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Large windows and cantilevers animate House on 36th by Beebe Skidmore

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House on 36th by Beebe Skidmore in Portland, USA

A cantilevered upper storey with symmetrical, glazed dormers is the focal point of House on 36th, which Beebe Skidmore has completed for a young family relocating to Portland, USA.

The sculptural dwelling overhauls an existing one-story cottage on the site that was built in 1945 but required a contemporary update and more space to meet the needs of the family.

Beebe Skidmore's design involved introducing an upper storey and brighter living spaces to the house but focused primarily on developing a new "unexpected" exterior that challenged the aesthetic of typical family homes in the area.

House on 36th by Beebe Skidmore in Portland, USA
House on 36th is dressed with large windows and cantilevered dormers

"We approach every project with the intention of making an unexpected, dynamic, and endearing shape that catches the eye of passersby and is delightful to live in overtime," explained studio architect Nong Vinitchaikul Rath.

"We also wanted to challenge the traditional way in which single-family houses present a centralized composition, often with a projecting porch or front door being the focal point," she told Dezeen.

House on 36th by Beebe Skidmore in Portland, USA
The glazed dormers cantilever by 2.5 metres

House on 36th retains the original cottage's concrete basement and foundations, as well as parts of its wood framing and plumbing.

The new cantilevered first floor, which overhangs the front of the house by 2.5 metres, was modelled on the North American garrison – a type of house with a slightly overhanging first floor.

This added more living space to the house without encroaching on the garden, and it also breaks up its building's massing so that it does not appear out of scale in comparison to the neighbouring dwellings.

House on 36th by Beebe Skidmore in Portland, USA
The wooden cladding is stained black to match the window frames

The blackened wood cladding for the house was chosen by Beebe Skidmore to emphasise the home's sculptural form, while also helping to unify the levels and metal window frames.

This wood was stained rather than painted so that its natural textures and patterns are still visible.

House on 36th by Beebe Skidmore in Portland, USA
House on 36th's entrance area that is sheltered by an overhang

"We created a material palette that puts the visual emphasis on the total form as one cohesive object rather drawing attention to individual details and elements," explained Rath.

"The dark exterior colour also makes the voids formed by the big windows visually pop, especially in the evening and at night."

The house is entered from below one of the first-floor cantilevers, which creates a deep weather-protected porch area.

This opens out into the heart of the house, where there is a large open-plan living area and kitchen, which is visually connected to the street, garden and first floor via a sweeping staircase.

Living room of House on 36th by Beebe Skidmore in Portland, USA
An open-plan kitchen and living room sits at the heart of the home

"[The client] is an avid cook so they wanted a really functional and generous kitchen that they could eat in and live in by themselves and with friends," Rath said.

"When they were in the kitchen, they wanted it to feel socially connected to the rest of the house."

Kitchen of House on 36th by Beebe Skidmore in Portland, USA
The kitchen is visually connected to the first floor

The house also contains three bedrooms, two bathrooms, first-floor seating areas and a bike store at the rear.

The children's bedrooms are located behind the two large wall dormers on the first floor, which are used as cosy reading nooks, while the master suite is tucked away downstairs.

Living room of House on 36th by Beebe Skidmore in Portland, USA
The interiors have a minimal "gallery-like" aesthetic

The material palette for House on 36th is deliberately pared-back, with a white "gallery-like" aesthetic chosen by the client that contrasts with its exterior.

However, to enliven the minimalist finishes, Beebe Skidmore has punctured large windows throughout to maximise natural light and also frame changing views of the surrounding neighbourhood.

Bedroom of House on 36th by Beebe Skidmore in Portland, USA
The view out from one of the glazed dormers

Other recent projects by Beebe Skidmore that feature large windows include the Lincoln Street Residence extension, which is fronted by a grid of glazing and sliding doors, and a dark green dwelling that takes cues from Arts and Crafts architecture.

Canadian studio Post Architecture recently added a protruding window box to a century-old brick house during a renovation of the property near downtown Toronto.

Photography is by Jeremy Bittermann.


Project credits:

Architect: Beebe Skidmore
Architect team: Doug Skidmore Heidi Beebe Pooja Dalal
General contractor: Owen Gabbert LLC
Structural engineer: Structural Edge

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The Maker Hotel in Hudson channels "old-world bohemian glamour"

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Interiors of The Maker Hotel in Hudson, New York

Original decor features and vintage treasures helped Lev Glazman, Alina Roytberg and Damien Janowicz create an eclectic sense of old-world charm inside this boutique hotel in Hudson, New York.

Host to just 11 rooms, The Maker Hotel is the brainchild of Lev Glazman and Alina Roytberg, the co-founders of skincare brand Fresh, and hospitality specialist Damien Janowicz.

Interiors of The Maker Hotel in Hudson, New York
The Maker Hotel takes over three historic buildings in Hudson

This isn't the first time that Glazman and Roytberg have ventured out of the beauty industry – back in 2016 they also worked with Janowicz to open the doors to Bartlett House, a bakery-cum-cafe serving seasonal dishes in the town of Ghent, New York.

When it came to creating The Maker Hotel, Glazman wanted to focus on "celebrating the world of makers", utilising different forms of craftsmanship to foster unique spaces for guests.

Interiors of The Maker Hotel in Hudson, New York
A newly built conservatory houses the hotel's restaurant

"During my travels, I always felt there was an opportunity to expand the hospitality experience – one that inspires and allows you to dream," he explained. "We knew we could execute The Maker concept in Hudson because the area was so rich with artisans, history and design, and it was the perfect location."

"Moving away from standardized design, The Maker fuses different periods, and builds a home where this eclectic design can exist harmoniously," Glazman added.

Bedrooms inside The Maker Hotel in Hudson, New York
Inside The Maker Hotel are just 11 guest rooms

Construction works were first carried out to connect the various rooms throughout the 14,000-square foot (1,300 square metres) hotel, which is composed of three different buildings – a Georgian mansion, a Greek revival-style property and a carriage house that dates back to the early 1800s.

New structural additions were also made, including a central courtyard filled with lush greenery and a "jewel box"-like conservatory that now accommodates The Maker Hotel's main restaurant.

Bedrooms inside The Maker Hotel in Hudson, New York
The design team worked to keep as many original features as possible throughout the rooms

Attention was then turned to the interiors, which were largely designed by Glazman – Roytberg focused on the hotel's branding, while Janowicz worked on refining guest experience.

Glazman and the design team sought to keep to as many original features as possible, preserving the ornate fireplaces, hand-painted ceilings, stained-glass windows and tiled mosaic flooring that already existed across the three buildings.

Interiors of The Maker Hotel in Hudson, New York
One room includes bookshelves and an oak fireplace

Over 70 per cent of the decorative pieces are antique or were made bespoke by combining salvaged objects. Some of the artworks even come from Glazman's personal collection.

"The result is unexpected; an old-world bohemian glamour that fuses a worldly design ethos shaped by decades of travel," he concluded.

Interiors of The Maker Hotel in Hudson, New York
Most of the decor elements are antiques

This same eclectic style seeps through to the guest suites, of which there are five typologies: The Bedrooms, The Terrace Lofts, The Corner Studio and The Maker Studios.

The Maker Studios are each inspired by four different creative figures – an architect, artist, gardener, writer – and have been styled accordingly. For example, The Artist room includes a vintage easel, while The Writer room sees book-lined shelves arranged around an oak fireplace.

When not in their rooms, guests can then enjoy the hotel's pool, cafe or intimate cocktail bar.

Interiors of The Maker Hotel in Hudson, New York
The Maker Hotel also includes an intimate cocktail bar

The Maker Hotel joins a growing number of getaway spots in New York that are situated away from the hustle and bustle of Manhattan. Others include The Hoxton in Williamsburg, Brooklyn, which sits on the site of an old water tower.

Photography is by Francine Zaslow.

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Heatherwick Studio designs flood-resilient park The Cove for San Francisco

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The Cove by EPX2

London-based Heatherwick Studio has designed an elevated work campus and park bolstered against rising sea levels caused by climate change to replace deteriorating historic piers in San Francisco.

Heatherwick Studio developed The Cove in a team of 20 called EPX2 for the site of Piers 30-32 at the southern end of the Central Embarcadero Piers Historic District.

Completed in the early 20th century in the city's South Beach neighbourhood, the Embarcadero site was listed in 2016 as one of America's 11 most endangered historic places by the National Trust for Historic Preservation.

The buildings on the 108-year-old Piers 30-32 have since been abandoned, while the piers have lost structural integrity and fallen into disrepair according to the team.

Exterior of The Cove by EPX2
Two buildings flank park. Top image: The Cove will replace existing piers. Rendering by Wire Collective

Slated for completion in 2026, The Cove is intended to provide a new hub of activity while addressing rising sea levels threatening the waterfront site and also consideration its history.

A "resilient pier platform" composed of concrete piles will rise above the sea level, which is forecasted to rise three feet (0.9 metres).

Elevated on top will be a workplace campus with two buildings flanking a five-acre, ecological public park. Grossing 550,000 square feet, The Cove is designed to be smaller than the footprint of the existing structures.

The buildings will be modular, with renderings showing gabled structures that interlock, and designed to be flexible to accommodate a range of functions like offices and shops. Walls are shown to be glazed so they open up to the crescent shaped park and water in between.

Water inlet in The Cove by EPX2
Water inlet could be used for sports

Steps for lazing edge the corner of the green space while a circular pathway extends around the inlet of water for sports activities like kayaking. According to the team it is designed to be reminiscent of California coastal bluffs and act as an Eco-Transect showcasing different natural habitats.

"A pedestrian-friendly journey through the ecological park winds from the Embarcadero promenade through a multi-use plaza, a rolling softscape of native terpene-laden trees and dune grasses, a carbon-sinking, floating wetlands, an oval boardwalk, onwards to a promontory, a bridge beyond, overlooking the bay," it explained.

