Henry Wilson Studio converts former bakery into Sydney Aesop store

Australian firm Henry Wilson Studio has transformed a former Sydney bakery into a retail space for skincare brand Aesop, exposing the original sandstone walls (+ slideshow).

Aesop Balmain by Henry Wilson Studio

Henry Wilson Studio removed the space’s former fit out, revealing the stone walls, fireplaces and previously hidden doorways.

Aesop Balmain by Henry Wilson Studio

Designer Henry Wilson told Dezeen the brief was quite open, and they tried to retain and expose as much of the existing building as possible in an attempt to reference the history of the area and of the building.

Aesop Balmain by Henry Wilson Studio

“My self-assigned brief and discussions with founder Dennis Paphitis were about reworking ‘off the shelf’ components [that are] Australian-made wherever possible,” Wilson explained.

Aesop Balmain by Henry Wilson Studio

“Before Aesop took over the space it was a bakery,” he added. “Prior to that, locals in the area tell me that it was once one of Balmain’s first pubs and even a brothel at some point.”

Aesop Balmain by Henry Wilson Studio

The designers chose a pale colour palette for the interior to compliment the yellow of the original sandstone walls and make the most of the natural light that floods in from the street front and rear windows.

Aesop Balmain by Henry Wilson Studio

“The stone walls are typical for buildings of the area, and of that era,” said Wilson. “Sydney sandstone is unique in its yellow colour and grey veins. It’s soft and easy to work and the evidence of the primitive tools and unskilled labour can be seen in all the original blockwork.”

A series of industrial metal shelving units have been added to display Aesop’s products and line one wall of the store. Smaller versions are used elsewhere, with some of the shelves replaced by sheets of bottle green glass.

Aesop Balmain by Henry Wilson Studio

A row of sinks and mirrors are set against the opposite wall, along with the cash register which is also fixed on top of a newer slab of locally-sourced sandstone.

Hanging plant baskets, cane furniture and exposed copper pipes also feature in the interior.

This branch joins a long list of unique Aesop stores completed by various architects and designers. Dezeen spoke to the brand’s founder Dennis Paphitis about why no two stores are of the same design in an exclusive interview.

Here’s a project description from Henry Wilson Studio:


Aesop Balmain

The concept for the design of the Balmain Aesop store came from an understanding of the suburb, the existing materials and the context of the address. The aim was to present a space that was as familiar and utilitarian as the backyard shed, with a contrast that is the sophistication of the Aesop product and brand.

Aesop Balmain by Henry Wilson Studio

The history of Balmain and the neighbouring Cockatoo island is one of work, grit and industry. Much of this has moved on now, though, the legacy still resides in the buildings and foreshore.

The design of the Aesop store draws from these materials, colours and shapes. Removing the former fit out revealed raw sandstone walls, fireplaces and hidden doorways which have been retained and exposed as reference to this building history and place.

Aesop Balmain by Henry Wilson Studio

Detailing of the Balmain store centred around durability both visually and physically.’Off the shelf’ industrial components presented in an alternative way than that of their original purpose, provide solutions for interior fittings such as shelving and sink frames.

This ‘reworking’ extends to the vintage furniture and customised lighting. Tinted concrete terrazzo references the foyers of apartment buildings built in Sydney in the middle of the century. Pale Australian timbers and a light colour pallet has been chosen to emphasise the natural light from both directions.

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Reiichi Ikeda divides narrow Japanese clothing boutique with boxy partitions

Designer Reiichi Ikeda inserted boxy partitions that follow the pattern of existing ceiling trusses into this clothing boutique in Osaka, Japan (+ slideshow).

Nietzsche clothing store by Reiichi Ikeda Design

Reiichi Ikeda designed the narrow interior of retail store Nietzsche to display a collection of clothing brands.

Nietzsche clothing store by Reiichi Ikeda Design

The sparsely furnished all-white space has been filled with of an arrangement of counters and free-standing painted wooden partitions.

