening within this temple of fashion,” the team added.
      Sandstone blocks are stacked around the fitting rooms, which glow from within, and are used to display accessoriesMiami Design District is home to a host of luxury fashion brands, which have each taken a unique approach to designing their stores both inside and out.
      Brazilian brand PatBo recently opened a flagship in the neighbourhood with a pink slatted facade by BoND, while Kengo Kuma and Associates is set to create a sculptural block of buildings nearby that will also serve as retail locations.
      The photography is by Kris Tamburello.

      Read more: More

    • 175 Shares199 Views

      in Rooms

      Sullivan’s Fish Camp designed so “guests can’t be sure if it’s 1982 or 2024”

      by

      South Carolina-based studios SDCO and Basic Projects have overhauled a seaside restaurant in Charleston with a nostalgic design that extends across everything from interiors to memorabilia.

      Contemporary details feature throughout the redesigned Sullivan’s Fish Camp, but are interwoven with retro elements to create an aesthetic that respects the restaurant’s long history.
      Sullivan’s Fish Camp is a family-owned diner that first opened in 1988Located on Sullivan’s Island, at the entrance to Charleston Harbor, the family-owned diner has been serving cold beers and seafood to locals and beachgoers for over 35 years.
      Amy Pastre and Courtney Rowson of brand strategy studio SDCO worked closely with Kate and Ben Towill of interiors studio Basic Projects to bring a cohesive visual identity throughout.
      Large hand-painted letters boldly spell out the restaurant’s nameBold typography, cartoon-style illustrations, vintage art and furniture, and playful messaging all feature in the reimagined restaurant experience.

      “The design intent was to create a world that conjures the delight and affection that generations of beachgoers had for the original, family-owned restaurant,” said Pastre and Rowson.
      “Some details feel modern, some nostalgic. Experienced together, guests can’t be sure if it’s 1982 or 2024.”
      The graphic design identity includes drawings of the building’s exteriorOn the outside, Sullivan’s Fish Camp is spelt out in large hand-painted letters across a projecting red roof canopy, identifying the restaurant as a local landmark.
      Other graphic-design identifiers include drawings of the building’s exterior and two hand-drawn characters: a “cheery flounder” and Captain Sully, a “salty sea captain-meets-fish”.
      Both vintage and contemporary artworks cover the wallsThe restaurant’s interior walls are covered in artworks that continue the seaside and maritime themes, from a stitched portrait of a fisherman to a lobster painting by local artist Katherine Dunlap.
      Commissioned works include fish illustrations by “Carolina legend” Duane Raver, whose work also features on the placemats, and a large sculpture of a marlin fish.

      “Talented people are flocking” to Charleston for creative opportunities at a slower pace

      “It was important to preserve what felt inherently right for the story and space,” said Pastre and Rowson.
      “We wanted to pay homage to seaside fish camps while bringing modernity to the brand and experience,” they said. “No corner was left untouched.”
      Artworks include a stitched portrait of a fishermanThe designers commissioned a local joiner to build furniture elements, including tables, seating banquettes, and a counter that frames the merchandise display and walk-up ice cream window.
      Basic Projects sourced many of the other furniture and lighting elements from antique markets, as well as from Ebay and Etsy. A stained glass pendant lamp is one of the most striking finds.
      “My background is in film set design, so I loved every bit of the sourcing,” said Kate Towill.
      A counter frames the merchandise display and a walk-up ice cream windowDurability was an important consideration; heavy rain and high tides can cause the restaurant to flood, while beachgoers bring plenty of sand in on their feet.
      “We welcome sandy and salty beachgoers,” said Towill.
      “The floors are VCT (vinyl composition tiles) and all the wood is pressure-treated and sealed with marine-grade sealer.”
      Illustrations by “Carolina legend” Duane Raver feature on the placematsSDCO designed an extensive range of merchandise, including key chains, hats, tote bags, sweatshirts, T-shirts, bottle openers and bumper stickers.
      Custom design also extends to the tableware.
      Cups are emblazoned with the Sullivan’s Fish Camp branding, while plates feature scalloped seashell illustrations that reference the border of the original 1988 menu.
      T-shirts feature Captain Sully, a “salty sea captain-meets-fish””The result is a feel-good space that quite literally takes you on a journey through food, drink, design, nostalgia and souvenirs that create indelible memories,” added Pastre and Rowson.
      Sullivan’s Fish Camp is the latest in a series of notable design projects in Charleston, a town that has seen an influx of creatives over the past decade.
      Others include boutique hotel Post House, also designed by Basic Projects, and the newly opened International African American Museum, designed by Pei Cobb Freed & Partners and Moody Nolan.