The Cove is also intended to be net-zero carbon and meet International Living Future Institute certifications, which outline practices for a building to be considered green or sustainable.

EPX2, which also includes Earthprise and Sares|Regis, created The Cove in response to a request for proposals from The Port of San Francisco. The project is intended to align with the Embarcadero Seawall Program, an initiative to bolster the waterfront site from rising sea levels and earthquakes. The current design is still preliminary and expected to be adapted.

With its close proximity to water, San Francisco is one of a number of cities threatened by rising sea levels caused by climate change. A number of architects have developed projects for the city to address this issue.

Buildings in The Cove by EPX2
Buildings will be modular

Danish firm BIG, for example, designed a proposal to protect the San Francisco Bay with floating villages connected by ferries, a red-hued cycle route, and a highway for autonomous vehicles.

BIG's proposal won the Bay Area Challenge, which asked entrants to develop ideas to protect coastal areas from rising sea levels, flooding and earthquakes.

Another historic waterfront area in the city, known as Pier 70, is also being redeveloped to meet predicted sea levels. As part of the project, a waterfront building in San that weighs 2,075 tons was hoisted up over three metres above ground to protect it from flooding.

Edward Barsley, author of Retrofitting for Flood Resilience, has also outlined six key strategies for creating environments adapted to flooding: attenuate, alleviate, restrict, realign, create and embrace.

Renderings are by Heatherwick Studio, unless stated otherwise.


Project credits:

EPX2 team: Earthprise, Sares|Regis, Heatherwick Studio, Paradigm Strategy, CMG Landscape Architecture, Page & Turnbull, Kendall/Heaton Associates, WSP USA Maritime, Fugro USA Land, Magnusson Klemencic Associates, MKA Civil, stok, PAE Consulting Engineers, Biohabitats, McLaren Engineering Group, Edgett Williams Consulting, Michael Schwab Studio, Manson Construction, DPR Construction, Concrete Technology Corporation, Mammoet, Consolidated Engineering Laboratories, SWCA Environmental, and Reuben, Junius & Rose.

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Outdoor dining on New York City streets becomes permanent

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Dine Out NYC in Chinatown by Rockwell Group

New York City mayor Bill de Blasio has made the Open Restaurants Program, which allows restaurants in the city to extend seating onto streets, sidewalks and public spaces, permanent following the coronavirus pandemic.

First temporarily initiated in June to allow restaurants to continue doing business while adhering to social distancing restrictions, the programme will now be a year-round fixture, De Blasio announced on 25 September.

The Open Restaurants Program, which has seen outdoor dining spaces pop up across the city, will boost the capacity of restaurants as they open indoor dining at 50 per cent capacity as New York gradually reopens after the coronavirus lockdown.

Restaurants allowed to heat outdoor spaces and build tents

Under the scheme, eateries are allowed to extend seating onto sidewalks and roadways, or onto adjacent outdoor spaces with their neighbours' consent. Establishments must follow a list of requirements for an Open Restaurant design, which include a clear path on the pavement, a maximum distance from the curb and a required height of enclosing barriers.

De Blasio's extension will also introduce guidelines for restaurants to heat outdoor areas during the colder winter months, which will be released by the end of September.

These regulations will allow the installation of electrical heaters on both sidewalks and roadways, and propane and natural gas heaters only on pavements. Propane will require a permit from New York City Fire Department.

Restaurants will also be able to build tents, ranging from partial to full enclosures, in order to keep diners warm.

Outdoor seating enables safe dining amid pandemic

Food establishments will have to apply online for permission to become an Open Restaurant. Three or more restaurants on a street that is closed to traffic can also apply together to expand outdoors in another option known as Open Streets: Restaurants.

Following the city lockdown, more than 10,300 restaurants citywide reopened with activities outdoors over summer, according to the New York Times, allowing them to stay afloat amid the coronavirus pandemic.

A number of architects and designers also came up with creative ways for restaurants to allow safe dining post-Covid-19. In May, ahead of New York's outdoor dining programme, designer David Rockwell created a kit of parts to turn the city's streets into outdoor restaurants with socially distanced dining.

His firm, Rockwell Group, later built a pro-bono DineOut NYC project (pictured top) comprising 120 seats for restaurants on Mott Street in Chinatown.

Arts centre Mediamatic also developed a socially distanced dining experience in Amsterdam where guests sit in their own greenhouse and hosts wear face shields.

Photograph of DineOut NYC is by Emily Andrews for Rockwell Group.

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Tinted glass bathes Lookout House by Faulkner Architects in red glow

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Lookout House by Faulkner Architects

This house at the bottom of Lookout Mountain volcano in Truckee, California has glass walls chosen by local studio Faulkner Architects to tint the interiors "the colour of cooling magma".

Faulkner Architects worked with Concept Lighting Lab to create a slender, three-storey coloured window in Lookout House to spread the glow across exposed concrete walls of the entry and stairway.

Exterior of Lookout House by Faulkner Architects
Lookout house is surrounded by trees. Top image: Residence is built into a slope

"Red-orange glass suggests the colour of cooling magma, referencing the site's geology and offering a warm approach," said Faulkner Architects.

"The glow extends to the interior, bathing the entry and central stair in light."

Entry in Lookout House by Faulkner Architects
Red-orange glass spans three levels

Located at the base of the three-million-year-old volcano, the house's site is filled with volcanic sediment and huge boulders measuring up to 15 feet (4.5 metres) wide, as well as Jeffrey Pine and White Fir trees.

The coloured window is placed behind an outside area partially covered by a steel plate roof that forms the start of a passageway cutting right through the house. It ends on the first level at the top of the stairs with views of Martis Valley to the north and Lookout Mountain to the south.

Stairway in Lookout House by Faulkner Architects
The window makes the concrete walls glow

Lookout House is near to the popular skiing destination Lake Tahoe, and the circulation is intended to mirror the form of a ski slope that adjoins the site, according to Faulkner Architects. It also created a ramp that connects to the ski run.

"The 10-foot-wide (three-metre-wide) opening allows the sloped grade to pour into the building form," the studio explained. "This reciprocity with the slope provides ski access with a dramatic opportunity to show off and end the day."

Seating nook bathed in light in Lookout House by Faulkner Architects
The window is designed to reference the colour of magma

Around the central path and the ramp, the house is built as blocky volumes formed from thick concrete walls reaching a black steel roof at different heights. Concrete is pared with steel in order to be both resilient to fire and low maintenance.

The concrete walls, which are made from local sand and aggregate, extend to create terraces at different locations on the slope.

Top-level bedroom suite in Lookout House by Faulkner Architects
The top-level bedroom opens to a terrace with views to the valley

"The process is about an approach to problem-solving on a difficult but epic alpine site," said the studio.

"The completed place envelopes the continuous space of the slope up to the south sun and mountain top that has existed for millions of years."

Living area in Lookout House by Faulkner Architects
Folding glass doors open the living area to the outside

In addition to the outdoor areas, the house has large windows and structural sliding glass walls that open up to the surroundings.

Lookout House rises three floors at its highest point. The lowest level has a family room, ski storage and laundry.

Seating area in Lookout House by Faulkner Architects
Large windows also provide views of the outside

The floor above is split around the central pathway that runs from north to south: bedrooms are on the western side and living areas to the east. A sun nook and retreat are placed on the southern end with chunky concrete columns that open onto a small pool.

A large bedroom suite occupies the top floor containing the bedroom, bathroom, lounge and terrace with panoramic views of the valley.

Terrace in Lookout House by Faulkner Architects
Concrete walls form a variety of terraces

Aside from the colourful glass detailing, the materials of the house are intended to be muted – including concrete walls, volcanic basalt floors and walnut wood sourced from orchards in the Sierra foothills.

Lookout House by Faulkner Architects
Concrete columns flank a small pool

"The minimal materiality of volcanic basalt floors and walnut from old orchards in the nearby Sierra foothills continues the discipline of material," said the studio.

"Consistent through the house, the quiet built environment is muted in colour and tonality, which allows the landscape outside to be the focus."

Established by Greg Faulkner in 1998, Faulkner Architects has offices in Berkeley and Truckee.

The studio has completed another remote getaway Truckee surrounded by boulders alongside a number of other homes in rural Californian settings such as a holiday home in Sonoma Valley and a residence outside of San Francisco clad in Corten steel panels.

Photography is by Joe Fletcher.


Project credits:

Faulkner Architects design team: Gregory Faulkner, Christian Carpenter, Jenna Shropshire, Gordon Magnin, Breanne Penrod, Darrell Linscott
Interior and lighting design: Concept Lighting Lab
LLC
Contractor: Rickenbach Development and Construction, Inc.
Civil engineering: Shaw Engineering
Structural engineering: CFBR Structural Group
Mechanical, plumbing and electrical engineering: MSA Engineering Consultants
Energy modeling: MSA Engineering Consultants
Cabinetry design/installation: Henrybuilt

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Snøhetta designs barrel-vaulted El Paso Children's Museum

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El Paso Chidlren's Museum by Snøhetta

Architecture firm Snøhetta has unveiled its design for a children's museum in El Paso, Texas with a barrel-vaulted roof that almost resembles a drawing of a cloud.

The studio designed the roof of El Paso Children's Museum to have four segments, three of which are curved and one that is pitched.

Upside-down, arched windows extend from the peaks down tiled walls in the renderings, with one window sticking out from the gabled volume.

These openings are mirrored by other upright curved windows rising from the tall glazed walls running along the lower levels.

Exterior of El Paso Chidlren's Museum by Snøhetta
Arched windows will puncture the facade

In addition to these, smaller, circular windows also puncture the greyed exterior.

Snøhetta, which is designing the 70,000-square-foot (6,500-square-metre) museum together with El Paso architects Exigo, has also added a number of outdoor exhibition spaces to make the most of the Texan city's sunny weather.