Nietzsche clothing store by Reiichi Ikeda Design

The partitions and benches are all different heights, creating a maze-like pathway through the store.

Nietzsche clothing store by Reiichi Ikeda Design

Ikeda told Dezeen the client didn’t have a strict brief, but simply requested an interior that made the clothing on display “look attractive”.

Nietzsche clothing store by Reiichi Ikeda Design

“I felt that it was important to remove the colours for displaying these clothes, so I used white in the interior rather than black,” Ikeda explained.

Nietzsche clothing store by Reiichi Ikeda Design

“There are random partitions in the long and narrow space to adjust the view, which you can find a bit too wide without these,” he added.

Nietzsche clothing store by Reiichi Ikeda Design

At the top of the new partitions, Ikeda has created a series of openings that mirror the the forms of the existing ceiling trusses in the space.

Nietzsche clothing store by Reiichi Ikeda Design

Customers can manoeuvre their way through the store around the benches and partitions to access clothing hanging on metal rails. These are attached to both the ceiling and concrete floor by long, thin metal wires.

Nietzsche clothing store by Reiichi Ikeda Design

Original wooden boards lining the ceiling and metal trusses have also been painted white.

Nietzsche clothing store by Reiichi Ikeda Design

Rectangular mirrors are attached to various sections of the walls, while bare light bulbs hang at low points throughout the store.

Nietzsche clothing store by Reiichi Ikeda Design

Photography is by Yoshiro Masuda.

Nietzsche clothing store by Reiichi Ikeda Design

Here’s a project description from Reiichi Ikeda Design:


Nietzsche

This boutique carries various unique brands in Horie, Osaka.

Nietzsche clothing store by Reiichi Ikeda Design

At the first visit to this long narrow site, the trussed ceiling structures caught my eyes in the space which had only white painted walls. The trussed structures showed a presence in the blank environment, and I felt the sigh dotted with them was already made up as a good design.

Nietzsche clothing store by Reiichi Ikeda Design

I planned my design should be an extension of this existing sigh, and worked on it based on the concept of “structures + structures”. I partitioned the boutique with trussed design panels at the same places as where the trussed ceiling structures are on just to link to them.

Nietzsche clothing store by Reiichi Ikeda Design

After I made interior constructions linked to the building ones, just the shape of the structures became to handle the general public flow line. I tried transforming the functional part of the building constructions to the design element, and gave dynamic image to the boutique.

Nietzsche clothing store by Reiichi Ikeda Design

Project Name: Nietzsche
Use: clothing store
Location: 1-9-12-1F, Minami-Horie, Nishi-ku, Osaka-city, Osaka, Japan 550-0015
Area: 64.41 square meters
Date: Aug. 17, 2013
Client: Kenji Nakai
Constructor: Takakura Construction Inc.
Lighting: Ushio Spax Inc.

Nietzsche clothing store by Reiichi Ikeda Design

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Clapton Craft Beer: A new beer and growler refill shop in East London that stocks international favorites

Clapton Craft Beer


by Cajsa Lykke Carlson East London’s craft beer scene continues to evolve; constantly bringing new, interesting concepts to an area that’s already home to a number of microbreweries. The latest addition is Clapton Craft, a beer…

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Reykjavik boutique by HAF Studio mixes chipboard with ceramic tiles

White ceramic tiles contrast with sections of chipboard inside this Reykjavik fashion boutique by local design office HAF Studio (+ slideshow).

Suit Store in Reykjavik by HAF Studio

Icelandic designers Hafsteinn Júlíusson and Karitas Sveinsdóttir of HAF Studio fitted out the four-storey shop interior for Danish clothing label SUIT. Located on a popular shopping street, the store sells a range of mens’ and women’s clothing.

Suit Store in Reykjavik by HAF Studio

Designer Hafsteinn Júlíusson said the glossy white tiles were chosen to create a contrast with the oriented strand board – a kind of engineered wood that was used for walls and joinery throughout the boutique.

