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Lillie Thompson
Australia’s most exceptionally designed hospitality venues were celebrated at the 2019 Eat Drink Design Awards, which were announced at a ceremony in Melbourne on Tuesday 12 November.

The jury said, “There was one word that arose over and over during our deliberations: restraint.”

“The principle of restraint marked every single winner, as well as many commendations, though it was expressed in myriad ways.”

In 2019, there was a marked increase in entries from regional locations, which was also reflected in the winners of the awards.

“From a pink-hued bar in a country town with barely over 2,000 people, to a future-focused CBD restaurant, this year’s winners are very geographically diverse, indicating that in Australia, good design transcends location. It’s something that has permeated out to our suburbs and our regional areas, which should be applauded,” said Cassie Hansen, jury chair and editor of Artichoke magazine.

The jury also selected one iconic hospitality venue to enter the Eat Drink Design Awards Hall of Fame. Venues considered for this accolade have achieved a level of cultural significance as well as demonstrating longevity in an industry often categorized as transient.

The 2019 jury comprised Besha Rodell (restaurant critic for the New York Times’ Australia bureau), Nathan Toleman (restauranteur, CEO and founder of the Mulberry Group), Graham Charbonneau (co-founder of Studio Gram), Phillip Schemnitz (architect of Cookie, the 2018 Hall of Fame inductee) and Cassie Hansen (editor of Artichoke magazine).

Find more information on these projects in the full list of winners below.

2019 Eat Drink Design Awards

Best Bar Design

Blacksmith Lake Mulwala – The Stella Collective

Best Restaurant Design
Di Stasio Citta – Hassell

Best Cafe Design
Via Porta – Studio Esteta

Best Installation Design
The Magic Box – Liminal Objects with Van Tuil

Best Retail Design
Piccolina Collingwood – Hecker Guthrie

Best Hotel Design – joint winners
Drifthouse – Multiplicity
The Calile Hotel – Richards and Spence

Best Identity Design
Lagotto – Studio Hi Ho

Hall of Fame
Cumulus Inc – Pascale Gomes-McNabb

Commendations
See the 14 commended projects across seven categories.

Winners, commended projects and the shortlist are all featured in Artichoke 69, along with a full jury overview. View all the entries and more images at the Eat Drink Design Awards gallery.

The 2019 Eat Drink Design Awards are organized by Architecture Media and supported by major partner Chandon Australia; supporting partners Harbour, Latitude, Ownworld, Roca and Tasmanian Timber and event partners Four Pillars Gin, Jetty Road Brewery and S.Pellegrino.

The Eat Drink Design Awards are endorsed by the Australian Institute of Architects and the Design Institute of Australia.
Studio 216
Wright Runstad is about to jump north across Spring Boulevard. The planned Phase III of its 36-acre mixed-use Spring District project effectively began last month, with the signing of another lease agreement with Facebook.

The lease is for the planned Block 6 office building, which also just entered design review with the city of Bellevue. It’s addressed at 1646 123rd Ave. N.E., on the north side of Northeast Spring Boulevard, which is under construction.

Wright Runstad’s website confirms that Facebook has already leased Block 16 and Block 24, which are now under construction on the south side of Spring. Those two buildings will have about 515,000 square feet of offices (plus a little retail); Block 6 will add another 320,000 square feet or so.

All three buildings are designed by NBBJ. Turner Construction is building both Block 16, which is expected to open early next year, and Block 24, which could open in early 2021.

The Block 6 lease was signed in mid-October and recorded late that month. It’s for 15 years, with 12 years of subsequent renewal options. And there’s a right of first opportunity to buy the building if Wright Runstad opts to sell. The Block 16 and 24 leases have similar terms.

Broderick Group is Wright Runstad’s broker for all the office space; its third quarter Eastside report indicates that Block 6 could open in 2022. Wright Runstad already has its master use permit, also with NBBJ, for the whole project, so Block 6 design review won’t take that long.

In general, Phase I at the Spring District was the apartment component on its south end, at Northeast 12th Street. AMLI Residential and Security Properties have developed multiple buildings with almost 800 units. Retail and a child care center are also included.

North of that, Phase II includes Block 16, Block 24, REI’s headquarters (set to open next year), the GIX building (already open), the small creative office/brewpub building (soon), ancillary structures and park.

Ahead, Phase III could total around 1.5 million square feet of offices (including Block 6), along with apartments, a small retail/bike-parking pavilion, a hotel and more retail. (The exact mix and numbers are subject to change.)

The entire Spring District is thought to be a $2.3 billion project, with JPMorgan and Shorenstein Properties among its backers.
dezeen
A canyon-like tower by MVRDV and a twisting structure by Studio Gang are among the buildings to be revealed for a new San Francisco development.

MVRDV, Studio Gang, Henning Larsen and WORKac make up the four practices that have teamed up to design buildings for a new neighbourhood called Mission Rock.

The development will be located in the Mission Bay neighbourhood, on 3rd Street in between Terry Francois Boulevard and Mission Rock Street. It will span a 28-acre waterfront site on San Francisco Bay that is currently used as a parking lot.

Rotterdam firm MVRDV has proposed mixed-use tower, Building A, that features a 23-storey construction with box-shaped units that project out to form a pixelated effect.

It is nicknamed The Canyon because MVRDV referenced California's mountains when designing, with the intention to bring back the city's hilly topography missing on the flat asphalt plot.

"We wanted to establish a dialogue between the waterfront, the ballpark, and the robust Californian rock formations," said MVRDV co-founder Nathalie de Vries.

"Those formations inspired The Canyon's architectural form: steep rocky walls with a narrow valley running between them, thus creating a mix of apartments of different sizes, roof terraces, and lush public spaces which feel welcoming to all."

The project comprises a central tower as a "canyon" that will "fracture" the north-east podium to make a building form of its own and also a lush space at ground level. Another volume, known as the "annex", will contain a separate lobby on the east side of the building.

At the base of MVRDV's tower is a podium with a similarly faceted, red exterior. Located here will be retail, office and commercial spaces.

The building will scale 240 feet (73 metres) and contain about 285 residential units. Mechanical equipment will be housed on the roof in an additional 14-foot (4.3-metre) volume, and a rooftop patio, partial basement for bike parking, and space for the District Energy System round out the design.

US firm Studio Gang, meanwhile, has conceived a 23-storey tower with floors that twist away from one another to create inlets for planted terraces. Ceramics will clad each floor to offer varying hues.

"Building F will be at the heart of Mission Rock, housing amenities for the entire neighbourhood that overlook a new public plaza and vibrant streetscape," said Studio Gang's founder Jeanne Gang.

"For the residences, we designed a tower inscribed with terraces, extending this indoor-outdoor living and offering views amidst elevated bio-diverse gardens."

Similar to MVRDV building, Studio Gang's project will accommodate residences, shops and commercial spaces.

Danish studio Henning Larsen Architects and New York firm WORKac have both created office buildings for Mission Rock.

Like MVRDV, Henning Larsen Architects has taken cues from San Francisco's hilly terrain for Building G. The lower floors are stepped to create terraces for planting, drawing similarities to Studio Gang's structure, while the gridded facade extends at the top to form a balustrade around a rooftop garden.

"Contrary to the contemporary trend of sleek all-glass commercial towers, the aesthetic of Mission Rock reflects the historic architecture of industrial San Francisco where tactile materials bring an inviting, comfortable environment and deep facades create a dynamic play of light and shadow throughout the day," said Henning Larsen partner an design principal Louis Becker.

"An active ground plane with diverse retail programming and engaging streetscape design will define the success of Mission Rock as a new, yet authentic San Francisco neighbourhood," added Henning Larsen design manager Kelly Holzkamp.

WORKac has created a more linear office building with volumes that form a pixellated exterior. The protrusions are also used to create outdoor areas.

"We thought we could take advantage of all the setbacks at the different levels by carving new openings down the face of the building," said WORKac co-founder Dan Wood. "That way every floor has a garden, open to the sky."

"This a building that reflects the city's embrace of the outdoor life so that no matter where you are, you have access to workspace outside," he added.