These include a large garden that is staggered in terraces, a space cut into the building's roof and a cooling-mist playground.

For these outdoor areas, Snøhetta intends to use local plants and natural boulders to reference the desert setting of El Paso.

El Paso Chidlren's Museum by Snøhetta
The ground floor will include free exhibitions

The ground floor will host free exhibitions, a cafe and the entrance.

A 60-foot-tall (18-metre-tall) atrium that stretches up three floors from this level will house a climbing structure. Images show the interiors will be filled with similarly playful creations, made by exhibition designers Gyroscope, such as a huge hanging star, ribbed pavilions and metallic slides.

Snøhetta won a competition to design the El Paso Children's Museum in 2018. It will be located in the arts district of El Paso's Downtown area, near the US-Mexico border, and under one kilometre from border-crossing station El Paso del Norte.

El Paso Chidlren's Museum by Snøhetta
Gyroscope has design playful installations

With its proximity to Mexico in mind, the museum is designed for both Spanish and English, and includes an exhibit created with Museo La Rodadora, a children's museum just across the border in the city of Juarez.

Last year, architectural studio Rael San Fratello installed pink seesaws between the metal slats of the US-Mexico border wall so children in El Paso and Juarez could play together. The installation followed a string of controversies surrounding the Mexican border wall, a key commitment in president Trump's 2016 presidential campaign.

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Aston Martin collaborates with S3 Architecture to design first residential project

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Black-cedar exterior of Sylvan Rock house by S3 Architecture and Aston Martin

US studio S3 Architecture worked with luxury carmaker Aston Martin's architectural design service to create Sylvan Rock, an angular black-cedar home in Hudson Valley, New York.

With building works set to start in early 2021, Sylvan Rock by S3 Architecture will be the first property to be fully realised under Aston Martin's Automotive Galleries and Lairs service, which launched last year.

Black-cedar exterior of Sylvan Rock house by S3 Architecture and Aston Martin
The form of Sylvan Rock house will mimic jagged rock formations nearby

The service sees the carmaker team up with architecture practices across the world to design bespoke spaces where its clients can show off their most cherished motors.

Sylvan Rock will be situated two hours away from Manhattan, hidden amongst a 55-acre plot of forested land in Hudson Valley that will allow inhabitants to "reconnect with nature".

Garage of Sylvan Rock house by S3 Architecture and Aston Martin
Luxury cars will be displayed in a glass gallery-style room

A sweeping driveway that spans 2,000 feet (609 metres) will lead up to the front door of the house. The facade will be composed of expansive panels of glazing and blackened cedar.

Its dark metal roof will be faceted to emulate the jagged shape of surrounding rock formations, at one point dramatically dipping downwards to form a covered entryway.

Home office of Sylvan Rock house by S3 Architecture and Aston Martin
The house will also include a subterranean office

"When designing, we always let the land speak first and respond to it," said Christopher Dierig, partner at S3 Architecture.

"It's as if the home is born of and launching from the landscape. The resulting design blends our modernist aesthetic with the privacy and context of the rural location to create a unique luxury experience."

Kitchen of Sylvan Rock house by S3 Architecture and Aston Martin
Parquet flooring and dark-wood joinery will feature throughout living spaces on the ground floor

Cars will be displayed in a subterranean gallery-style room that's completely enclosed by panels of glass.

It will look through to a wine lounge where bottles are kept in floor-to-ceiling latticed shelves that subtly nod to the intersecting lines seen in Aston Martin's logo.

Lounge of Sylvan Rock house by S3 Architecture and Aston Martin
Lounge areas will overlook the green landscape

At this level there will also be an office where the inhabitants can escape to do work without interruption. It will feature a huge window that offers an up-close glimpse of the craggy rocks outdoors.

From here guests can head upstairs to the ground floor where there will be a kitchen, cosy den, dining room, formal sitting area and an array of other shared living spaces that look out across the home's decked pool area and verdant landscape.

Pool area of Sylvan Rock house by S3 Architecture and Aston Martin
Other rooms will have views of the home's pool

Aston Martin – which will be responsible for the home's interiors – imagines each room to be finished with parquet flooring and rich chocolate-brown storage cabinetry.

Marble-topped tables and plush, leather-trimmed soft furnishings will further enhance the opulent feel of the home.

Bedrooms of Sylvan Rock house by S3 Architecture and Aston Martin
The first-floor master bedroom will cantilever towards the Catskill mountains

Elevated views across the treetops and towards the nearby Catskill Mountains will be available up in the first-floor master bedroom, which will cantilever over the house's ground floor.

"Our architecture and design team was immediately in sync with the Aston Martin design team, both emphasizing clean lines and the luxury of natural materials and textures," the studio's partner, Doug Maxwell, told Dezeen.

"Working with them we evolved our creative process to view the residence in a similar way as designing an Aston Martin car – by designing in 360 degrees, where no specific angle or facade took precedence or dominates."

Guest quarters of Sylvan Rock house by S3 Architecture and Aston Martin
Sylvan Rock will also include three pods where guests can stay

The grounds of Sylvan Rock will additionally accommodate three gabled guest pods that will stagger down a grassy embankment towards a pond.

They will enable visiting friends and family to have a sense of privacy when they come to stay but, when not in use, can alternatively serve as a health and fitness space or a quiet area for homeschooling.

There will also be a small produce garden where fruit and vegetables can be grown, as well as a pitched-roof treehouse where inhabitants or guests can choose to spend a night under the stars, closer to the site's wildlife.

Treehouse on-site at Sylvan Rock house by S3 Architecture and Aston Martin
There will also be a treehouse on site

Aston Martin's Automotive Galleries and Lairs service is not the brand’s first venture outside of carmaking. Last year it unveiled its inaugural motorcycle model, AMB 001, which features a 180-horsepower turbocharged engine and a carbon-fibre body.

Images are by S3 Architecture, courtesy of Corcoran Country Living.

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Steven Holl shapes Winter Visual Arts Building around 200-year-old trees

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Winter Visual Arts Building by Steven Holl Architects in Lancaster, Pennsylvania

Curving glass walls enclose the Winter Visual Arts Building, which Steven Holl Architects has completed in the arboretum of Franklin & Marshall College in Lancaster, Pennsylvania.

The sculptural three-storey arts centre, first revealed by Steven Holl Architects in 2016, forms part of the US college's new Arts Quad and contains studios, classrooms, and offices.

Winter Visual Arts Building by Steven Holl Architects in Lancaster, Pennsylvania
Winter Visual Arts Building is distinguished by its asymmetric facade

Winter Visual Arts Building is distinguished by its translucent, undulating upper storeys, intended to resemble a lightweight pavilion nestled amongst the campus' 200-year-old trees.

This distinctive geometry was developed by Steven Holl Architects in response to the roots and driplines of these trees, which are one of the oldest elements of the campus.

Winter Visual Arts Building by Steven Holl Architects in Lancaster, Pennsylvania
It is shaped around existing trees on the site

"Winter Visual Arts Building is the center of creative life on campus," said the New York studio. "The universal language of art enabled by the building's spaces brings together students from diverse cultures to collaborate on arts projects."

"The large diameter trees, the oldest elements of the Franklin & Marshall's 52-acre arboretum campus, were the conceptual generator of the building's geometry," it continued.

"As a lightweight building, its main floor is lifted into the trees on a porous ground level open to the campus."

Winter Visual Arts Building by Steven Holl Architects in Lancaster, Pennsylvania
A nearby pool is designed to reflect the building

Winter Visual Arts Building's form was achieved with a two-story 'box-kite' steel frame, which is elevated and cantilevered from its white-painted concrete base.

Now complete, it replaces the campus' 1970s Herman Arts Center, which was designed by Maryland-based firm RCG.

Studio inside Winter Visual Arts Building by Steven Holl Architects in Lancaster, Pennsylvania
Translucent glass provides optimal lighting in the studios

The facade's translucent glazing was chosen by the studio to provide optimal lighting conditions for the studio spaces inside, and is combined with operable viewing windows and skylights to provide fresh air.

This glazing is also intended to contrast with the "heavy exemplary brick architecture" of the adjacent Old Main – an original 1850s campus building to which it is connected to via a ramp.

Inside Winter Visual Arts Building by Steven Holl Architects in Lancaster, Pennsylvania
A mezzanine level overlooks the studios

Inside, the Winter Visual Arts Building has been designed with generous circulation spaces, with two entrances on different levels.

The ground floor contains studios for heavy sculpture work alongside a series of galleries that make the facility and student's work accessible to the local community.

Cinema of the Winter Visual Arts Building by Steven Holl Architects in Lancaster, Pennsylvania
There is an auditorium on the first floor

Above, the first floor contains more private, double-height studios for drawing, design, printmaking, painting, woodworking and an auditorium for cinematography students, which are arranged around an informal presentation space.

A mezzanine-style second floor overlooks the teaching studios and hosts Art History seminar rooms, while a hidden basement level contains all of the digital labs and service areas that require minimal lighting.

The Winter Visual Arts Building is complete with a large reflecting pool outside, which has been placed to reflect the translucent glass facade at night.

Entrance of Winter Visual Arts Building by Steven Holl Architects in Lancaster, Pennsylvania
The building has generous circulation spaces

Steven Holl Architects is the eponymous firm of American architect Steven Holl, founded in 1976. Today it has offices in New York and Beijing and is headed up by Holl with partners Chris McVoy, Roberto Bannura and Noah Yaffe.

The Winter Visual Arts Building is one of many education facilities by Steven Holl Architects, with others including the Visual Arts Building at the University of Iowa and the Glassell School of Art in Houston, which has a sloped rooftop garden.

It also recently won a competition to revamp Ireland's largest university with a proposal featuring buildings that evoke the Giant's Causeway.

Photography is by Paul Warchol.