Suit Store in Reykjavik by HAF Studio

“We wanted to add a bit of an unexpected twist,” Júlíusson told Dezeen. “We think these tiles enhance the refined roughness that we were aiming for.”

Suit Store in Reykjavik by HAF Studio

The tiles create geometric grids across parts of the wooden walls, but also extend down to cover sections of the concrete floor.

Suit Store in Reykjavik by HAF Studio

“More known for serving slaughterhouses or swimming pools, the tiles give a good contrast against the warm wood and the raw concrete,” added Júlíusson.

Suit Store in Reykjavik by HAF Studio

On the ground floor, strips of fluorescent lighting spell out the word ‘suit’, next to a tiled serving counter with low-hanging black pendant lamps, also designed by the studio.

Suit Store in Reykjavik by HAF Studio

Shelving units are mounted to the walls to display folded clothes, while other garments are piled up on benches or hung from orange clothing racks.

Suit Store in Reykjavik by HAF Studio

Cheeky phrases are printed onto the walls of the shop to help visitors find their way around – the words “Do you fit in?” highlight the entrance to the fitting rooms.

Suit Store in Reykjavik by HAF Studio

Photography is by Gunnar Sverrisson.

Suit Store in Reykjavik by HAF Studio

Here’s a short description from HAF Studio:


SUIT

The clothing brand SUIT opened downtown Reykjavík recently. The store was designed by HAF Studio which is an Icelandic interdisciplinary design studio run by designers Karitas Sveinsdóttir and Hafsteinn Júlíusson.

Suit Store in Reykjavik by HAF Studio

The design intention behind the new store was to tie the brand’s raw and rough character together with clever and elaborate detailing. With this in mind, the HAF team created a space that offers a unique customer experience beyond that of the conventional clothing store environment.

Suit Store in Reykjavik by HAF Studio

The raw concrete floors and walls meet a warm OSB wood cladding where white glossy ceramic tiles give the store a refined finish. Finally orange and black fluorescent details create contrasts and highlights together with crisp lighting.

Suit Store in Reykjavik by HAF Studio

Client: GK Clothing
Collaborators: Ása Ninna Pétursdóttir & Guðmundur Hallgrímsson
Year: 2013

Suit Store in Reykjavik by HAF Studio

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Kengo Kuma adds lattice of glistening tiles to Shang Xia boutique in Paris

White ceramic tiles create a brickwork pattern across the walls and roof of this Paris boutique designed by Kengo Kuma and Associates for Chinese lifestyle brand Shang Xia (+ slideshow).

Shang Xia store in Paris by Kengo Kuma and Associates

Japanese firm Kengo Kuma and Associates previously designed the Beijing and Shanghai stores for Shang Xia. For the brand’s first retail space in Europe, the architects designed an interior covered in over 10,000 tiles that extends to a layered ceiling installation.

Shang Xia store in Paris by Kengo Kuma and Associates

The studio chose rectangular tiles with a glossy surface to reflect light through the store, describing the material as having an edge “thin enough to pass through light”.

Shang Xia store in Paris by Kengo Kuma and Associates

“We used the same material for tiles to hang from the ceiling and cover the space,” explained the studio. “Taking advantage of this glazed white surface that softly mirrors its environments, we set up a place like a cloud brimming with light.”

Shang Xia store in Paris by Kengo Kuma and Associates

The tiles also form a backdrop for the shopfront display windows, creating a screen that alternates between solid and void.

Shang Xia store in Paris by Kengo Kuma and Associates

Located on a corner plot close to Boulevard Saint-Germain, the oval-shaped boutique showcases a range of furniture, homeware, accessories and clothing.

Shang Xia store in Paris by Kengo Kuma and Associates

A tiled partition divides the store and is punctured by rectangular recesses, creating display spaces for jewellery. Tabletops and boxy stools are positioned in front, where customers can take a seat while trying on jewellery.

