For his first-ever project in California, David Adjaye has transformed a sleepy yet well-positioned Beverly Hills storefront into a dazzling fashion flagship and adjoining public space. Set to open on February 7, The Webster's latest outpost is cast in pink-hued concrete that flows within a matrix of curved walls and massed display plinths. These columnar, tear-drop-shaped, and even rectilinear podiums help anchor and break up this homogenous interior. While a few of these platforms slope out of convex voids, others appear to float over the store’s black cherry and marble fragment floor. Visible on closer inception, a variety of textures and finishes help distinguish different architectural elements throughout the space. Recessed lighting delineates the project’s complex geometry while bronze-framed mirrors and display racks line its perimeter. However consistent with the store’s monochromatic palette, unexpected floral wallpaper designs, sourced from the 1950s, cover the upper half of fitting room walls. Read the full article on our interiors and design website, aninteriormag.com.
Posts tagged with "Retail":
Untethered to a fixed brick and mortar space in one city or another, a nomadic gallery has the advantage of setting up (temporary) shop in some of the most emblematic locales. Whether their wears feature prominently at an exhaustive list of fairs, in storied buildings, or in recently completed real estate projects, this type of platform often enters into and benefits from, win-win situations. These purveyors sell better when showcasing their collections in aptly-decorated contexts while the proprietors of these sumptuous settings can promote their venues more holistically. For the arbiters of historic palaces and stately homes, this type of program represents the chance to recontextualize and, in turn, shed new light on often forgotten sites. For developers of new residential projects, this type of arrangement puts a spin on the timeworn practice of open houses and helps their real estate agents sell more units. Brightening up a dreary, albeit warm, New York January is a special exhibition mounted by Beirut and Paris-based collectible design gallery Gabriel & Guillaume. Staged in the penthouse of the SHoP Architects and Studio Sofield-restored 111 West 57th Street building in Midtown Manhattan, the L'Œi'l du Collectionneur showcase brings together an eclectic array of historical and contemporary furnishings, presented in various domestic vignettes. The atypical initiative was conceived by marketing agency frenchCALIFORNIA, in partnership with JDS Development Group, Property Markets Group, and Spruce Capital Partners. Read the full article on our interiors and design website, aninteriormag.com.
Made famous by its collaborations with Google, Lexus, Net-A-Porter, Netflix, Revlon, and Saks Fifth Avenue—to name (but) a few—cutting edge neon company Name Glo takes the design world by storm again and again. Founded in 2014 by Sas Simon and Lena Imamura, the boutique brand opened its first brick and mortar space earlier last week. Situated in Manhattan's edgy Lower East Side neighborhood, the new, compact Name Glo Light Bar is a sight to behold. Cast in a floor to ceiling "teal oasis" hue, the flagship's non-nonsense design is best suited to present neon signage and lighting. The locale incorporates both showroom and production facilitates. Customers can design their own neon masterpiece by mixing and matching shapes, plexiglass elements, and handmade terrazzo-like tiles. A virtual projection allows them to test out the scale of their compositions. Read the full article on our interiors and design website, aninteriormag.com.
Renowned lifestyle brand TRNK has opened its first brick and mortar space, a distinguished 1300-square-foot loft, smack dab in the center of New York City's storied SoHo neighborhood. With the historic Judd Foundation next-door, this intimate live-in showroom features an enfilade of richly-textured yet sober living environments. Dramatically light-cast alcove-displays can be found toward the rear. Pieces from the in-house-produced TRNK Collection are complemented by a rotating selection from the company's more than 25 international partners. Antique African masks join postmodern re-editions—Menu's Afternoon Chair—all while sitting on carefully hued, geometrically-cut Mohair carpets. Palatial 13 foot-high drapery adorns two cast-iron, lintel-crowned windows, a striking backdrop for deco-inspired luminaires by Coil + Drift. Read the full article on our interiors and design website, aninteriormag.com.