Mission Rock as a whole encompasses 12 plots – seven for residential, four
creatAR images
wutopia lab has recently completed the design of duoyun books’ flagship store on the 52nd floor of shanghai‘s tallest building, shanghai tower. titled ‘books above clouds’, the project was commissioned by shanghai century publishing and includes a variety of functions including a bookstore, a lecture room, exhibition space and a cafe. providing more than just books, the new public place intends to become a cultural landmark within the busy city.

the design covers a huge area of 24,315.67 ft2 (2259 m2), providing space for 60,000 books. the scheme by wutopia lab centers around translucent bookshelves stacked in layers, or what the design team describe as a ‘white abstract mountain’. the curved entrances invite visitors inside to explore the books on offer, while at the end of the ‘mountain’, large windows gain impressive views over the city below.

the bookstore also includes a black study room, which denotes a quieter space for serious readers. circles of books wrap around visitors, while a movable bookshelf is used as a partition to separate different areas of the room. this bookshelf has been prefabricated in a factory and later installed on site. in addition to the areas for books, the store also includes a multi-purpose space that can be used for exhibitions or talks, or simply as a social gathering place.

wutopia’s design also comprises of two places to enjoy a cup of coffee on the 52nd floor. firstly, a ‘tiffany-blue’ cafe is embedded amid the white translucent bookshelves. meanwhile, a pink dessert house lies at the end of the store as a surprise to visitors. developed as a high quality bookstore, books above clouds results in a calm, beautiful space to spark readers’ imagination.




dezeen
Social media company Facebook is opening five pop-up cafes across the UK where visitors can get a privacy checkup and a free cup of coffee.

Branded Facebook Cafes, the temporary advice centres will be open in London, Manchester, Edinburgh, Brighton and Cardiff between the 28 August and 5 September.

At the cafes, which will be located within existing coffee shops, Facebook users will be offered advice on how to personalise their privacy settings. Visitors who participate in the privacy checkup will be given a free drink – either a cappuccino, americano or mint tea.

"At our pop-up cafes you can get help and advice on how to change your privacy settings – and all in the time it takes to make a cup of coffee," said Steve Hatch, vice president of Facebook northern Europe.

According to Facebook, numerous social media users do not know how to customise their privacy settings, with more than a quarter of users in London unaware.

The company hopes that the cafes will help them gain an increased understanding of its settings.

"It's normal to worry about who can see the things you share on social media, but not everyone knows what they can do about it," explained Hatch.

"That's why we have made customising your privacy settings on Facebook quick and easy."

Each of the five cafes will be located within an existing coffee shop – The Attendant in London, Takk in Manchester, The Flour Pot Cafe in Brighton, Union Brew Lab in Edinburgh and Coffee Barker in Cardiff.

Visualisations show each of the locations being branded with simple Facebook Cafe signage in black or grey placed above the counters, above doors and in the windows.

Facebook has launched the cafes as there is increasing attention on digital privacy as well as criticism over the social media company's protection of users' private data.

In 2018 it was revealed that political consulting company Cambridge Analytica had harvested millions of people's personal data from Facebook without their consent.

This led to Facebook founder Mark Zuckerberg apologising and pledging to make changes to protect users data.

The company recently redesigned its website with the aim of putting privacy at the forefront of the site.
Laurian Ghinitoiu
The Opus in Dubai by Zaha Hadid Architects, a mixed-use building formed of conjoined towers with a irregular void in the middle, is almost ready to open.

Set in the Burj Khalifa district, the Opus will be Dubai's only building which has both the interior and exterior designed by the late Zaha Hadid, who founded Zaha Hadid Architects (ZHA).

Hotel interiors for the ME Dubai hotel are currently being fitted out, for the scheduled opening in 2020. The 20-storey development from Omniyat will also house 12 restaurants and a rooftop bar, as well as office spaces.

Two glazed adjacent 100-metre-high towers form a cube shape, with a curving eight-storey void that appears as if it has been carved from its centre.

These towers are connected by a four-storey atrium ground level and an asymmetric sky-bridge that is 38-metres wide and three storeys tall, suspended 71 metres from the ground.

"The design conveys the remarkably inventive quality of ZHA's work," said Mahdi Amjad, CEO of Omniyat.

"[It] expresses a sculptural sensibility that reinvents the balance between solid and void, opaque and transparent, interior and exterior."

The designs were first unveiled in 2007 by Hadid, who died in 2016. It was originally due to complete in 2018, but was pushed back due to construction delays.

Designs for the Opus' interiors, which were unveiled at the 2014 London Design Festival, include sculptural balconies, angular beds, and a sculpture of dangling glass balls in the lobby.

The Opus will be located near the Burj Khalifa, the 828-metre-high supertall skyscraper designed by Skidmore, Owings and Merrill that remains unchallenged for the title of the world's tallest building.

ZHA recently completed another hotel with a curving void, the Morpheus in Macau. Three holes punctuate the middle of the Morpheus, which uses an innovative exoskeleton construction so that the hotel interiors remain uncluttered by supporting walls or columns.
John Muggenborg
In the middle of the last century, when suburbia threatened to drain Minneapolis of businesses and retailers, the city reinvented itself in the image of corporate campuses and indoor malls. Local officials converted a dozen blocks of the city’s Nicollet Avenue into a transit mall according to a design by landscape architect Lawrence Halprin, while real-estate developers inserted miles of skyways that connect the surrounding buildings. Today, this downtown zone is being revitalized as a mixed-use neighborhood, and Minneapolis is again reshaping its urban fabric by implementing a redesign of the Nicollet Mall, led by the landscape architecture and urban-design firm James Corner Field Operations, with lighting by New York–based Tillotson Design Associates (TDA) and local expertise contributed by the notable Snow Kreilich Architects and landscape architect Coen+Partners.

According to Field Operations senior associate Megan Born, the new scheme retains Halprin’s existing curvilinear street, while organizing it to work better for pedestrians—people who are walking through it or those seeking out the mall as a destination in itself. For the former group, Field Operations created a clearly legible, 10-foot-wide walkway next to buildings, with TDA outfitting 43-foot-tall poles with adjustable LED floodlights to supply most of the ambient illumination. “Making a welcoming, safe place to stroll at night was a big priority for all stakeholders, so lifting the light source and letting it create an even wash of light is one of the primary design elements of this project,” Born says.

The light poles are spaced approximately 70 feet apart on average, and each has four pairs of small LED floods, each with a warm 3000-Kelvin color temperature and 85 CRI—a welcome change from the single, glaring light source often used for such projects. At the same time, for familiarity, the lighting designers maintained Nicollet Mall’s previous level of brightness, which exceeded 2 foot-candles. Cylindrical RGBW beacons located at the top of the light poles may be programmed in conjunction with different events, and unique, globe-shaped lanterns project from select poles as part of a public art program.

Outside of the walk zones, Field Operations conceived a variety of outdoor rooms for destination seekers. These include a lushly planted reading area for fine weather, where luminaires that look like oversize floor lamps add to the ambient glow, and a theater-in-the-round accented by LED points. At the heart of Nicollet Mall, pedestrians might gather, find respite, or take a selfie underneath the Light Walk, a series of contiguous trellis-like armatures, topped by mirrored fins, that the lighting designers outlined with color-changing LEDs in channel extrusions. Stands of uplit birches, northern pin oaks, and other trees unite the rooms into one continuous experience and lend a seasonal diversity to this reinvented street’s warm, multifaceted scene.
Saladino Design Studios
The sizzle of mid-summer isn’t slowing down the design community. Here is a look at the latest batch of art installations and venue openings, plus the glassmaking technique behind the 2019 Tour de France trophy.

New Exhibitors Join 1stdibs, Expanding Design Hub’s Offerings

Design mainstay 1stdibs, which opened its Manhattan gallery near Hudson Yards in February, announced several new exhibitors joining the marketplace this month. Vitra, Wyeth, and FK Gallery now each have booths, in addition to new gallery installations by Equinocial, Opiary, R & Company, and Artek (distributed by Vitra).

Miami’s CityPlace Doral Gets First Pisco Bar, with Swinging Chairs and Rope Mural

Whimsical is the word that comes to mind when describing the newest SuViche restaurant in Miami’s CityPlace Doral. The 3,800-square-foot restaurant, designed by Saladino Design Studios, features the area’s first Pisco Bar, swinging chairs, a handwoven macramé rope mural, and a custom floral and moss graffiti wall that reads, “Let’s Get Saucy.”

Here’s What Biophilic Design Looks Like in Paint

Brooklyn-based artist Matthew Tucker reimagines mid-century furniture in lush, vibrant interiors on canvas—driven by his desire to establish a sense of place within surreal settings. Tappan launched a collection of Tucker’s works July 18, marking the start of their relationship, with prices ranging from $500 to $7,500.

Master Glassmaker Recruited to Create 2019 Tour de France Trophy

Czech glassmaking company Lasvit once again collaborated with ŠKODA AUTO, Tour de France's longstanding partner, to create a distinct crystal trophy for this year’s winners. Designed by Peter Olah, the 2019 trophy reflects the “spitzstein” glass-cutting method—a traditional Czech technique, which led the team to seek out a 75-year-old master glassmaker to craft each trophy.
Sheila Man
The airy new Full Circle Café in upland Bali blends the Indonesian island’s laid-back lushness with Australia’s passion for flat whites and smashed avocado. The 120-seat café-restaurant in Ubud represents the shared vision of client Expat Roasters, a specialty coffee producer, and Sydney’s X+O design firm, led by principal Rebecca Vulic.