Shang Xia store in Paris by Kengo Kuma and Associates

Glass-topped storage cases present a range of accessories, while more recessed shelving on the perimeter walls are filled with homeware items.

Shang Xia store in Paris by Kengo Kuma and Associates

Scarves and shawls are tied to silver railings near the entrance and racks of clothing are set into the outer tiled walls, along with a selection of furniture. Polished wooden floors feature throughout.

Shang Xia store in Paris by Kengo Kuma and Associates

The design has a similar aesthetic to Shang Xia’s two stores in China. While the Beijing store contains a lattice of extruded aluminium sections, the Shanghai boutique features a faceted white interior.

Shang Xia store in Paris by Kengo Kuma and Associates

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Zigzags dominate in Zeller & Moye’s Berlin boutique for ODEEH

This Berlin clothing store by Mexican design studio Zeller & Moye is filled with concertina-shaped display stands made from raw cement boards (+ slideshow).

ODEEH Concept Store by Zeller and Moye

Zeller & Moye designed the concept store for German-Austrian fashion brand ODEEH in the Bikini Berlin shopping centre in the west of the city.

ODEEH Concept Store by Zeller and Moye

A zigzag pattern is present throughout the interior. As well as the concertina-shaped stands and seating areas, the space features clothing racks with angular bases and folded partitions and mirrors.

ODEEH Concept Store by Zeller and Moye

These elements were designed to be arranged in different configurations, creating new ways to display garments for seasonal collections or during fashion weeks.

ODEEH Concept Store by Zeller and Moye

“The client asked us for a totally flexible system, so that manifold configurations can be set up from the very same elements,” studio co-founder Christoph Zeller told Dezeen. “The series of movable elements offers them maximal flexibility.”

ODEEH Concept Store by Zeller and Moye

Zeller said the cement boards offered a cost-efficient and sustainable approach, so the store wouldn’t have to be refitted every time their clients wanted a new look.

ODEEH Concept Store by Zeller and Moye

“The contrast with the clothing was rather a side effect but works extremely well, as ODEEH uses very fragile and sensuous fabrics,” he added.

ODEEH Concept Store by Zeller and Moye

The industrial-style space also features cross-shaped fluorescent lighting, which hangs below the pipes and services left exposed overhead.

ODEEH Concept Store by Zeller and Moye

Photography is by Harry Weber.

Here’s a project description from Zeller & Moye:


ODEEH Concept Store

The first concept store for german fashion brand ODEEH inhabits the terrace floor of Bikini Berlin, a modernist icon of 1950’s West-Berlin, offering vistas onto the Memorial church at Breitscheidplatz and the Berlin Zoo.

ODEEH Concept Store by Zeller and Moye

A landscape of movable elements can be arranged in ever-changing configurations allowing for maximum flexibility in the creation of unexpected spacial formations and curated concepts. The modular system of paravents and podests made of raw cement board is complemented by a series of delicate metal objects such as cloth racks, hooks and trays, specially designed for the store.

ODEEH Concept Store by Zeller and Moye

The mirrored insides to the paravents create kaleidoscope-like interiors showing individual products at all facets and allowing customers to eyeball the clothes from multiple angles. The reappearing zigzag lines and the cross patterns of the lights refer loosely to stitching methods in tailoring.

Floor plan of ODEEH Concept Store by Zeller and Moye
Floor plan – click for larger image

Project type: Fashion store
Project name: ODEEH
Location: Bikini Berlin, Budapester Straße 38-50, D-10787 Berlin
Program: Retail store
Status: Completed
Size (m2 and ft2): 250m2 / 2690ft2
Architects: Zeller & Moye
Partners: Christoph Zeller, Ingrid Moye
Project team: Omar Muñoz
Local architect: Rundzwei, Andreas Reeg
Project team: Christine Huber

Diagram showing different arrangements of partitions of ODEEH Concept Store by Zeller and Moye
Diagram showing different arrangements of partitions – click for larger image

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Industrial materials furnish Hostem’s womenswear floor by JamesPlumb

Garments are suspended in front of draped fabric above a steel parquet floor in the new womenswear floor that design studio JamesPlumb has created for east London fashion boutique Hostem (+ slideshow).