What with the founders of Malin + Goetz, Matthew Malin, and Andrew Goetz, having cut their teeth in the beauty and design industry respectively, it’s no wonder that their products, as well as their retail environments, are conceived with the purest aesthetic considerations in mind. The New York-based skincare label’s minimalist packaging—bright colored lettering against a stark white background—is utilitarian with a modern flourish, a signature style they’ve extrapolated to the brand’s stores. For their new San Francisco outpost, Malin + Goetz called upon Bernheimer Architecture, the Brooklyn firm the duo previously entrusted with the design of their home office in Manhattan and their first Los Angeles store. “Malin +Goetz have always asked us for simple responses,” principal Andrew Bernheimer explained. “A modern and thoughtful approach that allows their products and the design of their products to remain legible.” Read the full article on our interiors and design website, aninteriormag.com.
Paying homage to the nearby coast, the Escalier fashion boutique at the Potato Head Beach Club resort in Bali, Indonesia, unexpectedly combines the refinement of traditional Indonesian craftsmanship and upcycled construction waste to emulate an earthy aesthetic. Conceived by ZXC Studio (Zhi Xiong Chan), the sprawling 1,400-square-foot retail space is programmed as a matrix of monumental display plinths, modular racks, and reflective surfaces that extend the linear void even further. Fragments of red-pigmented concrete are mixed in with polished concrete to create a bespoke terrazzo that covers floors, walls, and display platforms. This upcycled material was directly reclaimed from the construction site of the neighboring resort. Complementing this mono-material are densely textured hand-woven rattan panels that cover both walls and ceilings. Developed by BYO Living, these decorative and light-diffusing elements are joined by locally produced banana-fiber washi paper. The overall scheme strikes a careful balance between a neolithic and modernist aesthetic. Read the full article on our interiors and design website, aninteriormag.com.
Clocking in at just under 900,000 square feet, the Beverly Center was by far the largest mall in Los Angeles, and one of the largest in the world, when it was first completed in 1982. The mall, which almost exclusively carries luxury retailers, received a $500 million makeover last year by Studio Fuksas that updated the visitor experience by bringing more natural light into its interior, adding a pedestrian path along the perimeter, and breaking up the hulking facade with metal grating. The makeover inspired several new retailers to rent space within the new and improved Beverly Center, including Miami-based, multi-brand fashion house The Webster. On November 20, The Webster announced that it had tapped international architecture firm Adjaye Associates to design a multilevel store on the ground floor of the mall, in a space formerly occupied by a Hard Rock Cafe. With street access on the corner of Beverly and San Vicente Boulevards, The Webster will have an independent entrance and valet-parking service separate from the rest of the complex. The project represents Adjaye Associates’ first project in California, though the firm has completed several significant projects across the country in recent years, including Ruby City in San Antonio, Texas, a “high-design” switching station in Newark, New Jersey, and the iconic Smithsonian National Museum of African American History and Culture in Washington, D.C. There are currently no available renderings of what to expect, but it is likely that the design will demonstrate the firm’s trademark attention to detail and elegant material selection. “It is such an honor to work with David,” said The Webster founder and creative director Laure Hériard Dubreuil. “To have him bring The Webster L.A. to life is an absolute dream! Each one of our locations has its own identity, from the design of the store down to the creatively curated selection of products that furnish the rails and shelves. David truly captured the essence of The Webster DNA and projected it into the future with this new beautiful iteration of The Webster.” The company was founded in 2009 and has since opened six physical locations across North America. When the Beverly Center locations open in January 2020, it will be among the largest at 11,000 square feet.
One part cafe, the other some kind of shop or service—hybrid cafe-shops have been popping up right and left in New York City. The typologies are exhaustive: a barbershop-cum-cafe; a nail salon-cum-cafe; a record store-cum-cafe; and so on. Though, there are exceptions to the cliche. One of them is the New Practice Studio-designed tea room and accessories store, Sage Collective. As the story goes, founding partner of the Shanghai and New York-based firm, Neo Zhong, was approached by NYU graduate Feng Ye to design her first business venture: a tripartite retail-teahouse-bar space. In approximately 1,600 square feet (a modest size for a SoHo storefront), New Practice Studio devised a transformative enclave. Customers enter through a retail space with tea paraphernalia sourced from China. At the heart of the operation—the middle section—lies a cafe by day and bar by night. The expanse culminates in the rear with a semi-private tearoom. This treatment of spaces slowly expanding into each other was inspired by traditional Chinese gardens. Traditionally, the layout of these classics landscapes were arranged so that visitors could not see the entirety at once. Instead, small vignettes were staged to be discovered as one wanders, one sees a series of intimate views. “There are different depths of space," explained Zhong. "Your eyes are drawn to different focal points.” Read the full article on our interiors and design website, aninteriormag.com.