“The brief,” explains Expat’s Aussie founder Shae Macnamara, “was to create multiple experiences within the one venue.” That played to Vulic’s strengths: As the former senior director of global store design at Kate Spade & Company, she is adept at crafting outposts that channel brand and setting. “We always start by asking who the customer is,” she explains. “Then it’s about how to facilitate the experience they’re hoping for through a bit of storytelling, with elements of surprise and delight.”

As its name suggests, the Full Circle Café caters to everyone from casual backpackers to more demanding diners from the adjoining boutique hotel, for which it is the de facto house restaurant; and when it comes to coffee, customers range from day-trippers needing a jolt of caffeine to serious connoisseurs looking for the perfect cup.

The café occupies a double-height concrete-and-glass building with a barrel-vaulted ceiling. The designer, working with A+A Architecture Interior, carved the light-filled volume into different zones and levels. Naturally, pride of place goes to the large brew bar—an interactive communal hub where customers can simply enjoy the results of, or actively learn about, different brewing processes—its fluted sides formed by pressing bamboo into concrete. A white powder-coated steel frame overhead contains plants that evoke island greenery. Adjacent cast-concrete railway-style booths, lined with teak veneer, provide a sense of enclosure, while bleacher seating of the same material echoes Bali’s rice terraces. The neutral palette gives added punch to an end-wall mural, which depicts the nearby monkey forest preserve and vivid red coffee beans; the other end wall is lined with semicircular banquettes. An outdoor courtyard and upstairs whiskey bar offer other options.

“One of many things we had in mind is Instagram culture, which, in this location, with so many travelers, is very active,” Vulic says. Full Circle Café’s design is earning a lot of likes.







fernando guerra – últimas reportagens
situated in the center of lisbon, portugal, JCFS architects transports locals to the streets of tokyo with their design of ‘ajitama’ ramen bistro. created for two friends with a passion for the traditional japanese dish, the key concept behind the project focuses on one of the main ingredients of ramen – the ‘ajitama’, which is the name for the soft-boiled eggs that have been marinated for several hours in a homemade broth.

the restaurant occupies a space within a newly refurbished building dating back to the 20th century. benefiting from a prominent corner site, a neon façade has been introduced on the curved block to entice people in and evoke the notion of the brightly-lit streets of tokyo. once inside, the bistro features a large, rounded bar counter, where patrons can enjoy the traditional ramen on high stools. the rest of the interior is filled with dining tables and chairs in light and dark wood respectively, resulting in a very japanese aesthetic.

with the concept in mind, the architects have strived to incorporate the core idea of the ‘ajitama’ throughout the interior, while also bringing a japanese atmosphere to the place. to achieve this goal, the design uses wooden trellises in the rounded shape of an egg, suspended from the ceiling, to represent the determination, precision, and organization of japanese culture.

the large installations are also illuminated and help to define the entire interior space, framed by the dark colored planes of the floor, ceiling and walls. overall, by combining eastern tradition with western representation, JCFS forms a restaurant that is intended to be both fast, efficient and practical, yet upscale, comfortable and memorable.

Ronny Soh
Confounding complexity, turf tension, head scratching and horse-trading. Inspiration, compromise, exhilaration and, ultimately, enchantment.

The team that shaped a mall to end all malls—Singapore’s all-but-complete Jewel Changi Airport—quashed myriad conflicts during the job. The architecture of the 135,700-sq-meter land-side mall, camouflaged by a vast atrium garden with a record-tall waterfall, divided, united and energized its creators.

“It’s devilishly complex and it’s amazing,” says Meredith Davey, a director of the garden’s London-based indoor-environment consultant, Atelier Ten.

The project, masterminded by design architect Moshe Safdie, would have been difficult enough, considering the busy airport, limited site access and a congested location, with an active elevated train slicing through the center. But the usual constraints of airport expansions don’t hold a candle to Jewel, which is no ordinary mall—airport or not. Its retail levels are hidden by a five-level forest under glass, complete with canyons, a valley and a 40-m-tall waterfall.

“The whole building is a new-scale experience,” says Safdie, founder of the 85-person Safdie Architects, Boston. “When that water comes down, it’s powerful,” says the architect, best known recently for Singapore’s Marina Bay Sands complex, with its surfboard-shaped rooftop park that spans and joins three towers.

Obsession with Gardens
For the more than $1.25-billion Jewel, Safdie, who turns 81 on July 14, combined his lifelong obsession with gardens, water features and human habitat. The 5.6-acre Gardens at Jewel, sited before airport security yet linked to three of the four terminals, not only draws travelers, but is a magnet for the community.

“It’s a new typology,” says Jaron Lubin, Safdie’s principal-in-charge.

Horse-Trading
“There was a lot of horse-trading” to work out equipment locations, says WET’s Freitas. “Eventually, we came to a mutually unsatisfactory agreement,” he adds. The goal was for “everyone to be equally unhappy,” he says, only half joking.

The group functioned like a bridging design-build team, taking documents through design development and then handing them to the design-build contractor, the Woh Hup-Obayashi Joint Venture. RSP Architects Planners & Engineers Pte Ltd. is both executive architect and structural engineer. Mott MacDonald is the mechanical-electrical-plumbing engineer.

Though not the architect of record, Safdie insisted, as always, on staying involved through construction. “We worked very closely with the contractor,” says Charu Kokate, the Safdie principal who led four other architects on site. “It was hard to tell who was the architect and who was the contractor,” she says.
Carbondale
a digital fresco decorates one of the interior spaces of dolce and gabbana‘s latest retail store in rome, offering a contemporary twist on the city’s rich cultural heritage. eric carlson and his paris-based architecture office carbondale designed the store in collaboration with domenico dolce and stefano gabbana, founders of the italian fashion house.

set over 800 square-meters, the two level luxury boutique is an amalgamation of dolce and gabbana‘s house codes and details inspired by the city. home to the seven wonders, carbondale installed 59 columns throughout the store’s 11 interior spaces, a unifying element that pays tribute to rome’s the immense architectural and engineering achievements.

upon entering, visitors are drawn into a grand room spanning 22 meters with a 6 meter high ceiling. the space is capped with two skylight domes, each lined in gradating colored rings of handmade stone mosaics.

the raw concrete walls of the ‘vatican-scaled’ space are punctuated with glass covered moiré silk panels in a luminous cardinal-red. beneath them is a floor which features 15 different types of marble that are geometrically collaged in colours ranging from veined blacks and greys, intense yellows to red, ivory and creams, blue quartz and mother-of-pearl whites.

echoing the opulent 16th century palazzo romano each space is designed as a modern palatial room of stone, color and light. the walls are striated with vertical floor-to-ceiling bands of different marble types and combinations. each ceiling is ringed with a bushed brass frame and raised with a central skylight of illuminated azul cielo marble.

bringing the store and it’s honoring of styles past into the modern day, a contemporary take on baroque digitally transforms paul troger’s 18th century ceiling fresco to decorate a linear gallery on the upper floor.

through the use of curved led ceiling and wall screens, hercules and athena are brought to life engulfed in billowing dark clouds of thunder and lightening that slowly give way to a rising sun while surrounded by the penetrating vibrations of gregorian chants.

the digital installation is inspired by the vatican’s sistine chapel and its gallery of maps, 40 maps frescoed on the walls that illustrate the length and breadth of the italian peninsula circa 1580.

the architect also wanted to convey the famous styling of italian baroque, in particular the illusion of ‘forced perspective.’ three sequential spaces vary in size, ceiling heights and column proportions to create the magic illusion of depth. this is further accentuated by busy floor patterns, which also differ, and hand-blown murano glass chandeliers that are designed in 3 different scales.


dezeen
A huge converted grain silo in Shanghai was the setting for Prada's 2020 Spring Summer menswear show, designed by AMO as a hall of futuristic neon lights.

The show took place on 6 June at Silo Hall, Asia's largest silo building. A powerful reminder of Shanghai's industrial heritage, the building provided an appropriate backdrop for Prada's latest mens collection, described by the Italian fashion house as "a power of energy, provocation and freedom".

AMO, the research arm of Dutch firm OMA, transformed the industrial interior of the 80,000-tonne warehouse into an "illuminated vista" of bright blue lights.

A linear runway intersected the longitudinal axis of the monumental, labyrinth-like space, while guests were arranged in the central nave of the building in an amphitheater of circular seats that mirrored the shape of the silos.