Industrial materials used to furnish Hostem womenswear interior by JamesPlumb

James Russell and Hannah Plumb of London-based JamesPlumb were influenced by the grainy textural appearance of old photographic plates, which they interpreted in the Hostem store’s palette of textured industrial materials.

Industrial materials used to furnish Hostem womenswear interior by JamesPlumb

“There is a strong emphasis on an honesty and truth to materials, which are predominantly used in their natural state, with subtle embellishments,” explained the designers.

Industrial materials used to furnish Hostem womenswear interior by JamesPlumb

A steel parquet floor used throughout the space comprises over 4500 individual tiles that were laid by hand in a herringbone pattern.

Industrial materials used to furnish Hostem womenswear interior by JamesPlumb

“The natural beauty of the steel, with its colour variations and imperfections, is accentuated by the herringbone pattern that highlights the uniqueness of each tile,” the designers added.

Industrial materials used to furnish Hostem womenswear interior by JamesPlumb

Free-standing steel display units create robust yet transparent vitrines and are inlaid with natural felt to add a textural dimension.

Industrial materials used to furnish Hostem womenswear interior by JamesPlumb

Steel is also used for a runner on the staircase that ascends to the second floor space and mezzanine level above.

Industrial materials used to furnish Hostem womenswear interior by JamesPlumb

Fabric panels suspended from the five-metre-high ceiling act as a backdrop for individual garments, which are displayed on custom-made clothes hangers.

Industrial materials used to furnish Hostem womenswear interior by JamesPlumb

Concrete shelves are supported by round steel pegs, while heavy concrete planks lean against the walls providing a counterbalance for the clothes rails that project from their surfaces.

Industrial materials used to furnish Hostem womenswear interior by JamesPlumb

The concrete was cast in timber moulds so it takes on the unique knots and grain of the wood.

Industrial materials used to furnish Hostem womenswear interior by JamesPlumb

Floor lamps shrouded with crumbled lead sheets focus the light and evoke the appearance of the aluminium cinquefoil that is used to mask photographers’ lights.

Industrial materials used to furnish Hostem womenswear interior by JamesPlumb

Russell and Plumb first started working with Hostem in 2010, creating the brand’s first space. They have also created a basement showroom filled with antique furniture at the store.

Industrial materials used to furnish Hostem womenswear interior by JamesPlumb

Photography is by Rachel Smith.

The designers sent us the following press release:


Hostem Womenswear

The collaboration that has seen JamesPlumb produce award winning designs for Hostem menswear, and bespoke service ‘The Chalk Room’ has continued and expanded. A brand new upper floor welcomes the arrival of a dedicated womenswear level – and a new environment to host it.

Industrial materials used to furnish Hostem womenswear interior by JamesPlumb

Connected, whilst fundamentally distinct from the store below, the new interior has an evolution that matches the store’s development. It has been led by a sense of privacy and remoteness from street level that required a feeling of calm and elevation to match. The space is informed and inspired by the warm monochromatic graininess and ‘noise’ found in old photographic plates. There is a strong emphasis on an honesty and truth to materials, which are predominantly used in their natural state, with subtle embellishments. Every element has been custom designed, and the majority made in house, by hand, in JamesPlumb’s studio.

The artistic duo have again demonstrated their ability to innovate materials with a lightness of touch that is timeless, whilst being full of surprising details. A unique steel parquet floor has been designed and developed, with over 4500 individual tiles laid by hand. The natural beauty of the steel, with its colour variations and imperfections are accentuated by the herringbone pattern that highlights the uniqueness of each tile. The white plastered walls have simply been sealed and polished with wax, and both surfaces offer a balance of unfinished rawness with a jewel like reflective surface.

