For this interior they were inspired by a beautiful photo series of the misty Death Valley by Jordan Sullivan, capturing the subtle variation and soft color changes of daylight that turns the harsh landscape into a poetic, inspiring place. The Finefood restaurant and coffee shop serves well cooked everyday food and pastries for the inhabitants of Hammarby Sjöstad in the south of Stockholm. One of the challenges designing the place is the fact it being a mix of a café, lunch restaurant and bistro. It must work just as well serving breakfast at 7am in the morning as serving beer 7pm in the evening.
As a Swedish design studio leaning on our minimalistic heritage, they created a clean, soft space with a calm, inviting color palette. The base of the interior is a custom made herringbone tile floor representing the rich gray scales of rocks and mountains. The color palette – ranging from the deep green marble to various nuances of pale green and turquoise with contrasting salmon red and peach – are a direct translation of the colorful variations of the natural light in the mountains.
The materials are typical Scandinavian such as light ash wood, brass and natural leather except for the Green Guatemala marble used some part of the design. Tables, sofas and shelves are specially designed for this project giving it its own unique identity.
With hotel conversions in historic sites often ending up being rather soulless, the balance struck between modern-day tastes and needs, as well as history, is just right at the Fontevraud Abbey’s new hotel. The soothing and sleek design leaves room for the historically charged interiors of one of the vastest monastic sites from the Middle Ages, to continue be the focal point of every space. The four-star Hôtel Fontevraud replaces the previous three star hotel (which closed in 2012) situated inside the Abbaye de Fontevraud (founded in 1101 AD). Located in Anjou, France, the UNESCO World Heritage Site was once the burial site of the English King Richard I or ‘Lion Heart’ as he came more famously to be known, which visitors can see today through his recumbent statue, as well as those of other Plantagenet family members, situated in the heart of the abbey.
The private elevator landing opens into a tall vestibule, tapering upward to a seamless rectangular oculus which provides a view of the sculpted summit of the adjacent skyscraper. From the elevator vestibule, the floor slopes gently upward, passing under the twisting shaft of the stairwell to arrive at the main level of the penthouse. The stairwell shaft ascends through the full height of the penthouse, visually linking the entry hall with the structural glass floor of the attic four stories above. The stair itself wraps around the stairwell. The facetted surfaces of the stairwell converge on apertures, trimmed in mirror polished stainless steel, which provide views into and through the stairwell from the surrounding spaces. At the third level a structural glass bridge traverses the stairwell shaft passing through stainless-trimmed openings at either end. The original riveted steel structure – clad in intumescent paint- threads through the faceted stairwell slipping through apertures into adjacent rooms.
Skyhouse Entry & Stairwell, New York, United States, by David Hotson
The new addition is a gentle intervention that emerges quietly from the canopy of a beautiful, mature lemon-scented gum tree. “With sensitivity to the site’s inherent strengths, the design embraces the preservation and integration of the established tree allowing it to remain the dominate feature on the property.” says B.E Architecture. Covered outdoor spaces are literally built around the gum tree, encapsulating and framing the trunk. Timber-clad columns recede into the background and a fine line of glazing opens to the densely planted side yard for continuous access to the natural environment from within the interior spaces.
An upper level sits in the branches of the tree floating above the bottom structure to provide a unique treetop setting overlooking views to the Sydney Harbour. “The roof is treated in a considered stone so that it is more like landscaping adorned with the scattering of fallen leaves.” Preservation of the tree required the structure be physically light. Built on a steeply sloping site, the expansive addition made from thin concrete includes an underground parking garage and a large suspended pool, without damaging the tree’s root system. The suspended platform also provides a generous planted area creating obscured views of the house.
Hopetoun Avenue Residence, Vaucluse, Sydney, Australia, by B.E Architecture
Two volumes of light – one warm and one cool – one projected to the expansive horizon and one toward the canopy of the desert sky. The 2200sf Dialogue House is a gestalt instrument for touching the full range and specificity of this light, this “place” – day and night, season to season and year to year. At the base of Echo Mountain the main living volume is elevated above work, guest, and the car, furthest from the street on a lateral pinwheel brace of charcoal masonry walls that extend cardinally capturing the site.
The exterior surfaces of the pinwheel walls as well as the main volume absorb and reflect light akin to the “desert varnish” that coats the volcanic geology of the Phoenix Mountains turning silver, red, purple-brown-black during the day only to collapse into silhouettes at night. Thus, “life after work” is simultaneously supported by the apparent thickness and thinness of light. The interior of the street volume is plastered cool white, half terrace – half cool water as a retreat from the city within the city where one can only can see sky. Wind and water activated light is refracted onto the interior surfaces by day and most dramatically at night which provides an animated foreground to the skyline and distant horizon beyond.
Dialogue House, Phoenix, Arizona, USA, by Wendell Burnette Architects
Living spaces feature wide panoramas toward ocean below, while concrete and vegetated walls remind of the rocky and forested setting. On its exterior, the structure visually blends with the wooded context by through its moss-covered roof. Additionally, the topography has been manipulated to control groundwater flow through the site, while being momentarily captured in the courtyard’s pond. The residence’s composition takes influence from the dynamic and irregular qualities of the rocky site. A scattered arrangement of concrete walls act as the main organizational elements, while at times clad in black fiber-cement panels. The resulting spaces provide a range of separate moments of connection to features surrounding the house, including a small tidal basin off the kitchen nook, a ledge of moss covered rock in the bedrooms, and a view back from the court to a swath of deciduous trees. The climax of openness to the site is experienced from the living room, which features floor to ceiling glass curtain walls toward the pacific.
Tula House, Quadra Island, Canada, by Patkau Architects
Photography by James Dow, Patkau Architects
Due to its proximity to the rugged and sloping creekside bank to the west, the house was subject to strict environmental and geotechnical conditions, including a required setback from the top of the bank that pushed the building’s foundation eastwards. The resultant footprint was awkwardly narrow, so to gain back valuable space, a portion of the main and upper floor is cantilevered back out past the foundation, allowing the native creekside vegetation to grow up, under and around as an uninterrupted, wild, forest floor. This reclamation of space is clearly pronounced in the dining room, where it projects fifteen feet out past the concrete foundation wall. By eliminating window frames and extending the glazing panels on all three sides of the room, past the floor and ceiling planes, the space dissolves into the adjacent forest canopy and provides framed views though to the ocean beyond. Tucked into the hill, the front of the house is deceptively modest in scale, set off by the large mature cedar that anchors the front yard. The topography of the site reveals itself as one descends the exterior stairs adjacent to the forest and follows the exposed concrete wall to the main entry. Continuing through to the interior, the wall rises up seventeen feet to help frame the bright circulation volume, with stairs leading to the upper floor and down to the main living spaces.
Russet Residence, West Vancouver, Canada, by Splyce Design
Photography by Ivan Hunter
Pletz lamps blend modernist geometry with a traditional sense of material and craft. Each lamp combines a lathe-turned, hardwood base, hand-rubbed finish, and dyed components. Quality brass hardware, a dimming fixture, a 10-foot cloth-covered cord, and a premium linen shade complete each lamp to produce an heirloom-quality piece. Pletz is the husband and wife team of Aaron & Heather Shoon, and operate from a studio in the Brooklyn Navy Yard.
Pletz Lamps, by Aaron & Heather Shoon
Photography by Elliot Black