Glowing neon lights complemented the hall's raw, industrial character and highlighted the geometry of the space, creating a "glowing enfilade" down the centre of the chamber.

"Mindful of its history, at intervals, the installation of the 2020 Spring Summer Prada Men’s show and events is disrupted by reminders of roughness and industry, embedded in the fabric of the building," said the brand.

"These retain the original character of the building, and the echoes of a past," it added.

The words "I am no longer an artist; I have become a work of art" and "I feel myself a god" were played out on a voiceover as models walked along an expansive runway dressed in oversized striped shirts, double-breasted blazers and colour-block windbreakers.

Colourful backpacks and knee-length shorts added a boyish aesthetic to the Optimistic Rhythm collection, which had retro-futurist overtones that could be seen on jackets and tees featuring vibrantly coloured prints of cassette tapes and video recorders.
dezeen
Canadian design firm Yabu Pushelberg has created a pink and cream pop-up store for Goop in its home city of Toronto with rustic accents designed to encapsulate the brand's identity.

Goop MRKT Toronto is a temporary brick-and-mortar store for Gwyneth Paltrow's brand Goop, which offers a range of beauty products, home goods and clothing for sale.

Designed by local firm Yabu Pushelberg, the temporary 1,300 square-foot (121-square-metre) shop has been built in an existing store, which the studio has softened with a decor that is reflective of a cosy home, with numerous tables, plants and rugs.

Colouring the store are cream walls and soft pink curtains, which drape down to accentuate high ceilings and make the space more intimate and inviting.

"The MRKT was designed for the Goop shopper," George Yabu told Deezeen, who founded the studio with his partner Glenn Pushelberg in 1980. "Blush pink was a mutual decision between us and Goop - it's a natural, healthy tone that we feel translates well to the brand."

"It is also a colour associated with compassion and loyalty and when you walk through, you absorb the feeling the colour exudes – peace, rest and openness," he said.

The rectangular store features a handful of large tables filled with Goop-curated items. Built-in shelves and nooks offer additional display space for products.

An Avorio ivory cement side table designed by Goop in collaboration with CB2 fills one half of the store. Nearby is a geometric concrete wash station for customers to try out products.

Curtains at the middle of the store frame a vignette, which is decorated with a Blox dining table and benches by CB2.

"The store has so much to offer, so we created a series of vignettes inspired by a film set, for all the products have their own moment in the spotlight," Yabu said.

Rustic touches large woven light fixtures, baskets and jute rugs add a natural feel throughout.

"Creating the right tone for the pop-up has been an interesting process, a coming together of the psyche of what Toronto is all about with the strong personality of the Goop brand,” the two said.

"If the Goop customer live

Founded in 2008, Goop is the brainchild of American actress and businesswoman Gwyneth Paltrow, which is headquartered in Los Angeles' Santa Monica neighbourhood. In addition to selling products, it also offers travel and wellness tips in the form of an online publication.

"We've always been in awe of our neighbors to the north, which is why we picked Canada as the first place to launch e-commerce internationally in 2017," said Melanie Ramer, Goop's vice president of retail. "It felt like the natural next step to activate in Toronto with our first goop MRKT pop-up shop."d in Toronto, she would feel differently and live differently than the one in New York or Los Angeles," Pushelberg said. "Each city and each context is unique, and that is the challenge, and the fun."
Trevor Mein
Landini Associates’ design of McDonald’s In The Sky at Sydney International Airport combines familiarity with inventiveness to deliver a memorable customer experience.

When the McDonald brothers opened their new drive-in in San Bernardino in 1948, it was a revolution in food service that ushered in a new era of fast- food automation. The McDonalds rationalized the commercial kitchen, streamlined processes and invented implements and equipment, replacing traditional food preparation techniques with assembly line procedures. And all of it was visible through the counter-to-ceiling glass window that wrapped the octagonal building. Dubbed the “fishbowl,” the kitchen captivated customers and the food preparation system became an attraction in itself.

The kitchen is also the star attraction at the new McDonald’s in Terminal 1 of Sydney International Airport. It is a spectacle of colour and movement elevated above the kitchen and enclosed in yellow glass. “Airports are places where you can and should do unusual and cutting-edge things,” says Mark Landini, creative director of Landini Associates. “We exposed the machinations of making the product and expressed what McDonald’s is: innovative leaders in the industry.” Add to that the electronic ordering system and conveyer belt for food delivery, which have automated McDonald’s fast-food service even further.

The concept emerged from Landini Associates’ design for a flagship McDonald’s in Hong Kong, and is also a practical and creative response to the space. In Hong Kong, Landini Associates exposed the kitchen and introduced kiosk ordering technology. In Terminal 1, Landini Associates used the volume of the building due to restricted floor space.

McDonald’s In The Sky is located through security, amidst other food and beverage outlets. It is next to a large panoramic window offering views of aeroplanes taking off and landing, with chairs and tables for customers and departing passengers in between. The kitchen floats above the service counter in a yellow glass box, whose panels, with the brand’s golden arches, also serve as signage. Like a glowing beacon, it resolves visibility issues in a space that is busy, loud and visually noisy.

On the ground, the service counter wraps around two sides of the internal volume clad in a charcoal terrazzo-look tile and has simple, intuitive signage: Order and Collect. Customers place their order at the front counter or via kiosks with easy-to-use screen interfaces. McDonald’s products are ordered from one counter, McCafé items from another, and food and drinks are collected at the rounded corner in between.

The commercial kitchen is visible through the glass walls of the kitchen, allowing customers to see the food production and delivery. Employees become part of the spectacle of the kitchen, and a conveyer belt looping around and down transports the bagged food to the collection counter. “The experience we all seek these days is being served quickly. We have delivered ease of purchase and added some theatre,” says Landini. Indeed, these moving parts provide an element of entertainment that enhances the customer experience in an environment where people are typically watching and waiting.

The design is not only intended to enhance the customer experience, but also the staff experience. “We’re really proud of our restaurants and are always looking to give our customers the best possible dining experience. We also want our crew to have a great working experience and the design is definitely one contributing factor to this,” says Josh Bannister, McDonald’s senior development director. And as McDonald’s states on its job advertisements, “The kitchen is where all the action happens.”

The yellow-coloured film on the glass serves as a beacon from across the terminal. The floor has terrazzo textured square tiles with black grout – a familiar sight in McDonald’s kitchens across the world.
Nicolas Koenig
Design firm Yabu Pushelberg has completed a decadent hotel in New York's Times Square featuring lush green walls and a moody dining room with electric blue banquettes.

The Times Square Edition in New York is billed as Times Square's first design hotel and an "elevated" entertainment destination for locals, including multiple restaurants, bars, and a nightclub.

Yabu Pushelberg founders George Yabu and Glenn Pushelberg designed the project for legendary hotelier Ian Schrager. The trio first became friends in the heydey of Schrager's infamous Studio 54 nightclub, which was located several blocks away from The Times Square Edition.

The new boutique hotel marks their fifth collaboration and presented an opportunity to evolve the district New Yorkers love to hate. The team describe it as the "ultimate counterpoint to its surroundings".

"We thought, 'Let's go back to where it started. Let's make it a bit European, chic, with simple materials – something unexpected that adds value to Times Square'," Pushelberg told Dezeen.

The 452-room hotel rises 42 storeys from behind a 17,000-square-metre LED billboard that wraps around its bottom half.

Unlike other hotels nearby, the Edition's ground floor entrance is relatively nondescript with a glass curtain and cream limestone doorway. Inside, a long cream bench guides guests to the lobby elevators, with a metallic custom art installation hanging like a bullseye at end of the hall.

"We didn't want it to feel like a big hotel," said Yabu. "Our idea was to break it down into a series of spaces that are intimate and more residential."

Throughout the Edition, Yabu Pushelberg emphasise botanicals and a neutral colour palette. It's a combination that, according to Pushelberg, can appeal to both the uptown and downtown crowds, leveraging influences from Central Park's iconic Tavern on the Green and hip supper clubs below 14th street.

Public spaces also celebrate "the glory days of the 60s and 70s" with black-and-white photographs of "Old New York" by Elliott Erwitt, Helen Levitt and Cornell Capa.

Sitting on the eighth floor, the lobby features lush green walls, cream curtains and wood paneling, and black herringbone floors. The team designed the adjacent Lobby Bar with contrasting ivory tones and a custom onyx bar, with natural light coming in from floor-to-ceiling windows and the Blade Runner Terrace.

"Terraces were unheard of in Times Square," said Pushelberg. "We made them like outdoor rooms with botanical boundaries that hide the cacophony beyond."