Project credits

Architect: Steven Holl Architects
Client: Franklin & Marshall College
Principal design architect: Steven Holl

Partner in charge: Chris McVoy 
Project architect and senior associate: Garrick Ambrose
Assistant project architect: Carolina Cohen Freue
Project team: Dominik Sigg, Marcus Carter, Elise Riley, Michael Haddy and Hannah LaSota
Project manager: Thomas Murray of Casali Group and Sheldon Wenger of Franklin and Marshall College
Structural engineers: Silman Associates
MEP engineers: ICOR Associates
Civil engineers: David Miller Associates
Climate engineer: Transsolar
Landscape architects: Hollander Design
Facade consultants: Knippers Helbig Advanced Engineering
Lighting consultants: L'Observatoire International
Acoustical consultants: Harvey Marshall Berling Associates
Pool consultants: Aqua Design International

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Selldorf Architects clads Hauser & Wirth New York gallery in concrete

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Hauser & Wirth Chelsea New York by Selldorf Architects

Folding glass doors break up the dark concrete walls of this outpost for international art gallery Hauser & Wirth in New York City, designed by Selldorf Architects.

New York firm Selldorf Architects was enlisted to create the building in the city's Chelsea neighbourhood, a formerly industrial area featuring 20th-century, red-brick structures that is now a hub for art galleries.

The street-facing wall is masonry formed by concrete blocks to draw from the history of the West Chelsea Arts District, but also provide a contemporary feel. According to the firm, the concrete is made up of recycled glass and aggregate and is sustainably sourced. Paler zinc panels wrap the entrance.

Rising five storeys, the street-facing wall is punctured by two long bands of folding glass doors on the ground and first floor.

Exterior of Hauser & Wirth Chelsea New York by Selldorf Architects
Dark masonry walls draw on the red-brick architecture of Chelsea. Photograph by Nicholas Venezia

The 16-foot-tall (4.9-metre-tall) ground floor doors lead from the street into an L-shaped gallery and the 12-foot-tall (3.7-metre-tall) set above opens onto a balcony. Rhythmic rectangular windows run along the second and third floor, while the fourth floor has one single large window.

Selldorf Architects created the West 22nd Street gallery to replace a former outpost the firm designed in an old dance club on West 18th Street in 2013.

This project, however, is Hauser & Wirth's first purpose-built space since it was founded in 1992, enabling the firm to create interiors ideally suited to the permanent, site-specific works.

"The new building for Hauser & Wirth developed from the close dialogue we have been having with the gallery over the course of many years and many different projects," said Selldorf Architects founder Annabelle Selldorf. "Here, we created something together that will envelope people with art."

"Visitors will encounter artworks all along their path through the building's spaces," she added. "Installations will not be static, but will interact with the architecture dynamically, in alignment with Hauser & Wirth's ethos and values."

The 36,000-square-foot (3345-square-metre) structure is built as a series of volumes of different sizes. All are column-free and finished with polished concrete floors and white plaster walls, making them suitable to accommodate a range of works.

They include an 18-foot-high (5.5-metre-high) clerestoried gallery on the fourth floor, which is topped by a glazed-roof hatch that opens up to allow large artworks to be lifted inside by crane. This exhibition space is punctuated by the huge square window offering views inside and out.

"The architecture has a timeless quality," said Hauser & Wirth co-president Marc Payot. "Most of all, it displays a remarkable generosity in its handling of light and space to ensure that art is always the focus."

Other spaces in the building include a multi-purpose bar and event space on the first floor for artist talks and other public programmes. Private offices and showrooms are also located on the second and third floors.

The West 22nd Street gallery is adjacent to Hauser & Wirth's 548 West 22nd Street location, which houses its offices. Selldorf Architects also designed the gallery's second outpost in the city, in a former townhouse at 32 East 69th Street on the Upper East Side.

Headquartered in Switzerland, Hauser & Wirth has locations around the world including the USA, UK and Hong Kong. Other projects Selldorf Architects has created for the gallery include a large outpost in Los Angeles, which it designed with local firm Creative Space.

Selldorf Architects, which was founded in 1988, has completed a number of major gallery projects including spaces at the Clark Art Institute in Massachusetts designed with architect Tadao Ando.

The firm is also working on a major renovation and expansion of New York's Frick Collection museum. The proposal for the 1930s building was approved by New York City Landmarks Preservation Commission in 2018 despite much opposition from preservationists.


Project team:

Civil & geotech: GZA
Civil: Derosier Engineering
Structural DeSimone Consulting Engineers
Envelope Frank Seta & Associates
MEP: Arup
Estimator:Dharam Consulting
Lighting: Flux Studio
IT: Synergy Associates
General contractor: Westerman Construction

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David Adjaye house for Brad Pitt's Make It Right Foundation to be demolished

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David Adjaye house for Brad Pitt's Make It Right Foundation at 1826 Reynes Street

A house designed by David Adjaye as part of the Make It Right Foundation's contribution to rebuilding New Orleans after Hurricane Katrina is reportedly "in imminent danger of collapse" and is set to be demolished.

Designed as one of 109 houses that were built by non-profit developer Make It Right Foundation, which was set up by actor Brad Pitt to rehouse people, the home was issued with a Notice of Emergency Demolition on the 30 September.

Local news website Nola.com reported that the notice, which was posted on the property at 1826 Reynes Street, states that the house is "in imminent danger of collapse and/or threat to life" and will shortly be demolished.

The demolition will cost $7,085 and will be paid for by the building's owner, the notice says. The date of the demolition is not yet known.

Adjaye house abandoned in 2012

The Adjaye-designed house was built in the city's Lower 9th Ward, which was largely destroyed by the flooding caused by Hurricane Katrina in 2005.

The home was purchased by Kamaria Allen in 2011, who said she almost immediately noticed problems.

According to a 2018 interview in NBC, she found mushrooms growing from her bedroom walls and kitchen, mouldy carpets and rotting wood within the first year of owning the property.

Following attempts to resolve the issues with damp, Allen sold the home back to the Make It Right Foundation in 2012. It has remained empty since this time. Photos on Nola.com show the boarded-up home with broken roof supports and missing cladding panels.

Problems with multiple Make It Right Foundation homes

Numerous high-profile architects including Frank GehryDavid Adjaye and Shigeru Ban designed homes for the development. Each timber home was constructed for around $150,000. In total, 109 homes were completed at a reported cost of $26.8 million.

However, according to multiple news sources, issues were quickly found with some homes and the Make It Right Foundation began replacing decks in 2008 due to rot.

Water leaks, black mould, foundation issues and ill health reported by numerous residents led attorney Ron Austin to file a class-action lawsuit against the Make It Right Foundation in 2018.

The case filed in Orleans Parish Civil District Court states that the non-profit developer sold "defectively and improperly constructed homes".

"Essentially, Make It Right was making a lot of promises to come back and fix the homes that they initially sold these people and have failed to do so," Austin told New Orleans news station WWL-TV at the time.

"We have some people who have gotten sick, or we believe to have gotten sick if you will, anything from severe headaches, Parkinson-like diseases."

Foundation suing architect and wood supplier

The Make It Right Foundation has itself started several lawsuits that aimed at determining the reason for the home's issues.

In 2018, the foundation began legal proceedings against the development's architect of record New Orleans-based John C. Williams.

The lawsuit accused the architect of defective design work that led to damages that will require $20 million to repair.

At the time, Williams responded to the lawsuit, which has yet to be resolved, with a letter that stated: "To now be confronted with this baseless lawsuit is shocking and insulting and we intend to prove that we were not at fault."

The Make It Right Foundation also sued lumber supplier TimberSIL for $500,000 in 2015, alleging that defective treated timber used to build the homes led to the rotting. This case is also unresolved.

Other homes designed for the project include Duplex by Frank Gehry, a "floating house" by American studio Morphosis and an elevated home by Atelier Hitoshi Abe.

Main image shows New Orleans' Lower 9th Ward where the Make It Right Foundation homes were built. Photo is by Michael Maples.

Photo of 1826 Reynes Street taken by James Ewing/OTTO in 2012.

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Disused factory transformed into Crye Precision Headquarters in Brooklyn

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Entrance of Crye Precision Headquarters by MN DCP in Brooklyn, New York

American studio MN DPC aimed to not "f*ck up" an old ship-building factory in Brooklyn, New York, while converting it into the vast and mixed-use Crye Precision Headquarters.

The 10,000-square-metre facility comprises a range of offices and manufacturing workshops, consolidating all of American brand Crye Precision's departments in one place. It is located in the waterfront Brooklyn Navy Yard, where a number of historic warehouses and ship-building facilities have been adaptively reused.

MN DPC's design aimed to prioritise the preservation of the old factory's huge steel structure, which was built in 1902, and ensure that any new elements were subordinate to it.

The project has since been shortlisted for rebirth project of the year at Dezeen Awards 2020.

Entrance of Crye Precision Headquarters by MN DCP in Brooklyn, New York
The entrance to Crye Precision Headquarters. Top image: the former engine-building hall

"In awe of the might and vastness of the original structure, we set out with a simple dictum in mind: don't f*ck it up," explained the studio.

"More than reverence, new architectural elements build upon the logic of the existing, echoing the materiality, detailing, rhythm and spirit of the original. Great efforts were made to blur the line between old and new."

Inside of Crye Precision Headquarters by MN DCP in Brooklyn, New York
The office and workshop spaces that flank the main hall

The headquarters were commissioned by Crye Precision to accommodate the growth of the company, which specialises in combat apparel and protection for military and medical professionals.

The old ship-building factory was chosen as the site for its generous scale, which measures 153 metres in length and reaches 26 metres in height in the former engine-building hall.

This is achieved with its large-span steel structure – the focal point throughout the building.

Inside of Crye Precision Headquarters by MN DCP in Brooklyn, New York
A guest conference room that overhangs the green space

Among the Crye Precision Headquarters' facilities are administration, conference and meeting spaces, alongside workshops for design, testing, fabrication, and manufacturing.

