Inspired by the very principals of Brutalism together with the local warehouse vernacular this luxurious apartment in Sydney’s Inner West is both indulgent and utilitarian in its approach.
Dubbed “the concrete bunker” for its deliberate use of rendered finishes, and rejection of ornamentation the interior is unique - detailed and specific in its approach to warehouse living - eschewing the ubiquitous industrial aesthetic - with great effort made to synthesise client needs with a bold design approach. As a result, de-materialisation is at the core of the concept, and all elements have been reduced to their bare essentials. Moody, minimal and precise, this is a home free of clutter and visual pollution.
Throughout the west-facing apartment, all functional components are reduced to simple, yet evocative geometric forms. Natural light floods the living area and kitchen, its rays pouring through full-height windows; counterbalancing the interior which is intentionally dark. All interior elements including the sloping ceiling, staircase balustrade, and balcony of mezzanine level which accommodates the bedroom have been hand-rendered in specialty paint before treatment with a muslin cloth to create a dappled finish akin to that of concrete.
Warm mid-century touches are introduced with the application of American oak, brass, plywood and statement lighting. Custom furnishings by local artisan Jonathan West repeat these geometric forms and muted palette, underscoring the overall concept.
Design by Killing Matt Woods | Photography by Kat Lu | Editorial Styling by Madeline McFarlane
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Constructed in 1925, De Lakfabriek was once one of the largest leather tanneries in Europe. Today, the former factory has been transformed into 25 unique residential apartments by Eindhoven-based studio Wenink Holtkamp Architecten.
Characterised by its original red brick façade De Lakfabriek benefits from the introduction of a new glass and timber extension to its roof - the contrasting material a clear distinction between old and new. Original steel window frames which could not be preserved have been replaced with aluminum frames of similar profile.
Inside, the building’s heritage lives on. Stripped back to its raw concrete structure, the interior reveals as an unscripted surprise to its new inhabitants. Working closely with each buyer, Wenink Holtkamp Architecten developed their future homes to their specification; their passion for industrial architecture leading a desire to stay as close as possible to the authentic character of the building. As a result, a variety of individual spaces unique to the homeowner have been created; tailored to the tastes and needs of the homeowner they succeed against an industrial backdrop.
Photography by Tim van de Velde
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Regeneration specialist Urban Splash is one of the largest developers in the UK. Founded in 1993 by entrepreneur Tom Bloxham and architect Johnathan Falkingham and headquartered in Manchester, Urban Splash has since expanded across the UK, undertaking more than 60 regeneration projects and earning over 400 awards for architecture, regeneration, marketing and enterprise.
Over the past 26 years, Urban Splash has invested over a billion pounds in regeneration and created over 5,000 new homes and 2 million sq foot of work space. Design is a major priority for the company, which employs well respected architects such as Foster and Partners, ShedKM, Will Alsop, FAT Architects and Glenn Howells to help them rescue many great industrial landmarks of the past.
One such landmark painstakingly revived by Urban Splash is Royal William Yard in Plymouth, southwest England. The Grade I Listed ex-naval victualling yard was formerly used by the Royal Navy to process food, drink and supplies. Constructed between 1825 and 1831, Royal William Yard is considered to be one of the most important groups of historic military buildings in Britain and the largest collection of Grade I Listed military buildings in Europe. The 15-acre site has its own marina and dramatic views across Plymouth Sound.
A reimaging of the old naval site as an up-market mixed use development was first conceived by award-winning architects Ferguson Mann. Ferguson Mann designed the modern office, retail and restaurant environment to retain as many of the original features of the historic buildings as possible.
Work is now being undertaken by Gillespie Yunnie on the Melville Building, the striking centrepiece of Royal William Yard and one of the last remaining buildings to be completed on the waterside site. The 90,000 sq. ft building will host a mixture of office, retail and leisure space from 300 to 10,000 sq. ft.
The scheme retains the Melville building's original Georgian features, from the timber double loading bay doors to the historic warehouse and timber sash windows. Urban Splash commercial director Emily Handslip explains: “This is such a special building and we want to embrace all of the original features it has to offer, sensitively restoring the exposed timber beams, cast iron columns and historic limestone and granite facades to create spectacular, well-designed spaces for businesses.”