The hotel's restaurants have outdoor spaces as well, including 701West, the signature fine dining option. Helmed by Michelin-star chef Jason Atherton, the moody dining room boasts electric blue and chartreuse-coloured velvet banquettes, antique silk rugs and amber mahogany wood panels with white marble mosaic floors.

On the seventh floor is the Paradise Club, the nightclub and performance venue inspired by Studio 54.
orn van Eck via Overtreders W
As the push toward sustainable lifestyles continues to spread from individual purchasing decisions to the overarching responsibility of big business, one restaurant is making a big statement by providing meals from a circular environment of zero food and material waste.

The Brasserie 2050 restaurant in the Netherlands temporarily opened its doors last fall as a restaurant and food storage pavilion designed by temporary-structure specialists Overtreders W for an event called the Lowlands Festival. The goal was to highlight the need for sustainable food production, and they achieved this goal by setting up a food barn made from recycled and borrowed materials that could be disassembled and moved at the end of the festival with no damage to the materials and no waste.

With forecasts estimating the world will have 10 billion people to feed by 2050, Brasserie 2050 is a testament to how we can achieve that goal. Not only is the design of the structure a sustainable model, but the catering company The Food Line Up created a zero-waste menu to feed the masses in attendance of the festival. Creative use of kitchen scraps culminated into baked bread from potato peelings, steak tartare with half the meat and pesto sourced from kitchen leftovers.

The food pavilion made use of the entire barn-shaped space by using standard pallet racks as the primary structural component. A corrugated plastic roof completed the gabled look. Even the tables were constructed from recycled plastic with the reuse and zero-waste cycle in mind.

The space was efficiently filled from top to bottom, with suspended herb boxes and wheat, corn, garlic and onions dangling from the ceiling above diner’s heads. Of course, this also provided natural decor for the restaurant. To keep the structure from blowing away, bags of grain weighed down the sides.

The structure and the menu served as a model of efficient and sustainable practices designed to lead us toward more eco-friendly food services for the future.

dezeen
Foster + Partners has collaborated with the Apple design team to transform a neoclassical building in the US capital into a sleek retail space with a skylit atrium, where events are held to "entertain and inspire the local people".

The store, called Apple Carnegie Library, is located in Mount Vernon Square, about seven blocks north of The Mall. Built in 1903 and designed by Ackerman & Ross, the Beaux-Arts-style building was Washington DC's first public library and its first desegregated public building.

The building has served various purposes since the library moved out in the 1970s. For the past 15 years, it has been underutilised and neglected, despite being a designated historic landmark. In 2016, Apple announced its plan to renovate the structure and open a store there.

British firm Foster + Partners worked in collaboration with Apple's design team – led by Jonathan Ive – to convert the interior into a modern retail space, while also returning the building to its original grandeur.

"I love the synergy between old and new, the juxtaposition of the historic fabric and contemporary design," said Ive in a project description. "It is the layers of history which create the rich tapestry of urban life."

Roughly T-shaped in plan, the building has Vermont marble facades that were carefully refurbished. Entrances are located on both the north and south, which results in "an inviting urban route through the building."

On the north, a new staircase fans out toward the street. The southern entrance – the original front door to the library – connects to a generous plaza that can be used for concerts and other events.

The team worked with various specialists to address historic elements on both the exterior and interior.

"The materiality and detailing of the historic facades and interior spaces have been carefully preserved, working closely with the National Trust for Historic Preservation and other conservation experts," said Stefan Behling, a studio head at Foster + Partners.

Inside, the building has white walls and marble floors, creating a light and airy atmosphere. Wooden decor and ficus trees bring warmth and colour to the austere space.

"The entire palette of materials used in the interior was chosen to suit the historic surroundings, inspired by the distinctive early 20th-century detailing in the building," the team said.
Bridget Cogley
A warm material palette is used to transport customers from the urban grit of New York City into this cosy bakery designed by local firm GRT Architects.

Bourke Street Bakery, a well-known Australian bakery & cafe in Sydney, tasked GRT Architects to design its first location in America. The studio's Rustam Mehta, Tal Schori and Stephanie Tager collaborated with Bourke Bakery's co-founder Paul Allam on the design.

The project is defined by a strong use of colour, including concrete floors that are painted salmon pink, dark wood built-in furniture and cork panelling.

"It was important to all of us in some connectable way that it felt like a southern climate, and warm with natural materials, colour and colour temperature," Mehta told to Dezeen.

A focal point of the bakery is a custom L-shaped service counter made from cherry wood, with bar stool seating set at one end. The same wood is also used for a banquette around the perimeter of the main dining area.

"A warm palette of materials wraps every surface, and so the minute you walk in, you really feel like you've left the street behind," Schori added.

"It's like the light changes within the space," he said. "It gives you that impression that you've been transported."

A feature of the design is the prominent role of baking. The kitchen is visible from almost every nook in the cafe – a design choice to benefit both employees and visitors.

"We went out of our way to make the kitchen as open as possible," Mehta said.

At the counter, customers are separated from bakers by a pane of glass. The same slab of charcoal-coloured natural stone extends either side, with one used for rolling out dough, and the other for customers to enjoy the finished pastry.



Terreform ONE
Terreform ONE

The Monarch Sanctuary (Lepidoptera terrarium) will be eight stories of new commercial construction in Nolita, NYC. Programmatically, the building space will mostly contain retail and office life. Yet central to its purpose is a semi-porous breeding ground, waystation, and sanctuary for the monarch butterfly (Danaus plexippus). It is a pioneering building – one that aims to be ecologically generous, weaving butterfly conservation strategies into its design through the integration of open monarch habitat in its facades, roof, and atrium. Not just a building envelope, the edifice is a new biome of coexistence for people, plants, and butterflies.

The monarch butterfly of North America is a threatened species. The U.S. Fish and Wildlife Services is currently assessing whether the monarch needs to be granted “endangered species” status, while the monarch population erodes due to the combined forces of agricultural pesticides and habitat loss. Monarchs are a delicate presence in New York City, migrating each year from Mexico and Florida to the city’s precious green spaces to lay their eggs on the milkweed plant.

This project will vitally serve as a large-scale Lepidoptera terrarium. It will bolster the monarch’s presence in the city through two strategies: open plantings of milkweed and nectar flowers on the roof, rear facade, and terrace will provide breeding ground and stopover habitat for wild monarchs, while semi-enclosed colonies in the atrium and street side double-skin facade will grow monarch population. The insects will have fluid open access to join the wild population, enhancing overall species population numbers.Our connection to the community of NYC is essential. The prime location will attract attention and educate the public on Monarch extinction. It has a total area of 30,000 square feet and is to be located in the heart of Nolita, between Soho and the burgeoning art district along the Bowery, and a few blocks west of the New Museum. The site is just around the corner from the Storefront for Art and Architecture and currently exists as two plots occupied by small residential buildings, which will be combined into a single property.Although it is a relatively small commercial building by New York standards, the building will present a striking public face and a powerful argument in favor of a diversity of life forms in the city. It will face Petrosino Square, a small triangular paved public park, named after a fallen NYPD lieutenant. The façade of the Monarch Sanctuary building will add a lush vertical surface to the edge of the square.

The double-skin street facade, with a diagrid structure infilled glass at the outer layer and with “pillows” of EFTE foil at the inner layer, encloses a careful climate - controlled space, 3’ deep and 7 stories tall. This “vertical meadow,” the terrarium proper, serves as an incubator and safe haven for Monarchs in all seasons. It contains suspended milkweed vines and flowering plants to nourish the butterflies at each stage of their life cycle. Hydrogel bubbles on the EFTE help maintain optimal humidity levels, and sacs of algae help purify the air and the building wastewater. Solar panels on the roof provide renewable energy to assist in the powering the facilities. Butterflies can come and go as they need from inside the building skin system and roof.

Other features of the project are equally in service of the insects. LED screens at the street level provide magnified live views of the caterpillars and butterflies in the vertical meadow, which also connects to a multi-story atrium adjacent to the circulation core. Interior partitions are constructed from mycelium, and additional planting at the ceiling enhances the interior atmosphere and building biome. Hovering around the building, a few butterfly-shaped drones take readings and maps of the immediate microclimate. They return every few minutes to recharge, and their combined real-time data works to maintain the butterfly health.