Their layout is configured to maximise natural light and facilitate the flow of goods, but it also responds to the practicalities of heating and cooling the vast shell of the old factory.

The largest space, the former engine building hall, could only be partially conditioned and so it has been converted into the headquarters' storage and temporary workspaces.

All of the design, production, testing, manufacturing, and offices spaces, which require efficient temperature and climate control, are housed in the smaller volumes that flank it.

Inside of Crye Precision Headquarters by MN DCP in Brooklyn, New York
Crye Precision Headquarters' concrete entrance area

"Addressing the air tempering issue head-on, the radically simple decision was made to partially condition the largest volume of space – the high bay where ships were once built – and to fully condition smaller volumes of space which flanked it," said the studio.

"The partially conditioned volume was neither warm enough in the winter, nor cool enough in the summer to be considered conventionally habitable," it explained.

"It was precisely this ambiguous climatic designation which unlocked a clear organisation of the program, and resulted in the eventual layout."

Inside of Crye Precision Headquarters by MN DCP in Brooklyn, New York
A canteen on the ground floor

This final layout required MN DPC to incorporate additional enclosed spaces within the building's shell to accommodate some of the offices.

These are "designed and detailed to recede from and highlight the original structure of the building", and crafted from matching steel and concrete.

Crye Precision Headquarters is complete with a landscape of plants and trees at the entrance, which was incorporated to visually emphasise the scale of the building.

Described by the studio as a "primordial forest", is accessible from the outside through a 10-by-10-metre bifold door and forms the heart of the headquarters – acting as the main gathering area.

It is also visible throughout the building, with prime viewpoints being from a guest conference room that overhangs it and an adjacent canteen area.

Inside of Crye Precision Headquarters by MN DCP in Brooklyn, New York
The green space described as a "primordial forest"

Elsewhere, HofmanDujardin and Schipper Bosch also recently transformed an old factory in Arnhem into office spaces by inserted a lightweight steel frame.

Other architecture projects shortlisted for rebirth project of the year in the Dezeen Awards include MAD's overhaul of a vacant courtyard house in an ancient hutong and a capsule hotel and bookstore built inside an old rammed-earth structure surrounded by mountains.

Photography is by Aaron Thompson and Christopher Payne.


Project credits:

Structural engineer: Simpson Gumpertz and Heger
Landscape architecture: Verdant Design
MEP engineer: ADS Engineers
Geotechnical engineer: Morris-Flood Associates,LLC
Historic preservation: Higgins Quasebarth & Partners
Construction manager: Vorea

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Lesley Lokko resigns as dean of architecture at New York's City College in "profound act of self-preservation"

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Lesley Lokko portrait

Scottish-Ghanaian architect Lesley Lokko has resigned as dean of the Spitzer School of Architecture at City College in New York, citing a crippling workload and a lack of empathy for black women.

Lokko described her resignation, just 10 months into her role at the Manhattan college, as a "profound act of self-preservation" in a statement published by Architectural Record.

"The lack of meaningful support – not lip service, of which there's always a surfeit – meant my workload was absolutely crippling," Lokko said.

"No job is worth one's life and at times I genuinely feared for my own."

New York-based curator Beatrice Galilee described Lokko's experience as a "damning indictment of US academic institutions" in a comment on Twitter.

"The lack of respect and empathy for Black people caught me off guard"

Lokko described her experience of being a black woman in America in contrast to her experience in South Africa, where she founded and led the Graduate School of Architecture (GSA) at the University of Johannesburg.

"Race is never far from the surface of any situation in the US," Lokko added in the statement. "Having come directly from South Africa, I wasn't prepared for the way it manifests in the US and quite simply, I lacked the tools to both process and deflect it."

"The lack of respect and empathy for Black people, especially Black women, caught me off guard, although it's by no means unique to Spitzer," she continued. "I suppose I'd say in the end that my resignation was a profound act of self-preservation."

Just four per cent of architecture deans in US are black

Lokko was appointed dean of the Bernard and Anne Spitzer School of Architecture at the City College of New York in June 2019 and began her tenure in January this year.

She is one of a small number of black people working in architecture faculties across the US. Only four per cent of the architecture deans registered with the Association of Collegiate Schools of Architecture identify as black or African American, according to its Black in Architecture research study.

The survey also found that black people make up just five per cent of full-time faculty or three per cent of tenured faculty.

Speaking to Dezeen, Lokko said her problems in the school were exacerbated by the impact of the coronavirus pandemic, which caused a rapid New York City lockdown in March, and, more so, the unrest in the US following the killing of African-American George Floyd by a white police officer in May.

"There were moments when I wasn't sure I'd wake up the following morning"

"The pandemic months were actually much easier for me personally than the months that followed George Floyd's killing," Lokko told Dezeen.

"There was so little understanding of the impact it might have, and did have, on minority faculty, staff and students that it took me a while to come to terms with what the lack of empathy meant in the broader context of American society," she continued.

"Demands on my time quadrupled overnight (which is to be expected and were also opportunities, which I freely acknowledge) but those demands, coupled with drastic budget cuts, contracting Covid-19 myself and operating with nowhere near the level of administrative support required, meant that there were moments when I wasn't sure I'd wake up the following morning."

Lokko, who is the first dean of the Bernard and Anne Spitzer School of Architecture at the City College of New York in four years, said she expected to face opposition to her vision for change but was surprised by the internal reactions.

"Damning indictment of US academic institutions"

"No one takes a position of leadership to be popular – you do it to put your vision of the future in front of your audience, and do your best to bring people on side, empowering them to interpret the changes in their own way and hopefully creating a new community pulling more or less in the same direction in the process," she explained to Dezeen.

"Reactions in the first couple of weeks veered sharply between hostility and adulation, which usually signals trouble ahead."

She believes the problems she faced in the college form part of a wider problem in US educational systems.

"I suppose the real question for all schools, again, not just Spitzer, is how far they're prepared to 'allow' leaders to explore options for influencing the world differently, with different pedagogical and operational models, different paradigms, different hierarchies and different outcomes, which, for me, is the only way to achieve meaningful change," Lokko said.

Dezeen contacted the Bernard and Anne Spitzer School of Architecture at the City College of New York but is yet to receive a response.

Lokko founded GSA at the University of Johannesburg in 2015

Born to Scottish and Ghanaian parents, Lokko was raised in Scotland and Ghana. She received her bachelor's and master's degrees in architecture from The Bartlett and a PhD in architecture from the University of London.

Prior to founding GSA in 2015, she taught at institutions including Iowa State University, University of Illinois, Kingston University, University of Westminster and University of North London.

The Bernard and Anne Spitzer School of Architecture at the City College of New York was founded in 1969.

The late Michael Sorkin, a celebrated architect and critic, was the school's director of the graduate programme in urban design. Sorkin, who Lokko said encouraged her to take on the role, died in March this year of complications caused by Covid-19.

School professor Gordon A Gebert acted as an interim dean from 2015 prior to the appointment of Lokko. Her tenure as dean of the Bernard and Anne Spitzer School of Architecture at the City College of New York will end in January 2020.

Wave of women lead major US architecture schools

Lokko is the second female dean of the school after Italian architect Rosaria Piomelli, who was appointed in 1980 marking the first female dean of any architecture school in the US.

She is among a wave of women that have been appointed as deans of architecture schools across the US in recent years.

They architect Sarah Whiting who became the first female dean of Harvard University Graduate School of Design last year, and J Meejin Yoon who became the first female dean of Cornell University's architecture school in 2018.

In 2015 Deborah Berke was appointed dean of Yale architecture school and Monica Ponce de Leon became dean of Princeton School of Architecture.

Portrait of Lesley Lokko is by Debra Hurford-Brown.

Read on for Lokko's full statement to Dezeen:


It was a difficult decision to arrive at, no matter how clear it might appear, but the decision to come to Spitzer in the first place was also difficult. I withdrew from the selection process during the search, but the late Michael Sorkin persuaded me to give Spitzer a try. In hindsight, it was naïve of me to think that I could directly apply a model from one context to another, but I suppose it appeared to me as though many of the conditions that I'd had direct experience of in South Africa — issues of diversity, race, equity, development, and even sustainability — were similar to those at Spitzer.

I thought I'd been very clear about my own vision, both at interview and subsequently, but I also acknowledge that the gap between what's said and what's understood is often wider than anyone thinks, particularly the person doing the talking.

Change was always going to be my mandate, however.

No one takes a position of leadership to be popular — you do it to put your vision of the future in front of your audience, and do your best to bring people on side, empowering them to interpret the changes in their own way and hopefully creating a new community pulling more or less in the same direction in the process.

That process involves intense dialogue and discussion, many bottles of wine and a measure of compromise, which I generally thoroughly enjoy doing.

COVID truncated that process, but the school's own internal climate was a major factor. Any institution, having waited for four years for leadership is going to be a difficult space to enter and Spitzer was no exception. Reactions in the first couple of weeks veered sharply between hostility and adulation, which usually signals trouble ahead. Michael's tragic death deprived both parties of a go-between, someone who was prepared to broker better compromises and better buy-in.

The pandemic months (March to May) were actually much easier for me personally than the months that followed George Floyd's killing. There was so little understanding of the impact it might have (and did have) on minority faculty, staff and students that it took me a while to come to terms with what the lack of empathy meant in the broader context of American society.

Demands on my time quadrupled overnight (which is to be expected and were also opportunities, which I freely acknowledge) but those demands, coupled with drastic budget cuts, contracting COVID myself and operating with nowhere near the level of administrative support required, meant that there were moments when I wasn't sure I'd wake up the following morning.

At a broader level, since it's counterproductive to spend too much time wallowing in detail, which is always contested and subjective, my experience at Spitzer has only confirmed something I know I understood coming in, no matter how optimistic my view of NYC might have been. I look back now at my own Instagram posts and am struck by my own levels of giddy excitement.