Over 55% of the available space has already exchanged or is under offer, but it won’t be long before the iconic architecture and unique coastal destination draw in more businesses. Hanslip says: “Royal William Yard is a destination that pushes the boundaries of creativity, innovation and discovery, resulting in a unique community in which people want to live, work and play. We look forward to welcoming even more businesses to that mix as we complete Melville.”
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With locations in over 57 countries and over 7000 employees, Ottobock Healthcare GmbH is the international market leader in technical orthopaedics and prosthetics. The family-run business celebrates its 100 year anniversary this year which has been marked by a systematic expansion of its presence in the German capital.
Founded in Kreuzberg in 1919 by orthopaedic mechanic Otto Bock, the company has now relocated about 200 employees from its Development, Product Management, Project Management and Strategic Purchasing departments, as well as the Management Board, from Thüringen to the former Bötzow brewery in Prenzlauer Berg, Berlin.
Hans Georg Näder, chairman of the board representing the owners and third generation of the founding family, acquired the listed Bötzow complex in 2012 and since then has developed it with British architect Sir David Chipperfield based on a master plan.
Having already successfully completed concepts with Swiss furniture company Vitra in Austin, Texas and at the Ottobock head office in Duderstadt, the partnership continued when planning and implementing the project in Berlin.
The product developers now work together on one floor, grouped in clusters in an open-plan workshop that facilitates interaction. The Product Managers are housed on the floor above, close to the development process. The open office landscape, which was planned and set up by Vitra experts, promotes work and communication channels in a functional manner, while the raw workshop character of the furnishings reflects the faithful restoration of the historic interior – without neglecting a certain degree of comfort and modernity.
The open work environment, which features the height-adjustable Hack table system developed in 2015 by Konstantin Grcic along with Vitra ID Trim swivel chairs by Antonio Citterio, can be used flexibly to meet the needs of the employees.
“Now we are permanently moving into premises at Bötzow,” states Näder. “And we are working together there in a modern, collaborative way. There are no longer assigned workplaces. This generates spillover among the departments, closely linked with our tech hubs in Duderstadt and Vienna.”
Photographer: Eduardo Perez
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WOWOWA architects have transformed a former shoe warehouse in Australia into a playful, colourful and contemporary home for a young family of five.
The three-story warehouse, located in Melbourne’s Fitzroy North, dates back to the early 1990s. Originally composed of a series of rooms, WOWOWA has reconfigured the building's floorplan allowing the space to be orientated towards the windows before deliciously reimagining its interiors.
Referencing the pages of a cookbook - a cake special, no less, the architects have created a space that is rich in colour and materials. The existing textures of the building serve as a source of inspiration for the architects. And through unraveling the existing layers of the heritage site, its mottled combinations of brickwork have become a backdrop to a palette of red, pink, mustard, tan and copper.
Photography by Martina Gemmola | Editorial Styling by Ruth Welsby
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Set within the old Thonet showroom in Melbourne’s Fitzroy, the stylish interior of this Bentwood cafe pays homage to the building’s former custodians. With reference to the furniture company’s most iconic design, Bentwood employs the use of carefully detailed joinery to reflect the industrial heritage evident both within the space and the surrounding neighborhood.
To achieve this, emerging Australian design practice, Ritz&Ghougassian referenced the colour and material palette of the building’s exterior throughout its internal spaces. Primed steel wall cladding and a gridded ceiling in red oxide offsets exposed heritage brick and steel-framed windows. A paved brick floor and leather banquette add texture while faux concrete columns are inserted to complete the look.
A skilled craftsman, Michael Thonet painstakingly carved his furniture from European beech until he discovered a method of bending wood, exploring the limitations of its flexibility and developing a new era of design possibility.
Considered the definitive Thonet, No. 18. Is one of the most successful chair designs ever produced. With versatile seat options, this timeless classic features the elegance and functionality that is Bentwood; The classic No. B9 Le Corbusier armchair was widely used by the Modernist Architect during the mid-1920s; The utilitarian Round Barstool, shown here in Tall, features decorative braced hoops and is ideally suited to industrial schemes and warehouse homes.