The building is intended to serve as an object lesson in enhancing the urban environment with green technologies, including plant life and other creatures, in designing for other species, and in conveying images of new possibilities for the urban environment. This project alone will not save the Monarch but it will crucially raise awareness about our much-loved insect residents.
Dmitri Kessel/The LIFE Images Collection/Getty Images
A sympathetic view of the city might be the healthiest way to shape—and preserve—the built environment

Perhaps it’s New York City’s ability to transform itself so rapidly that makes those of us who love it so sensitive to the restaurant that closes, the hardware shop that shutters, or the building that comes down. Too often their replacements—shiny, new, shop-ified—seem to lack soul. For all its acclaimed verticality, Hudson Yards has drawn criticism that it isn’t much more than a glorified mall. CBGB decayed and was reborn as a John Varvatos boutique. Alphabet City has a Target. In Downtown Brooklyn, a skyscraper just went up complete with a rooftop pool. (Admittedly, the view is spectacular.) But even among those of us who appreciate convenience and style, there’s a wistfulness for the bygone Bohemian grit that emanated from certain neighborhoods.

The response to these overly polished, sterilized cityscapes is driving a new wave of urban nostalgia. Two recent New York Times features—one on capturing every block in the city in the 1980s, another recollecting the demolition of Penn Station—embody everything there is to love about seasoned urban architecture, especially as we see it disappearing. And then there is Jeremiah’s Vanishing New York blog, “a bitterly nostalgic look at a city in the process of going extinct,” run by Jeremiah Moss.

Often nostalgia “gets a bad rap in our future-fetishistic current culture,” says Moss, a psychoanalyst who also authored the book Vanishing New York: How a Great City Lost Its Soul. But sentimentality may be healthy, he says. Empathic people tend to be less afraid of their own mortality, which he equates to this type of yearning. “People who do feel anxious about death tend to be bigger consumers—shopping and eating can soothe that anxiety.”

In his 2017 book, Moss (who writes under a pen name) predicted that Hudson Yards would be “a dreamworld of exclusion,” with rarified zombie shoppers Instagramming their way through a set of global clichés. He worries that urban landscapes—particularly public spaces—are becoming increasingly homogenized, overly tidy, and heavily commodified, leaving less room than ever for the unexpected qualities and encounters that generate a sense of place, those interactions that Jane Jacobs eloquently called a “sidewalk ballet.” That our eyes are glued to our smartphones while we walk through them probably doesn’t help.

These are streets built for super-consumers, says Moss, and our pristine, new buildings literally and figuratively reflect us. On the other hand, he says, old, weathered buildings “remind us that we are mortal [and] vulnerable.” Demolishing brick and stone and replacing them with glass boxes, argues Moss, is a way of denying that vulnerability.

There have been other waypoints along the recent timeline of New York’s architectural nostalgia. The demolition of Penn Station in the mid-1960s has left many of us forever pining for McKim, Mead & White’s elegant arches and columns (even if the building had become decrepit and dysfunctional). The next two decades also dramatically changed neighborhoods and the city skyline. As municipal policies moved away from social democracy and increasingly incentivized corporate welfare and tourism, an era of gentrification began. (Hello, Trump Tower!) By the early aughts, New York itself was declared a “luxury product.”

By then, the terrorist attacks of September 11, 2001, had left another indelible mark on our collective psychology. Suddenly, the entire country was nostalgic for the World Trade Center’s Twin Towers, while New Yorkers began dissecting their emotional and physical relationships to the urban fabric.

BKSK
With NYCxDESIGN and Brooklyn Designs at the Brooklyn Navy Yards about to get underway, we've rounded up the most recent projects in New York City's buzziest borough, including warm cafés and reading rooms, fresh offices, and light-filled apartments.

1. The Center for Fiction by BKSK Architects Brings Books and Sustainability to Brooklyn

The Center for Fiction started out as the Mercantile Library in 1821 and moved locations throughout Manhattan over the years. In 2008, it was rebranded, and more than 10 years later, the Center has a permanent home in a new downtown Brooklyn building by BKSK Architects with sustainability in mind.

2. StudiosC Creates Positive/Negative Volumes for L&R Distributors in Brooklyn

L&R distributes more cosmetics than any other American company—25 brands and 8,000 SKUs in all. Its new corporate headquarters in Brooklyn’s Industry City circulates something else: a wide variety of staff, each with their own spatial needs, within what StudiosC principal Stephen Conte calls “an industrial blank canvas.”

3. Gensler Fashions a New Brooklyn Showroom for Lafayette 148

Brooklyn’s Navy Yard is among the most fashionable new areas in the borough, but until Lafayette 148 decided to leave its seven-floor SoHo digs and venture across the water, there wasn’t a fashion brand that called the historic concrete warehouse home. Gensler made sure the 68,000-square-foot headquarters, comprised of 15 different departments and large community work cafes, was as rousing as the exterior landscapes.

4. Idan Naor Thinks Horizontally for a Brooklyn Brownstone

The archetypical Brooklyn brownstone is a study in verticality, with a few stories of narrow corridors and dark rooms piled atop each other. However, when the local Idan Naor Workshop got the chance to reprogram a gem from the 1920s into a 5-unit apartment building, they decided on a different direction: horizontal. This 2,350-square-foot apartment jettisons the piles of hallways and instead utilizes a gallery to connect public areas to the three bedrooms, while ample natural light floods the expansive open plan.

5. Five Retail Wonderlands Subvert Reality

This retail environment at Gray Matters brings customers into a product-inspired wonderland. Riffing on the brand's Mildred Egg mule, Bower Studios chose table bases that are ovoids of painted resin composite.
Make the Road NY; TEN Arquitectos
The new home for Make the Road New York, a leading immigrant rights group, aspires to be a transparent gathering place in an age of walls.

While sitting in the crowded waiting area of Make the Road New York’s storefront offices in Queens, formerly a Blockbuster video outlet, I think about my grandmother. She left Poland at 18 and, working as a seamstress along the way, immigrated to America in the late 19th century. She eventually opened a Kosher restaurant in Hoboken, N.J., where my mother grew up, safely, happily, and far from the nightmare that overtook the family that remained in Poland. It doesn’t take much empathy or imagination to make the connection between my family’s story—more or less the story of most American families—and those of the people around me on a March afternoon, mainly Spanish-speaking women, waiting for healthcare counseling or an appointment with a lawyer. Until recently, the scene at Make the Road New York (MRNY) would have been just another heartwarming portrait of the American fabric, part of the melting pot or the gorgeous mosaic. We used to be proud of our immigrant heritage, of our openness to those seeking a better place to live.

With over 23,000 dues-paying members, MRNY is one of New York City’s most formidable immigrant rights organizations. Founded in 2007 as a merger of two smaller groups, it has taken on a wide range of issues that affect immigrant communities: workers’ rights, access to healthcare, and all the problems associated with the current administration’s punitive approach to immigration law. MRNY, which derives its name from a poem by the Spanish writer Antonio Machado (“Searcher, there is no road. We make the road by walking.”), used to be famous, locally at least, for its work on behalf of the carwasheros, the men who dry and buff newly washed cars, mostly for tips (which were often pilfered by the management). Since the dawn of the Trump administration, MRNY has increasingly been on the front lines of a cultural and political war, protesting almost daily. The waiting area where I sat was decorated with artifacts of those demos, cardboard signs shaped like butterflies, with slogans like “Resist,” “Rise Up,” and “Here to Stay.”

Home > Design > TEN Arquitectos Designs a Beacon for the Resistance
DESIGN
Posted on: May 07, 2019 2





LETTER FROM NEW YORK
TEN Arquitectos Designs a Beacon for the Resistance
The new home for Make the Road New York, a leading immigrant rights group, aspires to be a transparent gathering place in an age of walls.
By KARRIE JACOBS

Courtesy Make the Road NY; TEN Arquitectos
While sitting in the crowded waiting area of Make the Road New York’s storefront offices in Queens, formerly a Blockbuster video outlet, I think about my grandmother. She left Poland at 18 and, working as a seamstress along the way, immigrated to America in the late 19th century. She eventually opened a Kosher restaurant in Hoboken, N.J., where my mother grew up, safely, happily, and far from the nightmare that overtook the family that remained in Poland. It doesn’t take much empathy or imagination to make the connection between my family’s story—more or less the story of most American families—and those of the people around me on a March afternoon, mainly Spanish-speaking women, waiting for healthcare counseling or an appointment with a lawyer. Until recently, the scene at Make the Road New York (MRNY) would have been just another heartwarming portrait of the American fabric, part of the melting pot or the gorgeous mosaic. We used to be proud of our immigrant heritage, of our openness to those seeking a better place to live.