The changes we made in South Africa were, I believe, only possible in the context of violent student protests that occurred in 2015 and 2016. The one great achievement of the GSA, in my view, was its ability to turn the impulse from destruction to production — of knowledge, insight, opportunity.

That was the real transformation: working productively with violence, as strange as that might sound. For all sorts of valid reasons, Americans fear violence, no matter that it's all around. Yet in the short time I've been here, the level of emotional and intellectual violence inflicted on those of "difference" – however it's constructed — has been both sobering and shocking.

I have always conceived of the academy as the space that is both protective and protected in which citizens (faculty, staff and students) are free to explore options for change before the rage consumes us all. As long as we continue to resist it, the kind of transformational change we all claim to seek in the built environment disciplines, will require a kind of intellectual violence that no institution wants to provoke or support. Someone sent me one of those Instagram snapshots that read, ‘you will never influence the world by trying to be like it.'

I suppose the real question for all schools, again, not just Spitzer, is how far they're prepared to ‘allow' leaders to explore options for influencing the world differently, with different pedagogical and operational models, different paradigms, different hierarchies and different outcomes, which, for me, is the only way to achieve meaningful change.

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Mythology crafts warm plywood interiors for Shen beauty store in Brooklyn

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Shen beauty store features plywood interiors

Plywood covers almost every surface in this store that creative studio Mythology has designed for beauty retailer Shen in Brooklyn, New York.

Shen's new retail space is nestled in Brooklyn's Cobble Hill neighbourhood and measures 1,550 square feet.

The former store of the beauty retailer – which is known for selling a roster of independent makeup and skincare brands – had been located in the nearby area of Carroll Gardens and featured a mix of white and lavender-pink walls.

Shen beauty store features plywood interiors
The interior of Shen's store is lined with plywood

Manhattan-based Mythology has fashioned a warmer fit-out for this location, opting to line every surface in Baltic birch plywood.

"We challenged ourselves to use a singular material because we wanted to juxtapose a humble utilitarian material like plywood with the high-end products featured in Shen's product offering," Ted Galperin, a partner and director of retail at Mythology, told Dezeen.

"Using both the face and end-grain of the plywood allowed us to create a multitude of custom applications, and add visual variety to the space."

Colourful wall murals feature in Shen's Brooklyn store
Colour is provided by hand-drawn wall murals

Inside, Shen has been loosely divided into three sections. The first section is dedicated to customer browsing and lies towards the left of the store.

Plywood has been used here to make a sequence of storage units that fan outwards from the wall, each one complete with vanity mirror and shelving where products are openly displayed. Names of different brands that are on offer have been carved into plywood panels set directly above the units.

Shen beauty store features plywood interiors
Plywood counters displaying products slope out from the walls

The second section comprises a couple of triangular plywood islands in the middle of the store, where Shen staff can spotlight certain products and talk through them in detail with customers or demonstrate how they're used.

On the right-hand side of the store is the third section, which is used for services like makeup tutorials. There's also an angled plywood counter here that showcases candles and scents for the home, running beneath a three-dimensional plywood sign of Shen's company logo.

Shen beauty store features plywood interiors
The store includes an area for makeup tutorials

Excluding a handful of restored 1950s stools from Thonet, furnishings and decorative elements in the store have been kept to a minimum.

A splash of colour is added by a bespoke mural created by New York artist Petra Börner, which features a black-line illustration of a person's face surrounded by wobbly blotches of green and turquoise paint.

Shen beauty store features plywood interiors
Beauty treatment rooms lie towards the rear of the store

Another mural by Börner using pink and orange tones appears in the treatment area at the rear of the store, where customers can come for treatments like facials, waxing, and microblading.

Walls here have also been painted a pinkish hue, but exposed plywood can still be seen on the floor, built-in sofas and beauticians' cupboards.

Shen beauty store features plywood interiors
Walls in the treatment rooms have been painted pink

Mythology isn't the only design studio that has created a striking retail interior using just one material.

Brooks + Scarpa lined the walls of an Aesop shop in downtown Los Angeles with cardboard fabric rolls salvaged from local fashion houses and costume shops, while Valerio Olgiati blanketed a Celine store in Miami in blue-tinged marble.

An Ace & Tate store in Antwerp is also lined exclusively in white terrazzo tiles inlaid with red and blue aggregate.

Photography is by Brooke Holm.

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Gardens bookend Yo Ju Courtyard House in Washington by Wittman Estes

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Yo-Ju Courtyard House by Wittman Estes

Seattle architecture studio Wittman Estes drew on ancient Chinese landscape paintings and principles of garden design for this black house in Washington.

Wittman Estes designed Yo Ju Courtyard House for a plot on a busy street in the Clyde Hill neighbourhood that forms part of the wider metropolitan Seattle area. Yo Ju translates as "secluded living" in Mandarin Chinese, a key premise for the design.

Yo-Ju Courtyard House by Wittman Estes
A blackened wood fence screens the house from the street

One of the courtyards fronts the house to provide a barrier to the noise of and people on the street, while the other at the rear offers a space for the client's three children to play.

A stained-black cedar fence runs along the front Yo Ju Courtyard House, screening the street. The house, whose walls are also clad in blackened cedar, is set back behind the garden composed of grasses and a Japanese Maple tree interwoven with a concrete path.

Yo-Ju Courtyard House by Wittman Estes
A concrete path cuts through grasses in the front garden

Glass walls at the back of the house meanwhile are intended to make it more open to a courtyard planted with a tree, and the back garden.

Because the property is flanked on either side by the gardens, its footprint takes up less than a third of its 10,125-square-foot (941-square-metre) site. Wittman Estes said it aimed to give the illusion that the compact interiors are larger by allowing vistas through the house.

Yo-Ju Courtyard House by Wittman Estes
The open-plan kitchen and dining room open onto the back patio

The concept draws on the technique of the three distances of high, deep and level distance found in Chinese landscape paintings. In Yo Ju Courtyard House, the firm aimed to translate the same idea with three distances in the view from behind the stairway through the living room to the garden.

"The concept of three distances works in the house in the layering of spaces," studio co-founder Matt Wittman explained.

"Moving from the busy arterial road inward into the private courtyard in the back of the house – these distances are visual and spatial layers that move further and deeper into the house."

Yo-Ju Courtyard House by Wittman Estes
The interior is designed to offer views straight through to the back garden

"From the kitchen, living and dining area of the house, layers of trees, planting, and casework increase the depth and layers of space and privacy, creating the illusion that the space is deeper and further away," he added.

Yo-Ju Courtyard House by Wittman Estes
A muted material palette is used throughout the house

Functions are separated into either the communal or private zones, which the firm said follows on from a concept in ancient Chinese garden designs.

"The house uses programme zones to shape layers of privacy and community that were inspired by an ancient Chinese garden design principle known as 'Big Hide', Wittman added.

"The communal spaces open up in the center of the house while the private ones are situated at the front of the house on two levels."

Yo-Ju Courtyard House by Wittman Estes
A pale oak staircase has a slatted balustrade

The ground-floor dining room, living room, a kitchen and children's play wrapping around the rear garden and central staircase, forming the communal zone.

Cast-in-place concrete pads of the patio also meet with exposed concrete flooring in the kitchen and dining room to help further blend indoors and out. This muted material palette continues in the hues of the cabinetry created by US furniture maker Henrybuilt, oak stairs and pale walls.

Yo-Ju Courtyard House by Wittman Estes
The children's art studio has built-in oak cabinets

A garage, a guest bedroom with an en-suite bathroom and a gym placed to the front of the ground floor are in the private programme. This zone continues upstairs with the parent's bedroom wing, the children's bedroom wing and a guest bedroom.

This first floor of Yo Ju Courtyard House is designed around an art studio where the owner teaches the children crafts, with oak cabinets for storing tools art and a large steel wall for displaying drawings.

Yo-Ju Courtyard House by Wittman Estes
A steel board is used to display drawings

Wittman founded Wittman Estes in Seattle in 2012 with landscape designer Jody Estes. The firm previously added a Chinese-inspired courtyard to a 1940s residence in a dense Seattle neighbourhood, with the aim to show how to maximise an urban lot.

Its other recently completed projects in the state of Washington have made the most of natural surroundings, including an elevated extension to a 1940s beach house and a holiday home tucked into a coastal forest.

Photography is by Andrew Pogue.


Project credits:

Architect: Wittman Estes Architecture+Landscape
Design team: Matt Wittman, Jody Estes, Ashton Wesely
Structural engineer: Malsam Tsang Structural Engineering
Builder: DME Construction
Kitchen: Henrybuilt

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Good design can reduce voter errors says postal vote envelope designer

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North Carolina mail-in envelope

Christopher Patten has redesigned the mail-in envelopes for North Carolina ahead this year's US presidential election to make them clearer so the chance of votes not counting is reduced.

Patten simplified the absentee application and certificate form on the back of the North Carolina mail-in voting envelope, which will be used for the US election on 3 November, with the aim of making it easier to understand for voters.

Voters need to "know exactly what they need to do in order for their vote to count"

If instructions are not communicated clearly and errors are made, ballots can be rejected or have to be resubmitted, Patten told Dezeen.

"One of the biggest problems for election departments, and one of the biggest worries right now around mail voting in the United States, is that a lot of states have these complicated requirements," he said.

North Carolin's redesigned mail-in envelope
Patten's design simplified the envelope information into three steps. Top image: the front includes a series of "friendly reminders" to complete the form

"It's become extremely important that we get this right and that people know exactly what they need to do in order for their vote to count," he continued.

"The stakes are really high. There are all sorts of problems if you miss out something really important."

Patten, a designer for non-profit organisation Center for Civic Design, works with election departments to make voting materials like mail-in ballot envelopes, voter registration forms and online portals user friendly.

Designs need to "clearly show what voters have to do"

By using simple principles of good design, he aims to create clear materials that result in fewer mistakes.