Industrial materials used to furnish Hostem womenswear interior by JamesPlumb

Tranquility and simplicity pervades, but with depth and richness derived from texture and detail. A warmth has skillfully been created despite the connotations of materials commonly associated with an industrial look. Steel displays are inlaid with natural felt. Concrete shelves and planks support refined clothes rails. They have been cast in individual wooden moulds carefully chosen for their imperfections – the unique knots and deep wood grain of each are the antithesis of a manufactured finish. There is a playful contrast between these simple forms that reference basic building techniques and the precision steel works of the floor. The ungainly heaviness of concrete is avoided by both cheating gravity and embracing it. The shelves float on steel pegs in the wall, whilst the planks press themselves against the walls – effortlessly counterbalancing their rails full of product.

The stairs have a simple yet beautiful steel runner to guide you to the second floor and the mezzanine of the double height space. Fabric panels drape dramatically five metres from ceiling to floor, each framing an individual piece as if being captured for posterity in front of an infinity wall. There is an unusual and indulgent amount of space afforded to one garment. It is as if the items have fast tracked to a museum – a feeling of archival preciousness – and yet they are accessible and very much to be touched, explored, and worn. The lighting too, references the photographer’s studio. Custom designed lights inspired by cine-foil are in fact beautifully patinated lead sheets – crumpled, shaped and formed to direct the light.

Industrial materials used to furnish Hostem womenswear interior by JamesPlumb

This veneration to the clothing and attention to detail extends to the clothes hangers themselves that are entirely bespoke, each having been hand-formed from four pieces of steel. They are a line drawing made physical – the essence of a clothes hanger. The result – as with the store itself – is a beautiful tension between simple elegance, and raw materiality.

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Quality Chop Shop butcher by Fraher Architects references food crates and packaging

Jagged shelving units and scored surfaces were designed to evoke the look of food crates and packaging at this London butcher and delicatessen by local office Fraher Architects (+ slideshow).

Quality Chop Shop butcher by Fraher Architects references food crates and packaging

The client asked Fraher Architects to design an interior for The Quality Chop Shop in London’s Farringdon that promotes the quality ingredients used in its neighbouring restaurant.

Quality Chop Shop butcher by Fraher Architects references food crates and packaging

The architects chose utilitarian materials and raw finishes to reference the packing materials used to transport food to the shops and eateries that surround London’s historic Smithfields and Exmouth markets.

Quality Chop Shop butcher by Fraher Architects references food crates and packaging

“The most unusual aspect of the response to the brief was to focus on the packaging aspect of produce used within the restaurant and the cooking profession as a whole,” architect Lizzie Webster told Dezeen.

Quality Chop Shop butcher by Fraher Architects references food crates and packaging

“To continue this wrapped packaging theme through the layout of the display shelves, the joinery and lighting itself was a challenge,” she added.

Quality Chop Shop butcher by Fraher Architects references food crates and packaging

Food is displayed on shelves and counters made from plywood, which were stained black in reference to the charred or sprayed labels commonly found on wooden packing crates.

Quality Chop Shop butcher by Fraher Architects references food crates and packaging

The edges of the shelves expose the raw plywood to create a contrast with the blackened surfaces and give the impression of packaging that has been sliced open.

Quality Chop Shop butcher by Fraher Architects references food crates and packaging

Each of the wall-mounted shelves has a jagged profile, creating an effect that appears to thrust the product forward, and items are framed against a dark background by the edges of the shelves.

Quality Chop Shop butcher by Fraher Architects references food crates and packaging

Exposed light bulbs suspended from simple black cords were chosen to reinforce the rough-and-ready aesthetic.

Quality Chop Shop butcher by Fraher Architects references food crates and packaging

Black cord also creates a criss-crossing pattern in front of the windows that recurs in an inverted form around the edge of the central display and sales point.

Quality Chop Shop butcher by Fraher Architects references food crates and packaging

Original black and white tiles behind the butcher’s counter were retained and continue the basic palette used throughout the space.