With over 23,000 dues-paying members, MRNY is one of New York City’s most formidable immigrant rights organizations. Founded in 2007 as a merger of two smaller groups, it has taken on a wide range of issues that affect immigrant communities: workers’ rights, access to healthcare, and all the problems associated with the current administration’s punitive approach to immigration law. MRNY, which derives its name from a poem by the Spanish writer Antonio Machado (“Searcher, there is no road. We make the road by walking.”), used to be famous, locally at least, for its work on behalf of the carwasheros, the men who dry and buff newly washed cars, mostly for tips (which were often pilfered by the management). Since the dawn of the Trump administration, MRNY has increasingly been on the front lines of a cultural and political war, protesting almost daily. The
Antoine Hout
Retail designers commonly show restraint in order to let the merchandise shine, but when conceiving a Rome boutique for Dolce&Gabbana, Carbondale scoffed at convention—and so did the client. “I had no fear that the architecture would overpower the products,” says Eric Carlson, principal of the Paris-based firm. “I was more worried about the opposite occurring.” Indeed, the Italian fashion company’s bold designs stand out on their own, and its founders—Domenico Dolce and Stefano Gabbana—have adopted a retail strategy just as bold, collaborating with different architects to create distinctive stores rather than rolling out the same branding concept from city (Venice) to city (London).

The bi-level 10,700-square-foot boutique occupies a listed 16th-century building on the city’s renowned Piazza di Spagna. Working within the existing historic structure, Carbondale devised a journey back to baroque-era grandeur. The firm’s skilled approach to luxury, illusion, and craft creates an aura of Rome that greets visitors the moment they enter the vestibule, with a stone-mosaic medallion set into the Calacatta-marble floor. It depicts the city’s mythical founders Romulus and Remus with their mother (a she-wolf). A path through two contiguous spaces with lower ceilings and progressively narrower columns and doorways creates a forced perspective that seemingly elongates the corridor—a brilliant segue into the first of the shop’s lavishly appointed salons.

Though some of the rich surfaces and ornate architectural elements look historic, they are new and custom. Decorative columns throughout are made with board-formed concrete (save for marble columns in the staircase). The floors are marble with intricate inlays of brass, stone, or glass mosaics, all in a range of hues that refer to the city’s past. Modern touches also hint of papal Rome, such as glass walls backed in cardinal-red moiré silk and Murano-glass chandeliers with pops of red and gold.

On the ground floor, gold-mosaic-lined friezes decorated with Latin inscriptions draw the eye upward to a ceiling topography comprising marble- or brass-clad soffits, brass trim framing cove lighting and marble ceiling panels, or Vatican-inspired vaults and domes—the latter including a pair capped by 35-inch-diameter frosted-glass apertures that replaced existing industrial-sash skylights. Gradating mosaic rings within their spheres radiate outward from the apertures, producing a dramatic Pantheon-like effect in each.

Carlson and his team continue the illusionary scheme up the staircase leading to the men’s shops. Here, an expansive mirrored wall reflects the steps, so that the arcadelike landing appears double in size. An even more surprising trompe l’oeil effect awaits shoppers in a halfvaulted linear clothing gallery on the second level. LED screens along the length of an entire wall and on the curved ceiling loop a four-minute Sistine Chapel–inspired animated video sequence of battling Roman gods and goddesses, an ensuing thunderstorm, and finally a peaceful sunset, all to a background audio of Gregorian chants. A mirror on the opposite wall visually completes the vault “and creates a Rorschach-like movement to the ‘fresco,’ ” says Carlson. Psychedelic and memorable, this digital-meets–Old World feature amazes visitors, while fulfilling the client’s wish for an experience unique to the location.
Peer Lindgreen
Rather than just another five-day exhibition at Salone de Mobile, this year designer Tom Dixon decided to make his mark on Milan a little more permanent. His Design Research Studio created The Manzoni, a restaurant that doubles as a showroom. Incorporating Dixon’s three new collections, The Manzoni—named for its location at 5 Via Manzoni—elevates the products from simply being on display to functioning in an active environment. The 100-cover, 5,000-square-foot restaurant will officially debut after Salone wraps up next week and be open to the public in May.

Dixon noted that after putting so much energy into creating pop-up exhibitions, his company sought to be a fixture in Milan. “With the city being so active and engaging right now, it is the right time to forget being temporary and build something permanent,” the designer said. “Just like in London, we don’t think it’s enough to just have a showroom. We need a place where people slow down and experience our products in a live setting.”

Showcased at The Manzoni, Dixon’s new collections include Fat, an upholstered seating line; Spring, a trio of pendant lamps; and Opal, a spherical lighting collection. In the restaurant, these elements work to soften the space and balance the bass notes of concrete and marble.
The Manzoni’s main space, called The Dining Hall, features a vast “monastic Italian” dining table lit by a string of Opal globes, accompanied by Fat dining chairs. Guests will be able to enjoy dinner entrees such as Sicilian-style ring-shape pasta with roasted eggplant, tomato and ricotta and boneless duck leg cooked in Lambrusco wine.

Beyond the Dining Hall, another room called The Jungle brings guests into a space filled with ferns, Spanish moss, orchids, and all manner of greenery. This is where Dixon’s Spring brass pendants really shine (pun intended).

The Bar & Lounge features a graphic wall of stone tile in deep gray and pale green along with Dixon’s Fat lounge chairs and bar stools and Opal and Melt lights.
Peter Walker Partners Landscape
The addition is set to open this spring.

With features like an indoor forest, the world’s tallest indoor waterfall, treetop walking trails, retail (a retail galleria will feature more than 280 retail and food and beverage outlets and a 130-room hotel), and gathering spaces, the 1.4 million-sf Jewel Changi Airport addition will create a new model for airports as a destination for community activity, entertainment, and shopping.

The core of Jewel is the Forest Valley, a terraced indoor landscape that will feature walking trails and seating areas among more than 200 species of plants. The Forest Valley will also feature the world’s tallest indoor rain-fed waterfall, dubbed The Rain Vortex. The Rain Vortex will shower water down seven stories from a central open oculus in the domed roof. The waterfall will have nightly light shows that integrate sound and projections from 360 degrees around the Vortex.

The steel and glass structure of the roof spans more than 650 feet at its widest point and uses only intermittent supports in the garden, which results in a nearly column-free interior. The roof’s geometry is based on a semi-inverted toroid (think of a donut) with the waterfall at its center.

Canopy Park will be located on the fifth level and include 150,000 sf of attractions within the garden spaces, such as net structures suspended within the trees, a suspended catenary glass-bottomed bridge walk, a planted hedge maze, a topiary walk, horticultural displays, and an event plaza for 1,000 people.

The Jewel is slated to open in spring 2019. Safdie Architects designed the project. BuroHappold Engineering handled the building structure and facades and Mott MacDonald handled MEP duties.
Ivar Kvaal
Snøhetta has completed Under, the "world's largest underwater restaurant", which plunges from a craggy shoreline in the remote village of Båly, Norway.

Designed by Snøhetta to resemble a sunken periscope, the 495-square-metre restaurant is fronted by a huge panoramic window that gives visitors a "unique view" of marine life.

The building on Norway's southern coast, which can seat up to 40 people and will also be used as a marine research centre, is Europe's first underwater restaurant.

"For most of us, this is a totally new world experience. It's not an aquarium, it's the wildlife of the North Sea. That makes it much more interesting. It takes you directly into the wildness," Rune Grasdal, lead architect of Under, told Dezeen.

"If the weather is bad, it's very rough. It's a great experience, and to sit here and be safe, allowing the nature so close into you. It's a very romantic and nice experience."

Under was designed to be as simple as possible. It takes the form of a monolithic "concrete tube" that is 34 metres in length.

The walls are slightly curved and half-a-metre thick, providing optimal resistance against the forces of waves and water pressure.

"The idea was to make a tube that would bring people from above sea level down under the sea," Grasdal added.

"That transition is easy to understand, but it's also the most effective way to do it. It also feels secure, but you don't feel trapped."

The concrete has been left with an exposed, rugged texture to encourage algae and molluscs to cling on. Over time this will create an artificial mussel reef that helps purify the water, and in turn naturally attract more marine life.

Interior Design Media
It's the first day of spring—and time to start thinking about spending time outdoors! That's why we've gathered 15 spaces that are perfect for celebrating sunny days.

1. The Department Store by Squire and Partners

At night, the penthouse of Squire's office in London is Upstairs, a members-only bar and restaurant. By day, it’s the staff canteen, the myriad glass doors opening to a landscaped terrace—outfitted with a very modern-day ping-pong table.

2. Rosewood Luang Prabang by Bensley

This glamping hotspot in Laos is the place to unwind while on vacation. Bill Bensley looked to the area’s famed French-Lao architecture for this paradise on a UNESCO World Heritage Site, featuring six hilltop tents with private dining areas and vast balconies within the rainforest.

3. Boulder-Strewn California Home by Sant Architects

The architect’s most significant move was building 14 poured-in-place board-formed concrete walls, their color meshing pleasingly with the surrounding terrain. Both the courtyard and living area survey the Topanga Canyon and the Pacific Ocean.