"If you design something that clearly shows what voters have to do, and doesn't scare people away, they'll do the right thing," he explained.

"There will always be people that make mistakes but there's just a lot of ways that you can mitigate that with good design."

North Carolina mail-in envelope
He said the previous design featured startling bold red font and a confusing layout

According to Patten, North Carolina's existing envelope was a clear example of voter material being confusing and intimidating.

"The first thing that I think when I look at it is 'did I do something wrong? Or did I commit a crime?', which is a horrible way to start out," he said.

"Right off the bat, anyone who's disenfranchised is going to be skeptical of it."

Redesign "a lot less overwhelming"

Patten and the Center for Civic Design simplified the certification process into three steps that are clearly displayed: "Get your witness ready", "Voter, sign and complete below" and "Witness, sign and complete below".

The bold red text from the previous form was removed and bold black text with bullet points is used to emphasise certain aspects.

North Carolina mail-in envelope
The front of the original envelope had no instructions

"Rather than a long, scary series of sentences, and red text saying you're going to go to jail if you're not this person, we just put some bullet points, and it's a lot, a lot less overwhelming," he said.

Pale yellow and large X symbols are used to bring attention to the areas where voters and their accompanying witness must sign. A series of "friendly reminders" are listed on the lip of envelope front to ensure the ballots and the envelope form are both fully completed.

Meanwhile, the front includes a seal that Patten said helps to ensure that people open the envelope and trust its authenticity.

"Election departments don't always know how to communicate with voters"

This year, tens of millions of Americans are expected to vote by mail as a safer alternative to in-person voting during the coronavirus pandemic.

Patten believes that improving the design of voter material is important to make sure that complex voting information will be conveyed to voters.

"The election process is complicated; it's hard to convey that process to people," said Patten.

"Election departments don't always know how to communicate with voters or write instructions or communications that they understand or can interact with," he continued.

"Things are not often visual. Things are often written in complex legal terms that are hard to understand."

The post Good design can reduce voter errors says postal vote envelope designer appeared first on Dezeen.


Circus tents and Japanese architecture inform Seattle house renovation

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Inside Me-Kwa-Mooks Net-Zero house by SHED

American studio SHED referenced Japanese design and three-ring circus tents when creating the Me-Kwa-Mooks Net-Zero house in Seattle, Washington.

Located on a sloped site beside Me-Kwa-Mooks Park, the dwelling is a remodel of an existing house with a jumbled layout and poor energy performance that the studio said followed "several ill-conceived additions and modifications".

Inside Me-Kwa-Mooks Net-Zero house by SHED
The house takes cues from Japanese architecture. Photo is by Tony Kim

SHED's overhaul was designed to make the house more sustainable and better reflect the interests of its owners – two former circus performers with a love for Japanese architecture.

To achieve this, it stripped back the dwelling into two interlocking volumes and simplified its interiors to create brighter, open spaces with views outside.

Inside Me-Kwa-Mooks Net-Zero house by SHED
It is set on a steep slope by Me-Kwa-Mooks Park. Photo is by Tony Kim

"Both clients have lived in Japan, and enjoy both traditional and contemporary design elements from the concept of the tea room to Studio Ghibli to contemporary Japanese architecture," said the Seattle-based studio.

"Both clients had been professional circus performers, bearing an affinity for open, dynamic spaces," it added.

"A key element of the brief was for the small individual spaces to open, and become interconnected spaces with big views to forest and water."

Inside Me-Kwa-Mooks Net-Zero house by SHED
The interiors are arranged around a central hearth and flue

To modernise the Me-Kwa-Mooks Net-Zero house's stripped-back exterior, SHED clad one of the volumes in wood and the other in standing seam metal panels.

They are unified by a large, wooden veranda, which evokes a Japanese engawa and provides private outdoor space and a viewing platform of the park.

Inside Me-Kwa-Mooks Net-Zero house by SHED
The flue is bright orange extends through the house

During this process, SHED also "over-insulated" the building's envelope and introduced Passivhaus-certified windows.

Teamed with an array of rooftop photovoltaic panels, the studio claims this puts the dwelling "on track" to operate as a net-zero energy building – giving the house its name. This means that the energy that it uses annually will be equivalent to the renewable energy that it creates.

Inside, the centrepiece of the Me-Kwa-Mooks Net-Zero is a large hearth on the middle floor, from which a bright orange flue extends up and out.

This flue is modelled on the mast that supports a pitch of a circus big top. While paying tribute to the clients' history, it also helps to stitch the two volumes together internally.

Inside Me-Kwa-Mooks Net-Zero house by SHED
The dining room opens to a large wooden terrace

On the middle floor, three different but interconnected rooms are placed around this hearth to emulate a three-ring circus. This includes a dining room, living area and space for performing music.

The bedrooms are placed on the upper floor, alongside an office that is visually connected to the three rooms below to create the feeling of sitting up inside a big top.

Inside Me-Kwa-Mooks Net-Zero house by SHED
A study on the upper floor is visually connected to the lower living spaces

The interiors have deliberately spare finishes, dominated by white-painted plasterboard that emphasises the size and open-plan nature of the rooms.

Highlights include a grey steel stair, an ensuite bedroom with Japanese-style tatami bed and soaking tub, and warm wooden cabinetry and flooring throughout.

Inside Me-Kwa-Mooks Net-Zero house by SHED
A bedroom with a Japanese-style tatami bed

As part of the project, SHED also developed a new entrance sequence for the house as its steep site was originally difficult to access.

This includes a circular stair that leads up from the street to a new trail of steps and a covered bench to allow visitors to stop and rest after the sharp incline.

Inside Me-Kwa-Mooks Net-Zero house by SHED in Seattle
Wooden cabinetry lines the entrance area

A more accessible driveway with turnaround space has also been incorporated, alongside an open carport that was converted from the old enclosed garage.

Elsewhere, SHED also recently refurbished the early 1950s dwelling in the Pacific Northwest that was built cartoonist Irwin Caplan, and created a pared-back studio space and guesthouse from an old horse stable.

Main image is by Tony Kim. Other photography is by Rafael Soldi unless stated otherwise.

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The LADG designs studio and residence for a painter and a photographer

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House in Los Angeles by The LADG

The Los Angeles Design Group added three structures to a mid-century home in Los Angeles' Highland Park to create a guest house, studio and exhibition spaces for two visual artists.

The US studio designed the expansion of the artists' existing residence to create a flexible live-work complex called House in Los Angeles 1.

House in Los Angeles by The LADG
Above: The LADG extended the plot of a mid-century house. Top image: the complex is home to two artists. Photos by Saam Gabbay

In addition to the original home, it now has a guest house that also acts as studio space, and structures for exhibitions and events open to a courtyard.

"Our project defies and reorganises some of the architectural tropes associated with LA suburbia," said The LADG co-founder Claus Benjamin Freyinger.

House in Los Angeles by The LADG
Materials were chosen to complement the existing property. Photo by Saam Gabbay.

"It's not a single house with a unified programme, meant to contain a sleeping family at night, who commute off to work and school lives in the morning," he added.

"It's a collection of buildings that integrates work, living, and communal activities around the livelihoods of two artists."

House in Los Angeles by The LADG
The covered garage can also be used as an events space

The LADG designed the extension to create a seamless space between indoors and outdoors. To achieve this it designed each building so that the layout of the walls does not meet the roofline above. Instead, walls extend beyond to mark areas outside and roofs project to cover nooks.

According to the studio, this principle draws on the work of Los Angeles architect Cliff May, who created a series of post-war "dream homes" in the city.

House in Los Angeles by The LADG
This wall hosts a sink on the inside and forms a shelf on the exterior

"May's residential designs are remarkable because of the way walls and interior elements appear to float free on the ground plane, without simply reiterating the boundary of the roof above," explained co-founder Andrew Holder.

A more obvious application of this is the roof that covers the garage, designed to also be used as an events space.

House in Los Angeles by The LADG
Extended roofs cover nooks

Some of the extended walls meanwhile are thick enough to also host functions – such as storage, bathroom utilities, and an outdoor shower.

This idea of double-functionality continues throughout the project, whereby spaces inside create opportunities on the exterior. For example, an indent created for the washbasin in the studio serves as an ad-hoc shelf accessible from the garden.

House in Los Angeles by The LADG
Board-marked concrete walls are left exposed in the garage

Drawing on the aesthetic of the existing building, the additional structures are built with simple materials. Cast-in-place concrete marked with the imprint its timber setting boards forms the base of white walls covered in smooth troweled stucco.

The exposed wooden structure of the roof above pops against the white walls. Pale grey metal panels cover the top of the roofs.

House in Los Angeles by The LADG
Why drywall forms a blank backdrop in the studio

Similarly, simple materials are used inside, like white drywall in the studio that provides a backdrop to hang art.

"The finish of the studio tries to make surfaces available for the client to use and modify," said Holder.

Other live-works spaces designed for artists include a fashion designer's property in Santa Monica, which was recently extended to include a small studio, and a home and workshop in New York that was originally a garage.

House in Los Angeles by The LADG
Plywood is used to cover the walls in the artist's darkroom

Freyinger and Holder founded The Los Angeles Design Group in 2004, and the studio has offices in Venice, California and Cambridge, Massachusetts.

It has previously designed a bar in Culver City, California influenced by the pubs of Dublin and Belfast and a conceptual concrete pavilion for the Coachella music festival.

Photography​ is by Injinash Unshin unless stated otherwise.


Project credits:

Project team​: Claus Benjamin Freyinger, Andrew Holder, Trenman Yau, Anthony Chu, Kenji Hattori-Forth, Remi McClain, See Hong Quek, Jonathan Rieke, Morgan Starkey

The post The LADG designs studio and residence for a painter and a photographer appeared first on Dezeen.