Quality Chop Shop butcher by Fraher Architects references food crates and packaging

Photography is by Jack Hobhouse.

Here’s a project description from Fraher Architects:


Quality Chop Shop, Farringdon

We have just finished working on the design and fabrication for the Quality Chop Shop in Farringdon, London. The shop sits next door to the Quality Chop House which has a reputation for excellent cooking and good quality ingredients. The Client approached us to consider design proposals for the refurbishment of the adjacent shop unit that had recently become available.

Quality Chop Shop butcher by Fraher Architects references food crates and packaging
Axonometric diagram – click for larger image

The food had to be displayed in a clear and simple manner, but pay reference to the utilitarian aesthetic of the food units surrounding Smithfields meat market and Exmouth Market.

The fit out elements such as the counter, produce display and lighting deserved to portray a textured and slightly rough finish, hence the display of end grain to all the plywood joinery.

Quality Chop Shop butcher by Fraher Architects references food crates and packaging
Floor plan – click for larger image

The deep black stain contrasts sharply with the timber core of the units, reflecting the blackened character of timber food crates. The blackened stain plywood is reinforced by the use of cable lighting that represents the packaging and the wrapping of the food produced. The use of exposed bulbs reflects the raw nature of the food preparation that relies on exceptional raw ingredients.

Access to the working kitchen of the Quality Chop House restaurant was important to ensure that the fresh food and cake trays are constantly re-stocked with baked good throughout the day.

Quality Chop Shop butcher by Fraher Architects references food crates and packaging
Section – click for larger image

The project was delivered to a tight deadline, with Fraher and Co fabricating and installing the joinery within five days on site.

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White shelves hang from crumbly concrete walls in Bulgarian shoe shop by Elia Nedkov

Architect Elia Nedkov paired exposed concrete with clean white displays for the interior of this shoe shop in the historical centre of Sofia, Bulgaria.

La Scarpa shoe shop by Elia Nedkov

Elia Nedkov designed the shop for footwear brand La Scarpa, stripping back layers of paint and wallpaper to expose the shell of the old 1960s building. A raw concrete wall lines one side of the shop while two ageing columns occupy the centre of the space.

La Scarpa shoe shop by Elia Nedkov

“The minimal use of colour and materials of the newly added elements delicately coexist with the raw, old structure of bare walls and concrete,” said Nedkov.

La Scarpa shoe shop by Elia Nedkov

Minimal white L-shaped display shelves are mounted onto the concrete, with lights installed behind them. “They appear detached from the wall to keep the contrast between old and new,” the architect told Dezeen.

La Scarpa shoe shop by Elia Nedkov

A sideboard with a glossy white acrylic surface spans the plasterboard wall opposite. The naked edges and long milled lines of the sideboard reveal the rough chipboard underneath.

La Scarpa shoe shop by Elia Nedkov

A matching reception desk sits against the back wall, hidden behind one of the columns. A mirror is also mounted to this wall, positioned opposite the glass shop door.

La Scarpa shoe shop by Elia Nedkov

The shop is fronted completely in glass and a tree-branch handle has been attached to the door.

La Scarpa shoe shop by Elia Nedkov

“I wanted to put a kind of poetic touch to the raw minimal style, so I changed the common handle on the glass door with a handmade one,” the designer said.

La Scarpa shoe shop by Elia Nedkov

Nedkov also chose to rip out the old low plasterboard ceiling of the shop and paint the raw structure white, along with the floor, to add depth to the space.

La Scarpa shoe shop by Elia Nedkov

Wooden crates were painted in pastel colours and stacked up to create a window display for the shop opening.

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SunnyHills cake shop by Kengo Kuma encased within intricate timber lattice

An intricate three-dimensional lattice of narrow timber slats forms a cloud-like mass around the exterior of this pineapple cake shop in Tokyo by Japanese architect Kengo Kuma (+ slideshow).