      Read more: More

    • 125 Shares99 Views

      in Rooms

      Marmol Radziner creates club space in modernist Park Avenue skyscraper

      by

      The third floor of the iconic Lever House skyscraper in Midtown Manhattan has been renovated by architecture firm Marmol Radziner to complement the building’s original modernist design.

      Marmol Radziner completed the interiors for the Lever Club within the office tower at 390 Park Avenue, which was designed by Skidmore, Owings & Merrill in the International style and completed in 1952.
      The entrance to Lever Club is lined with green marble flooring and soapstone wall panelsSOM finished restoring the building last year, after it was purchased by developers Brookfield Properties and WatermanClark in 2020, and Marmol Radziner worked on updating its communal spaces that had fallen into disrepair.
      “Lever House is a globally renowned architectural marvel, symbolising the era’s shift to modern skyscrapers,” said Marmol Radziner.
      The green hues used through the interior nod to the colour of the building’s curtain wall facade”Recognised with the prestigious Twenty-five Year Award from the American Institute of Architects (AIA), the building remains an icon of architectural excellence,” the studio added.

      Originally a cafeteria and repurposed several times over the years, the third floor now serves as a lounge, bar and dining space that continues onto a terrace projecting from the tower’s elevated base.
      The club’s layout revolves around “a series of paneled volumes”Design cues were taken from SOM partner Gordon Bunshaft’s own residence, and other modernist masters, to create an interior that feels in keeping with the building’s history and architecture.
      “From the beginning, we felt that the design of Lever Club should feel like a sympathetic insertion within the iconic curtain wall of the building,” said Marmol Radziner partner Ron Radziner.
      The bar is bookended by rosewood volumes and backed by a screen from John Lewis GlassThe club is entered via a lobby area where floors and walls are covered in panels of green marble and soapstone, contrasted by a simple cuboid reception desk made from wood.
      Inside, the layout revolves around “a series of paneled volumes set within the glass perimeter, taking advantage of the views and access to the most superbly sited outdoor terrace in the city”, according to Radziner
      The dining area overlooks an expansive terrace on top of the building’s elevated baseThe marble flooring, which echoes the green hues of the building’s pioneering facade, extends into the lounge area where tone-matched carpet demarcates soft seating areas.
      Many of the armchairs and sofas are upholstered in a complementary green hue, while chocolate-coloured leather is used to cover other seating options such as bar stool and banquettes.
      The curved banquettes are wrapped in chocolate-brown leather”The furnishings, largely bespoke, respond to and soften the hard edges of the architecture with plush texture and rich tones most often seen in a residential setting,” Radziner said.
      Rosewood tables match the large vertical elements that bookend the bar, which is backed by a John Lewis Glass patterned screen.

      SOM completes restoration of New York’s historic Lever House

      Aluminium also appears as table bases and chair frames that echo the slender window mullions.
      “It was important to us that the design respond intelligently and reverently to the building while also creating a real sense of comfort, warmth, and luxury,” Radziner said.
      Aluminium chair frames echo the slender window mullionsThis isn’t the first time that Marmol Radziner has created interiors for a SOM-designed skyscraper – the firm was also behind the penthouse at Fifteen Fifty in San Francisco, which was temporarily turned into a collectible design gallery in 2021.
      Earlier this year, Marmol Radziner completed California’s tallest residential skyscraper in Downtown Los Angeles.
      Lever Club can be used by the building’s tenants during the day and at nightLever House is one of several Manhattan office towers from the mid to late 20th century to have been retrofitted in recent years, aiming to attract new tenants.
      Among them are the postmodern AT&T Building by Philip Johnson, which was rebranded as 550 Madison after it was overhauled by Snøhetta and its lobby was transformed by Gensler.
      The photography is by Scott Frances.

      Read more: More

    • 125 Shares119 Views

      in Rooms

      BoND’s PatBo Miami boutique features soft curves and floral touches

      by

      New York studio BoND has created a “feminine, organic” interior for Brazilian brand PatBo’s store in Miami Design District, complete with a dramatic sweeping staircase.