Nothing screams excess like a five-story Starbucks. But that doesn’t mean it doesn’t exist or that it’s poorly designed. Today marks the grand opening of the Seattle-based coffee giant's largest flagship store in the world. Located on Chicago’s Magnificent Mile, the 35,000-square-foot facility fills every inch of a former Crate & Barrel store originally built in 1990. Designed by an in-house team with added help from Perkins & Will, the Starbucks Reserve Roastery Chicago takes cues from the original architecture of the largely-all-glass-and-stone department store. It boasts plenty of natural light within the five-story interior thanks to the building’s existing rotunda and floor-to-ceiling windows. The characteristic materials of a Starbucks project are all there too: Jet black metal cladding cover the walls, both light and dark wooden accents populate the bars and ceilings, while the classic bronze finish found in other Reserve projects clad the railings and machinery. One new touch that defines the Chicago flagship is the ample use of soft green throughout the space, especially notable on the perforated wood panels that line the ceiling. At the center of the space, spanning all five floors, is a towering coffee bean cask made of eight cylindrical chambers. It stretches 56 feet-tall from the ground-floor upward and is surrounded by a spiraling escalator that guests can take to the second floor. From the very top, to see conveyors drop roasted coffee beans in the cask to cool. It’s a curvy interior and it deftly matches Crate & Barrel’s curvy aesthetic. The exterior of the building has been virtually untouched and the Starbucks stamp is minimal. Despite the intervention, the structure still looks like it belongs in downtown Chicago. Among the five other Reserve projects built around the world since 2014, this retrofit has already received early praise for its adherence to the integrity of the city and space in which it exists. Chicago Tribune architecture critic Blair Kamin loved the shop upon touring it and described the architectural appeal of the new "cathedral of coffee" in his review this week: “It’s visually theatrical, crisply designed and carefully tailored to its host city even though it springs from a well-worn corporate template,” wrote Kamin. “The flagship reminds us that modern architecture celebrates the process of making things, unlike beaux-arts buildings that hide such things behind pretty facades.” That must be the general allure of the Starbucks Reserve brand: The company has broken out these shops not as "everyday" places to grab a coffee but more as tourist-oriented theme parks or experience centers complete with merchandise and $15-to-$20 coffees. But this will also be the company's last chance to impress this way. Starbucks has announced the Chicago space will be the final Reserve flagship in its portfolio.
Brooklyn and Rio-based Cactus has gained a reputation for developing interiors that strategically blend its expertise in architecture and software engineering. Whether developing a dramatic scheme for an interactive cycle-gym or a bold concept for immersive pop-up exhibition Color Factory, the firm imbues each project with a sense of experiential enhancement. For its latest project, the outfitting of skincare brand Ever/body's first New York "studio" locale, Cactus translated this same meticulous attention to detail to create a scheme that helps embolden the company's image. Amidst the saturated dermatological market, in which conflicting advice often confuses consumers, Ever/body seeks to destigmatize high-performance beauty. Simplifying the cause and effect of skin-born ailments and desired results, the young brand offers clear solutions. This no-nonsense approach to product and service development informed Cactus's intervention and in turn, informed the brand's visual identity. The firm conceived a design that injects modernity into a relaxing haven; soothing clients as if they were entering a spa or traditional Japanese Onsen. Read the full article on our interiors and design website, aninteriormag.com.
Not many retail spaces are designed with neighborhood pools, Dolly Parton, and the heyday of the Chicago Bulls in mind. But for Outdoor Voices, an Austin, Texas-based athletic-clothing company, these motifs signal its lighthearted approach to exercise, which is more about #DoingThings—the firm’s hashtag motto for getting endorphins going—than about being first to the finish line. In nine stores around the country, the brand has raised its profile in brick and mortar one blush-colored display platform at a time. Three of Outdoor Voices’ newest stores opened in 2018 in Chicago, Dallas, and Nashville, respectively, with interiors inspired by YMCAs and other vintage cultural touchstones. Material palettes of unfinished plywood, ceramic tile, and rubberized flooring reference the retro rec centers, and custom fixtures are upholstered in Naugahyde, an imitation leather better known for dressing up classic diner banquettes. But these elements transcend nostalgia by being cast in vibrant and delicate hues, cut into crisp geometric shapes, and molded into curved forms that snake like Technicolor river rocks across the floor. Each store also gestures to the city beyond its walls, whether in the John Hughes–inspired color palette of the Chicago store or the Nashville installation that invites customers to play a golden Dance Dance Revolution console in tribute to Elvis’s footwork and baroque tastes. Read the full article on our interiors and design website, aninteriormag.com.