Rockwell Group completes luxury residents-only leisure club for New York's Waterline Square

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The Waterline Club is a private leisure club for residents of New York’s Waterline Square

A sinuous wooden walkway connects different amenities in this private leisure club that architecture and design firm Rockwell Group has created for residents of New York's Waterline Square development.

The Waterline Club by Rockwell Group links together the trio of skyscrapers that make up Waterline Square, a five-acre residential development located on Manhattan's Upper West Side between West 59th and 61st streets.

Each of the three buildings was designed by a different architect – Rafael Viñoly, Richard Meier and KPF – and together accommodates 263 luxury apartments.

The Waterline Club is a private leisure club for residents of New York’s Waterline Square
An elevated wooden walkway crosses over Nexus, the club's central gathering spot

Residents now have exclusive access to 77,000 square feet (7,153 square metres) of leisure amenities available in The Waterline Club, which occupies three subterranean levels beneath the development.

When devising the interiors, Rockwell Group made sure to make room for activities that "appeal to both left and right-brain thinking".

The Waterline Club is a private leisure club for residents of New York’s Waterline Square
Residents can use The Waterline Club's fitness centre

"Our research led to a major observation: New Yorkers have diverse, dynamic interests," the firm explained.

"Rather than offer only the typical athletic facilities, we wanted to appeal to New Yorkers' balanced approach to life, which includes art, music, community, and play," it continued.

"We grouped active amenities together, and social and cultural amenities together, establishing a micro-community and an oasis within the city."

The Waterline Club is a private leisure club for residents of New York’s Waterline Square
The club also includes a basketball court

The central hub of the club is a vast travertine-lined room, dubbed Nexus, which is located down on the third, lowest level. Dotted with an array of plush leather sofas and sculptural armchairs, the room has sightlines through to activity rooms at this level like the gym and tennis court.

At this level there's also a 30-foot-tall (nine-metre-tall) rock climbing wall, a half-pipe skate park, a golf simulation room, a music recording studio and an indoor greenhouse where residents can do gardening.

The Waterline Club is a private leisure club for residents of New York’s Waterline Square
Musical residents can make use of the club's recording studio

Winding up and across the Nexus is a sinuous wooden bridge that connects visitors to amenities on the club's upper floors.

Rockwell Group, which describes the structure as a "circulation ribbon", took cues from other notable pedestrian paths in New York such as the spiralling walkway inside the Guggenheim Museum and the looping running track that goes around Central Park's reservoir.

"The bridge inspires guests to seek out new adventures," added the firm. "It dips down in the centre, which gives the illusion of tension or stretching and also evokes speed and movement."

The Waterline Club is a private leisure club for residents of New York’s Waterline Square
There's additionally a series of playrooms for residents' children

Among the selection of amenities on the club's second floor are children's playrooms, a games arcade, a pets area and a variety of fitness spaces including a basketball court, kickboxing studio and mini athletics field which is fit-out with astroturf.

This is followed by a sauna, spa treatment rooms and two swimming pools – one of which is Olympic-sized – up on the club's first floor.

The Waterline Club is a private leisure club for residents of New York’s Waterline Square
One of the two swimming pools which can be found on the club's first floor

The Waterline Club is a short distance from the high-end hotel that Rockwell Group and Joyce Wang Studio designed for fitness brand Equinox.

Opened to the public at the end of the last year, the hotel includes 212 guest rooms, a state-of-the-art gym and a rooftop pool that directly overlooks Thomas Heatherwick's Vessel project.

Photography is by Evan Joseph, excluding top image by Scott Frances.

The post Rockwell Group completes luxury residents-only leisure club for New York's Waterline Square appeared first on Dezeen.

Fashion meets art inside Dries Van Noten's inaugural US store

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Exterior of Dries Van Noten's first US store in Los Angeles

Luxury fashion label Dries Van Noten has opened its first US store in Los Angeles, which boasts interiors filled with artworks from creatives across the globe.

Dries Van Noten's LA store takes over two buildings that sit on a huge parking lot along La Cienega Boulevard. The first building is a two-floor property that has been dubbed Big House, the second, called Little House, is a 1950s-era bungalow completely shrouded by ivy.

Together the buildings measure 8,500 square feet (790 square meters), making this the Belgian fashion brand's largest retail space to date.

Dries Van Noten's first US store in Los Angeles features art from global creatives
Dries Van Noten's LA store is split into Big House and Little House

Clothing collections are presented inside Big House, with womenswear on the ground floor and menswear up on the first floor.

The brand's in-house design team took charge of the interiors – founder Dries van Noten, who was stuck outside the US due to coronavirus travel restrictions, would "visit" the space every evening via FaceTime calls with staff members.

Simple white-painted walls and concrete flooring appears throughout. A few elements in the store, like the accessory display plinths and chesterfield-style sofas, are a sunny shade of yellow – a colour deemed synonymous with Dries Van Noten's brand identity.

Dries Van Noten's first US store in Los Angeles features art from global creatives
Big House displays the brand's fashion collections

Decor is provided by striking artworks from a roster of local and international creatives. Some pieces, such as the mixed-media collages by LA-based artist Jan Gatewood, have been executed directly on the store's walls as murals.

"I didn't want to have that gallery feeling where everything is mercantile…it's more like graffiti," Van Noten explained.

Dries Van Noten's first US store in Los Angeles features art from global creatives
Artwork and musical instruments have been dotted throughout

"While showcasing the Dries Van Noten collections this place will be a haven for creative encounters and gathering experiences that embraces the creative pulse of Los Angeles and its creative and fashion community" added the brand explained in a statement.

"These experiences can be as light-hearted as they can be profound, yet they will always be welcoming to all and informal."

Sculptural furnishings by Rotterdam-based designer Johan Viladrich are also on display, as well as busts of tattooed human heads by Czech artist Richard Stipl.

Interiors of Dries Van Noten's first US store in Los Angeles
Big House includes an archive room that presents pieces from old Dries Van Noten collections. Photo by Jeff Forney

Big House additionally includes archive rooms which are haphazardly plastered with old catwalk and campaign imagery of Dries Van Noten designs.

Here customers are able to purchase pieces from past collections – some of which date back to the 1990s – and once health and safety restrictions have been lifted post-pandemic, re-sell garments from the brand that they no longer want.

"It's not only about sustainability reasons, but it's the whole idea that a beautiful garment stays beautiful even if other people have been wearing it – and I like the idea that you have new clothes and old clothes all together in the same store," added Van Noten.

Exterior of Dries Van Noten's first US store in Los Angeles
Foliage-filled plant beds line the outside of the store. Photo by Gareth Kantner

To access Little House, shoppers must walk past a series of plant beds overspilling with tropical foliage, which were included in homage to Van Noten's passion for gardening and the brand's frequent use of botanical prints.

The bungalow acts as an exhibition space which, going forward, will showcase different furniture, textiles, ceramics and photography from both established and emerging creatives.

Currently on display is a collection of porcelain tableware created by Van Noten's longtime friend, fashion designer Ann Demeulemeester, and Belgian brand Serax.

The brand also hopes that, in time, the parking lot can host large-scale events, and has plans to transform it into everything from a drive-in cinema to a food-tasting space.

Interiors of Dries Van Noten's first US store in Los Angeles
Little House will serve as an exhibition space. Photo by Jeff Forney

Dries Van Noten's Los Angeles store joins branches in Tokyo, Osaka, Singapore, Paris and a flagship in Antwerp – but the brand's founder already has his sights set on opening the doors to a store over on the east coast of the US.

"Of course the space is very important, it really has to be the right building – the moment we find that, we'll be in New York."

Photography is by Jim Mangan unless stated otherwise.

The post Fashion meets art inside Dries Van Noten's inaugural US store appeared first on Dezeen.

Daniel Libeskind to create waterfront neighbourhood on Delaware River

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Phillipsburg development by Studio Libeskind

Daniel Libeskind's New York firm is designing a mixed-used development for a town in New Jersey that hugs the Delaware River.

Studio Libeskind will complete the waterfront neighbourhood in the town of Phillipsburg.

Covering a site of seven acres (2.8 hectares), it is intended to act as a cultural gateway that also links the surrounding towns to the Delaware River, which runs through New Jersey, Delaware, New York and Pennsylvania.

"We are looking forward to this opportunity to revitalise the riverfront and invest in Phillipsburg's most precious natural assets," said Daniel Libeskind.

"Our proposal focuses on highlighting the natural beauty of town by enlivening the public realm and creating signature architecture that is both contextual and innovative."

Section of Phillipsburg development by Studio Libeskind
Above: Libeskind said the proposal will "revitalise the riverfront". Top image: the development will be located in Phillipsburg. Photo courtesy of BDA Architects.

Drawings of the mixed-use development show it will include a series of structures along the river. These buildings will be residences with rooftop gardens, parking and commercial space, connected by elevated footbridges.

A promenade will run along the waterfront side of the development and step down to a boat launch on the water.

Studio Libeskind was awarded the project with local developer Stateliner United after responding to a request for proposals from the township of Phillipsburg.

Stateliner United claims the development will provide a huge boost for the small New Jersey town.

Phillipsburg development by Studio Libeskind
The mixed-used development will step down to a waterfront boat launch

"Phillipsburg's historic character and spectacular riverfront inspired us to imagine a new neighbourhood – infused with arts, music and entertainment, restaurants, and welcoming outdoor spaces – that will provide opportunities for small businesses, promote tourism and bolster the town's economy," said Stateliner United principal M Tatiana Eck.

Polish-American architect Libeskind founded his eponymous firm with his partner Nina Libeskind in Berlin, Germany, in 1989 after winning the competition to build the Jewish Museum Berlin.

In 2003, the studio was chosen to masterplan the World Trade Center redevelopment following 9/11 and moved its headquarters to New York.

Recent projects by the firm include a museum in Kenya's Rift Valley that will track human evolution in the landscape and an angular archeology museum for northern Chile.

The post Daniel Libeskind to create waterfront neighbourhood on Delaware River appeared first on Dezeen.

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