      The two-level retail space was designed by BoND following the studio’s work on the PatBo headquarters in Manhattan, which opened last year.
      The ground floor space at PatBo’s Miami store features tall ceilings, terrazzo flooring and sculptural displaysThe team took a similarly soft, feminine approach in the Miami flagship, pairing white and pale pink with rich woods and brass accents.
      “The new store is an artful and site-specific reinterpretation of the feminine, organic aesthetic that is synonymous with the brand’s stores in Brazil,” said BoND.
      A ribbon-like balustrade follows the staircase up through the store, circling oversized silk flowers by Hana FormEntering under a dramatic arched canopy, customers find themselves within a tall, bright space featuring terrazzo flooring, geometric wooden display plinths and brass rails.

      Hints of green marble can be spied in custom furniture pieces, as well as the stair treads and risers hidden behind a solid, ribbon-like guardrail.
      An arched opening leads through to bright coral-coloured fitting roomsAn arched opening beside the register leads into a bright, coral-coloured changing area, where terracotta tiles cover the floor.
      The staircase glides up the curved back wall of the store, and rises through a gap in the upper floor plate, around which the balustrade circles back on itself.
      Darker woods and carpet create a more intimate atmosphere on the upper level”A winding white and green marble staircase serves as a focal point of the space connecting visitors to the second-floor salon and dressing area,” said the studio.
      Curved wood panels and caramel-coloured carpet provide a more intimate atmosphere upstairs, exaggerated by the lower ceiling height.
      The warmly lit fitting rooms on the upper level are lined with curved wood panelsThe brass railings continue, whereas the coral fitting rooms are swapped for wood-lined chambers with curved corners and warm lighting.
      “An overarching geometry of soft curves is a running thread that ties all spaces together,” the studio said.

      BoND uses pink scaffolding at New York “embassy” for fashion brand PatBo

      Furniture pieces including Frank Gehry’s Wiggle chair, a green marble coffee table and a curved grey sofa form a seating area for customers to relax while they shop.
      Overhead are a pair of oversized silk flowers by artist Hana Form, which also appear on the ground floor suspended through the staircase void.
      Green marble appears behind the facade, as well as on the staircase and custom furniture insideBoND also created a facade of pale pink wooden slats to help the building to stand out in the Miami Design District, where brands are encouraged to get creative with their frontages.
      A Louis Vuitton store wrapped in a diamond-patterned facade by Marcel Wanders and a Kengo Kuma-designed block of sculptural buildings are among other examples.
      BoND wrapped the store exterior in pale pink wood slats to help it stand out in the Miami Design DistrictBoND was founded by Noam Dvir and Daniel Rauchwerger, whose studio has also completed a bold yellow scheme for a men’s apparel store in New York.
      The firm’s other projects include the renovation of a mid-century Sears Catalog kit house in Fire Island Pines and a Manhattan hair salon featuring wooden frames and moveable styling stations.
      The photography is by Studio Pyg.

      Read more: More

    • 125 Shares199 Views

      in Rooms

      Sophie Goineau adds “wave-like” timber ceiling to Malibu beach house

      by

      Interior designer Sophie Goineau has renovated a family beach home in Malibu, California, adding a wave-like ceiling and maximising the panoramic ocean views from the living spaces.

      Goineau initially set about helping a young family that she met in Mexico incorporate stylish spaces for their kids into the house, but the project quickly turned into a full overhaul.
      Sophie Goineau took advantage of the Malibu home’s vaulted ceilings to create a wave-like wooden feature overheadBuilt in 1965 and remodelled at the turn of the millennium, the house’s exterior had to remain untouched in accordance with strict Malibu zoning laws.
      Inside, however, multiple walls were opened up to allow light from the expansive windows and skylights to flood all of the spaces.
      The main living space was opened up and can now fully utilise the sliding doors onto the terrace”Some rooms were divided by walls, there was no light coming through,” said Goineau. “We had to use all existing openings — sliding doors and skylights in vaulted ceilings — but there was no rhythm. What could we do here to create a harmonious vibe?”

      With the main entry points reconfigured and many of the internal partitions removed, the offset T-shaped building now benefits from more light and improved flow.
      The lounge area features black seating by ATRA and a media unit that echoes the slatted ceilingThrough the main volume of the dwelling, Goineau installed a dramatic curved ceiling composed of thermally modified ash wood in four layers.
      The effect is designed to mimic a “breaking wave” and not only directs the eye to the ocean view but also partially obscures the skylights from the bright overhead sun.
      A skylight over the entryway is partially shaded by the ceiling slats”The light here, while beautiful, is very strong, but we didn’t want to ruin the existing skylights with shades,” said the designer.
      This ceiling feature is most prominently expressed in the spacious open-plan kitchen, dining and living space, which has large windows on two sides and glass doors that opens onto a terrace.
      A large, teak front door continues the same visual language as the ceilingNeutrally decorated with white oak floors, clay plaster and micro-cement wall finishes, the social space is dotted with several black accents.
      These include the large Beluga sofa and armchairs from ATRA, the Gio Ponti dining table and chairs, and metal shelving suspended from the ceiling over the kitchen island.