4. Tied House by Gensler

Inspired in part by Chicago’s motto, Urbs en Horto, meaning city in a garden, Heiser and Gannon left space for an intimate courtyard between the street-front sections of the two buildings. Inviting people to gather, a massive copper outdoor fireplace is already starting to patina. When the weather allows, Tied House’s sliding glass doors stack away, opening the bar area completely to the courtyard.

5. Mar Adentro Hotel and Residences by Taller Aragonés

At this cutting-edge hotel in San Jose del Cabo, Mexico, water encircles and unifies contrasting elements: minimal buildings, custom-furnished by Poliform, and a nestlike restaurant pavilion woven from tree branches.
Stephen Brashear/Getty Images
Amazon might have to choose between shutting down stores or putting cashiers in cashierless locales

Amazon opened two of its cashier-free stores in San Francisco in 2018 and has plans for a third on Market Street. But thanks to District Five Supervisor Vallie Brown, the Seattle-based online-shopping titan may have to check out of the entire idea.

In February, Brown introduced a measure that would bar most brick-and-mortar retail locations in San Francisco that do not accept cash.

She calls it an equity issue; a memo about the February proposal notes:

For many city residents (for example, those who are denied access to credit, or who are unable to obtain bank accounts), the ability to purchase goods and services depends on the ability to pay for those goods and services in cash. This is especially true of the very poor.

Millions of Americans do not hold bank accounts. [...] Some stand apart by choice, because they are concerned about privacy and do not want their every financial transaction recorded by banks and credit card companies.

[...] Others may not be well situated to participate in the formal banking system, or may be excluded from that system against their will.

According to Brown, as many as 50 percent of black and Latino households in San Francisco go without a bank account, although since the city’s most recent study dates to 2005 it’s hard to judge who might be affected by the rise in popularity of cashless stores today.

At Tuesday’s Board of Supervisors meeting, Brown announced she would expand the proposed ban to specifically include Amazon locations.

As originally written, the proposal excluded Amazon Go stores (along with food trucks, pop ups, and a few other strategic exceptions) on the simple grounds that these locations have no employees to handle cash. But after some consideration, Brown decided Amazon should hire a few people to accept cash at its brick-and-mortar stores.

“They can afford it,” she said of the company, which took in over $72 billion in revenue in the last quarter of 2018.

If Brown’s ban passes, Amazon may have to choose between shutting down Amazon Go stores or hiring cashiers for cashierless locales.
PCL Construction
The Xanadu project, launched in 2003 to add a major retail center to the New Jersey Meadowlands, was never envisioned as a garden variety mall. But New Jerseyans and visitors driving the N.J. Turnpike got a sense of what it wasn’t supposed to be in what it had become—an odd multicolored warehouse-like structure that stayed unfinished for a number of years and prompted a distinction then as the state’s leading eyesore.

But with new white aluminum cladding, a major redesign, a new name, three developers—and more than $5 billion and 15 years later—the American Dream has arrived.

Now an expanded retail-entertainment complex set to open in stages this year, it includes three indoor theme parks, 450 tenants and a dozen other attractions—far eclipsing the original concept, and with few peers, if any, in the changing U.S. retail real estate market.

And it’s all atop marshland that almost swallowed a Bobcat excavator.

The 5-million-sq-ft project is borrowing from developer Triple Five Worldwide’s own playbook for its mega-retail Mall of America complex in Minneapolis, where 20% of the property features entertainment attractions. The project could include a $250-million plan to build what would be North America’s largest indoor waterpark if it wins over opponents.

American Dream is amplifying the tilt to entertainment, says Tony Armlin, vice president of development at Edmonton, Alberta-based Triple Five, which took over the project in late 2010. “We positioned this so that 55% of our project is dedicated to amusement and attractions and dining experiences and 45% is focused on traditional retail experience,” he says.

A primary challenge has been to fuse varied elements cohesively, says Debbie Kalisky, associate of retail development at GH+A Design Studios, retail design architect on the project. “This is a new model, a multi-dimensional, multifaceted family destination,” she says. “That was the high-level vision, taking the bones [of a retail center] and reimagining it.”

A big part of the design was treating the existing abandoned structures—built by the first developer, Mills Corp., before it exited in a 2007 bankruptcy, and then by Colony Capital, which left in 2009—as a giant shell and essentially starting over, Armlin says. “We have completely revisioned, repositioned and redesigned what was here,” he says. “The only things that we maintained [were] in essence the [superstructure] and its envelope and some of the mechanical and electrical systems. The entire interiors were demolished and the whole exterior renovated.”

The $700 million in rehab work on those structures included substantial changes, says Wayne Melnyk, vice president of major projects leading the American Dream effort for PCL Construction Enterprises, the construction manager. “We’ve added skylights, we’ve closed areas where they had open courts, and in other places we’ve created open spaces or bump-outs in the building,” he says.

But the construction effort also has entailed building two new eight-acre indoor theme parks, more retail space and a host of added attractions. In the end, American Dream will open with 3 million leasable sq ft of retail and entertainment space and 11,000 designated parking spaces.

As Triple Five invested $3 billion into the project, on top of $2 billion in work from the prior developers, it has deployed an army of partners, consultants and staff, Armlin says.

“Obviously those are big numbers, so we had to assemble and create team management structures that would effectively execute renovation design, new design and enormous amounts of consultant coordination,” he says.
dezeen
Pastel tones and plenty of curves are found within this restaurant, located inside The Spheres at Amazon's headquarters in Seattle.

Willmott's Ghost is one of three spaces open to the public inside The Spheres – a trio of plant-filled glass orbs completed at retail giant Amazon's Downtown campus last year.

The restaurant on the ground floor of the building was designed by Heliotrope Architects, with interiors by Price Erickson and construction by Dovetail.

"With a three-storey jungle above, the restaurant takes its namesake from a thistle-like flower christened in honour of Victorian horticulturist Ellen Ann Willmott," said Heliotrope in a project description.

Serving Roman-style pizza and Italian cocktails, the eatery measures 1,900 square feet (177 square metres) and seats around 50 diners, and can be accessed independently from the street.

Both the setting within The Spheres and the cuisine influenced the design of the restaurant. The white-painted steel and glass structure curves around the space, restricting the layout of all the furnishings and fixtures.

"Enclosed within the spherical envelope, the area housing the restaurant proved an incredible – and inspiring – challenge, are much of the architecture is dictated by curves," said Heliotrope.

Along the outer edge, arc-shaped booths upholstered in dark green leather are positioned one side of the entrance, while a continuous bank of seating gently bends around the other.
AP Photo/David Zalubowski
Last week, Tesla (NASDAQ: TSLA) announced its unexpected decision to abandon physical retailing locations and move to online-only sales. Tesla’s CEO, Elon Musk, stated that online sales would lower the company’s operating expenses and allow the automaker to reduce its vehicle prices, thus increasing sales volume and helping it edge closer to consistent profitability. But Tesla’s decision shocked the industry as it was counter to many of its previous retailing and growth plans, and from most vantage points, it doesn’t make much sense (legally, practically, or fiscally) to many industry experts.

The legal argument…

On the day of the announcement, Musk held a private invitation-only conference call with journalists, who asked if the move would face opposition from state regulators that enforce franchise laws. Musk explained that online-only sales would allow Tesla to circumvent them, saying, “I’m sure the franchise dealers will try to oppose us in some way, but to do so would be a fundamental restraint on interstate commerce and violate the Constitution. So, good luck with that.”

The concept of using online sales to bypass franchise laws isn’t new to Tesla. For example, In Texas, where direct to consumer new vehicle sales are prohibited, customers must buy a vehicle online, then Tesla ships their car from states where it’s licensed to sell. But if Tesla closes its retail locations in states where it legally operates, it’s not clear if it will lose its licensing. Leonard Bellavia, a lawyer and franchise law expert disagrees with Musk’s legal opinion, “The statement by Musk that state dealer franchise laws prohibiting factory direct sales are unconstitutional is an overly simplistic and rather bald-faced generalization.” And while Tesla plans to close its retail sales locations, it intends to expand its service network, which is also fraught with legal issues, according to Bellavia, “An online sale only model would require both a sales and service facility to satisfy state licensing authorities, which defeats the purpose of online sales.” Musk didn’t address the service-related legal issues in his announcement.

But Tesla’s legal issues aren’t limited to just franchise laws; there are also other state and local regulations that create a regulatory moat around online vehicle sales. In certain states and municipalities, a “wet signature” or in-person signature is required for some or all vehicle delivery paperwork. It’s also unclear how online-only sales will affect each state’s new car lemon laws, which were written based on sales occurring within the respective state.