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Local architect, Arjaan de Feyter has completed a pared-back office space within a former grain silo, in Antwerp, Belgium.
Once the largest processor of malt in Europe the industrial complex, now known as Kanaal, constitutes 98 residential apartments, including this minimalist penthouse, as well as office and retail spaces. Beginning with an empty shell, the brief from the client required simply that the practice make this space look just like their own studio.
On developing the concept, Arjaan de Feyter comments “atmosphere was extremely important”. Ideas of authenticity and honesty are communicated through the curated application of materials such as timber, stone, and steel. A minimalist scheme employs a simple palette and tactile surfaces. Whitewashed surfaces treated with a lime and mineral coating a stark contrast to the dark walnut and steel which features throughout. In the kitchen, moody slabs of dark green marble with prominent white veins are used for both benchtops and splashback. Glass paneling allows the space to feel open and light while closed-off rooms are allocated for meetings and private phone calls.
Photography by Piet-Albert Goethals
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Here, in this former soviet-publishing house sits a surprisingly intimate 150-room hotel. With lively interiors, a popular restaurant, gallery space, and casino, the Stamba Hotel has firmly positioned itself as a cultural hub for tourists and locals alike.
Located in the emerging neighbourhood of Vera, Tbilisi, this 20th-century landmark is well placed in its proximity to the capital’s most sought after boutiques, bars and restaurants. A charming and historic quarter, Vera has long been associated with Bohemians and intellectuals alike.
Notable for its cavernous spaces, the Stamba Hotel retains much of the building’s original features. Salvaged printing paraphernalia, such as the former publisher’s print drying beam, remain.
On the roof, a glass-bottomed swimming pool has been installed allowing dappled, natural light to flow freely and gently into the building. A fluidity which informs the hotel’s design concept. The interior, completed by parent company Adjara's in-house design firm, is described by Design Hotels as "bright and lively; imaginative and industrial in equal measures". Guest rooms are spread out over five floors, with the highest offering private views of Tbilisi. Spacious bedrooms found throughout, feature expansive ceiling heights complemented with exposed brickwork and concrete beams.
Imagery courtesy of Adjara Group
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Re-Veil is a collection of 15 industrial buildings purpose-built for use during the Chinese revolution. Acquired by developers in 2011 the derelict estate was intended for demolition. But in recognising the significant historical and cultural value of these heritage buildings, Hong-Kong based architects, Superimpose successfully fought for its preservation and regeneration.
Today, the area of Changzhi is best described as a ‘cultural hub’ with the first and largest of the factories becoming the ‘Changzhi City Expo’. It includes an exhibition centre, a government-meeting centre, office spaces, and an auditorium.
Retaining and restoring as much of the original factory elements as possible, only minimal architectural interventions are visible. Notable features of the space include repetitive structural frames and unique, hand-painted signage bearing propaganda slogans such as 'Big Victory'. Outside, the original brick façade is robust yet rhythmic.
With a vision to challenge urbanisation in the fastest growing country in the world, Re-veil has become a benchmark for similar cities currently undergoing planning decisions in areas with cultural heritage.
A celebration of cultural heritage, Superimpose have embraced the original architectural quality of the factories while carefully introducing considered modifications and interventions.
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A gasholder or gasometer is an enormous container in which natural gas can be stored near atmospheric pressure. The telescopic gasholder was invented in 1824 in Leeds, England, and provided the gas storage needed to meet the demands of Britain's expanding cities over the decades to come.
The concept was not peculiar to Britain, however. Gasholders were also prevalent in western Europe, with brick-built gas storage cylinders in cities such as Vienna and Stockholm. Across Europe, these monolithic but oddly romantic structures carried out essential roles for local communities, ensuring the continuous supply of energy for heating and lighting. After many years in the public's service, as infrastructures improved, they became all but obsolete. By the 1980s, gasholders were frequented as venues for London's underground music scene, with raves held across the capital in the derelict cylinders. By 1990, where they remained in use at all, gasholders were largely being used merely for balancing purposes, to ensure gas pipes operated within a safe range of pressures. But most local gas networks were able to function at full capacity without the storage cylinders.