SunnyHills cake shop by Kengo Kuma encased within intricate timber lattice

Kengo Kuma and Associates was asked by cake brand SunnyHills to come up with a shop design that mirrors the careful preparation of the company’s trademark pineapple cakes, so the architects developed a volume modelled on a well-crafted bamboo basket.

SunnyHills cake shop by Kengo Kuma encased within intricate timber lattice

Over 5000 metres of wooden strips were used to construct the precise 3D grid that wraps around around the outer walls and ceiling of the three-storey building. Some pieces were cut shorter than others, revealing multiple layers and reducing the overall linearity.

SunnyHills cake shop by Kengo Kuma encased within intricate timber lattice

“Our aim was to create a forest in the busy city centre,” said Kengo Kuma. “We studied how lighting states would change in a day in the woods, and came up with a shape like a basket.”

SunnyHills cake shop by Kengo Kuma encased within intricate timber lattice

The narrow slats are arranged at angles of 30 and 60 degrees, creating hundreds of diamond-shaped hollows, and were assembled by local Japanese craftsman.

SunnyHills cake shop by Kengo Kuma encased within intricate timber lattice

“I consider that wood joints without glues or nails are the essence of Japanese architecture,” added Kuma. “What is characteristic about SunnyHills is the angle of the lattice; unlike the conventional 90 degrees, we tried 30 degrees and 60 degrees to combine the pieces.

SunnyHills cake shop by Kengo Kuma encased within intricate timber lattice

“By designing with these varied angles, we were able to achieve a shape and a frame that evokes a forest,” he added.

SunnyHills cake shop by Kengo Kuma encased within intricate timber lattice

An opening at one corner leads visitor into the shop, which occupies the two lower floors of the building. An assortment of differently sized staircase treads form a route between the two floors and are flanked by sprouting foliage.

SunnyHills cake shop by Kengo Kuma encased within intricate timber lattice

Cork tiles provide flooring on the first floor, where the architects have also added a kitchen. The cork surface continues up to the level above, which houses a meeting room and staff office.

SunnyHills cake shop by Kengo Kuma encased within intricate timber lattice

Photography is by Daici Ano.

SunnyHills cake shop by Kengo Kuma encased within intricate timber lattice

Here’s a project description from Kengo Kuma and Associates:


SunnyHills at Minami-Aoyama

This shop, specialised in selling pineapple cake (popular sweet in Taiwan), is in the shape of a bamboo basket. It is built on a joint system called “Jiigoku-Gumi”, traditional method used in Japanese wooden architecture (often observed in Shoji: vertical and cross pieces in the same width are entwined in each other to form a muntin grid). Normally the two pieces intersect in two dimensions, but here they are combined in 30 degrees in 3 dimensions (or in cubic), which came into a structure like a cloud. With this idea, the section size of each wood piece was reduced to as thin as 60mm×60mm.

Site plan of SunnyHills cake shop by Kengo Kuma encased within intricate timber lattice
Site plan – click for larger image

As the building is located in middle of the residential area in Aoyama, we wanted to give some soft and subtle atmosphere to it, which is completely different from a concrete box. We expect that the street and the architecture could be in good chemistry.

Floor plans of SunnyHills cake shop by Kengo Kuma encased within intricate timber lattice
Floor plans – click for larger image

Design architecture: Kengo Kuma & Associates
Structure: Jun Sato Structural Engineering
Facilities: Kankyo Engineering
Construction: Satohide Corporation
Location: Minami Aoyama 3-10-20 Minato-ku Tokyo Japan
Site Area: 175.69 sqm
Building Area: 102.36 sqm
Total Floor Area: 293.00 sqm
No. of Floors: BF1, 1F, 2F, RF
Structure: reinforced concrete, partially timber
Primary use: Store (retail)
Client: SunnyHills Japan

Section of SunnyHills cake shop by Kengo Kuma encased within intricate timber lattice
Section – click for larger image

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encased within intricate timber lattice
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