      Kelly Wearstler’s Malibu Surf Shack is adorned with “rustic and raw” decor

      “It is all a visual reference of naturalist materials,” Goineau said. “The dark materials chosen highlight the contrast between dark and light in nature, and all the pieces marry so well with everything else in the house.”
      A media unit that disguises the TV echoes the wooden strips of the ceiling and the kitchen cabinetry at the other end of the room.
      The primary bedroom at the end of the main volume opens onto the terraceAt the opposite end of the building’s T is the primary bedroom, which also opens to the terrace furnished with various soft seating options.
      Rather than a full dividing wall, a tall partition acts as a headboard extension and separates the sleeping area from a large dressing room.
      A tall partition separates the primary bedroom from the dressing roomThe entrance hall sits at an angle to the home’s main volume and continues the striped effect again across the teak front door positioned below another slatted skylight.
      Contemporary sculptures by Sébastien Léon and paintings by Damien Chabauty are displayed in this space and along the corridor that connects the remaining rooms.
      The terrace features multiple soft seating areas for the family to enjoyMalibu’s beachfront is lined with impressive properties, including Kelly Wearstler’s home adorned with “rustic and raw” decor and a building by Tadao Ando that musician Ye recently stripped back to its structure.
      Goineau is based in nearby Los Angeles and has previously refurbished a mid-century house in Beverly Hills in collaboration with Enclosures Architects.
      The photography is by Virtually Here Studios.

      Read more: More

    • 125 Shares99 Views

      in Rooms

      ANY designs New York showroom and research library for Vowels

      by

      New York studio ANY has designed the first physical retail space for streetwear brand Vowels, including an 18-metre-long “library” that holds a rotating collection of design books.

      The appointment-only showroom at 76 Bowery in Manhattan opened to coincide with the launch of Vowels’ debut “made in Japan” capsule collection.
      The Vowels showroom in Manhattan contrasts raw concrete and crisp white wallsCreative director Yuki Yagi worked with ANY co-founder Nile Greenberg to create a multi-functional environment that can display apparel, host events and offer customers access to a curation collection of books.
      The narrow space features exposed concrete surfaces and exposed services, contrasted by a minimalist white volume inserted on one side.
      The space includes a compact exhibition area called the Study that will feature rotating displaysAt the front, this box forms an exhibition space named the Study that’s visible from the street through the fully glazed facade.

      Hosting a rotating display of objects and artworks, the exhibitions will inform the collection of printed materials displayed in the store.
      The opening exhibition features Edo-period Japanese furniture sourced in the Yamanashi PrefectureA large wooden door swing over a hole in the clean white wall that allows access into the showcase, while the same richly grained material forms a sales counter at the other end of the showroom.
      Meanwhile, the rare books, magazines and periodicals are stored and presented within a long, glossy black case that stretches 60 feet (18 metres) through the centre of the showroom.
      A custom case filled with hundreds of rare design books stretches through the centre of the showroom”The curated selection, categorised by the Vowels team of researchers and designers, is organised using a system that follows the letters A, E, I, O, and U,” the team said.
      “This archive of printed materials is part of Yagi’s personal collection, serving as reference and inspiration throughout his career.”

      Checkerboard walls wrap Awake NY store by Rafael de Cárdenas

      Visitors are encouraged to peruse the collection, and use computers equipped with high-resolution scanners to make digital copies of materials.
      “The space at once recalls both a clean working environment and a comfortable reading room,” said the brand.
      Vowels’ debut capsule collection is displayed towards the rearTowards the back of the showroom is a wider area where a platform with bleacher seating and speakers built into mesh boxes is used for programming like film screenings, talks, panel discussions and music performances.
      Coffee service with beans sourced from Japan and the Vowels capsule collection are also accommodated in the rear space, while photos of the campaign shot by renowned Japanese photographer Takashi Homma are displayed alongside the library.
      Both the showroom and exhibition space are visible through the fully glazed facade on BoweryThe Vowels showroom borders the Lower East Side neighbourhood, where many streetwear brands have physical shops and showrooms.
      Other recent additions to the retail scene in the area include the yellow-hued Le Père store by BoND and the checkerboard-wrapped Awake NY space by Rafael de Cárdenas.
      The photography is by Dean Kaufman.

      Read more: More