Sunset Market Plaza: Meditations on Strip Malls in Los Angeles Edited by Shaina Goel and Use All Five Published by Use All Five List Price: $35.00 If there was ever an official tribunal to determine what Architecture is and what it is not, the strip mall building type might be placed in the latter category without hesitation. Strip malls, sometimes known as mini-malls, can rarely be traced back to an architect, virtually never receive historic protections, and are rarely perceived as anything more than a response to the modern consumer’s demand for convenience. Even their origins struggle to align with any familiar canons of architecture history: when the 1972 oil crisis caused several gas stations to close throughout Los Angeles, their small corner parcels became ideal sites for the inexpensively-constructed building type, which attracted small business owners due to their relatively cheap rental costs. A new self-published book by the Los Angeles-based design firm Use All Five and edited by Shaina Goel intends to elevate the strip-mall into a building type as worthy of study as any other, complete with a historical overview, fine-art photography, and genuine speculations concerning its future against the prevalence of online shopping. Sunset Market Plaza: Meditations on Strip Malls in Los Angeles begins with a plea for clemency from Robert Venturi, Denise Scott Brown, and Steven Izenour’s 1972 classic Learning from Las Vegas: “Learning from the existing landscape is a way of being revolutionary for an architect. Not the obvious way, which is to tear down Paris and begin again, as Le Corbusier suggested in the 1920s. But another, more tolerant way; that is, to question how we look at things.” Just as the two saw the common person’s tastes made legitimate in Sin City, so too does the team behind Sunset Market Plaza elaborate on its subject without a hint of irony or derision. Its spiral-bound spine and numerous fold-outs, in fact, lend it the essence of a field guide. The first half of the book details several of the “best strip malls in L.A.” and nearby San Gabriel Valley, each distinguished by their site plans rendered in dense green stripes and the businesses they contain. Comparing plans, it becomes clear that the strip mall is an infinitely variable thing: some are more than one story, some are irregularly shaped, some have scores of underground parking and many have surprising relationships to the street(s) in front of them. Reading through their descriptions tells us that many of the businesses have not only survived for decades but have also become some of the most popular destinations in the city for a variety of cuisines and specialty services. Sunset Market Plaza also includes a few proposals for the future (or alternate past) of the strip mall, in response to the highly informed marketing present in the world of online shopping. “What would happen,” its editors ask, “if these strip malls were designed with more explicit intentionality?” The results, as they imagine them, are “made with consolidation in mind.” One proposal imagines a strip mall as a one-stop-shop for self-publishing, with independent shops that, when combined, would become a graphic designer’s paradise, while another, titled “Wedding Chapel Plaza” divides the space into several independent businesses catering to the wedding crowd. It becomes up to the reader to determine whether these spaces function better with all of its spaces united under one industry or, more traditionally, as divided among many independently-spirited businesses. An interview between urban planner Jonathan Crisman and urban developer Sam Bachner, the “key figure in the history of strip malls because of his role in co-founding La Mancha Development Company,” succinctly reveals the thought process behind their unique aesthetics. When asked about his approach towards the architecture and design of strip malls, Bachner claimed that he has always aspired “to incorporate elements which are reflective of the specific community in which they are located… Some places might care more about color schemes, or I might have one place with a bell tower, or maybe I will use a blue tile roof in Koreatown—it’s all about community context.” Near the end of Sunset Market Plaza are Catherine Opie’s panoramic photos of strip malls across Los Angeles, all of which honorably confirm the site-specificity Bachner describes as well as their delicate beauty. “[Strip malls] are about the American dream for me,” writes Opie. “But they’re very fragile. They change almost overnight, and are often forgotten about, just like the freeways.”