By 1999, Britain's National Grid had made the decision to start the demolition of gasholders. Today, as they are gradually being taken out of use across Europe, numerous exciting proposals for the reuse of gasholders and gasworks have been put forward. Here, we track two fascinating projects; one recently completed in London, England, and the other now commencing in Stockholm, Sweden.
LONDON
King's Cross is fundamentally linked to the industrial development of London. With the completion of the Regent’s Canal in 1820, it was connected to major industrial cities across the north of England. 1824 marked the arrival to the area of the Imperial Gas Light and Coke Company, which opened the Pancras Gasworks to the south of the canal. Between 1849 and 1852 the Great Northern Railway developed its London terminus at Kings Cross. Set at the juncture between road, rail, and river, King's Cross remains a vibrant hub today. But the area has experienced a dramatic transformation. From a polluted industrial wasteland has emerged one of London's most exciting new neighbourhoods. And at the heart of the redevelopment is a trio of refurbished grade II listed Victorian gasholder guide frames. Now, contained within the wrought iron frames dating from the 1860s, are new cylinders containing luxury apartments and penthouses. Conceived by the London based architecture firm Wilkinson Eyre for King's Cross developer Argent, the project offers an impressive counterpoint between old and new, with perforated metal shutters screening the glazed facade contrasting with the original frames.
It took over two years to refurbish the gasholders' 123 cast iron columns after they were dismantled by cranes and transported in sections to teams in Yorkshire to be skillfully restored.
The circular nature of the iconic gasholders inspired the architects at Wilkinson Eyre to arrange homes around three atria. Large skylights fill the interiors with natural light.
Jonathon Tuckey Design combined warm woods, resin, stone and metal to reference the industrial heritage of the gasholders within each of the 145 newly constructed apartments.
STOCKHOLM
For more than a century, gas was produced in Hjorthagen, a district set to the northeast of Sweden's capital Stockholm. When the works closed in January 2011, the city claimed the responsibility for establishing imaginative new opportunities for the site. The key concern has been to ensure that in its redevelopment from a closed industrial site to an urban destination, the gasworks' distinctive architectural qualities are preserved. A significant portion of the area was planned and designed in the 1800s by the Swedish architect Ferdinand Boberg and from its inception, the industrial site was closed off to the public, despite being situated very close to the city centre. With the redevelopment, led by CA Real Estate, it is hoped that Gasverket will become one of Stockholm's most popular destinations. Work commenced in 2017 and it is anticipated that the entire project will be completed by 2022. Hjorthagen is expected to gain 15,000 new inhabitants over the coming years and the gasworks, fully transformed with parks, offices, a museum, and schooling, will be at the heart of the community.
The historic brick buildings will undergo a painstaking renovation to preserve their character. Their contemporary interiors will include new designer shops and restaurants.
The proposed interior of an old brick-built cylinder is a surprising contrast to the external structure, cleverly utilising its unique shape to create a communal experience.
The old gasworks quite literally delivered warmth and light to the city of Stockholm. Upon completion, the redevelopment is expected to bring a different energy to the area.
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The old firehouse building of Beverly, Chicago in America dates back to 1915. Owned by the city-state it stood at an impressive 7,770 square feet but became derelict in 2008 and was completely stripped of its wiring and plumbing when it finally closed its doors for the use of a newer fire station that had been built nearby.
In 2013, the City Council sold the firehouse to the custom-made hat maker Optimo for just $1. The Chicago born firm was thereby given the go-ahead to create some state of the art headquarters. This was on the condition that they would revitalise the firehouse and bring it back to its original state of grandeur.
Optimo commissioned the global architecture firm SOM to do the job in the same year on the grounds that the firms shared the same interests of craftsmanship, authenticity, and timeless luxury. With an office in Chicago and many links to the city, they were able to create a factory office that would both pay tribute to the history of the building and satisfy the needs of a hatmaker known for its attention to detail.
Having undergone five years of fine-tuning, in 2018 the 103-year-old building can no longer be described as derelict nor decommissioned, and as of its recent completion, it now houses all of Optimo’s design, operations and productions.
On the first floor of the old firehouse, Optimo handcraft their hats with antique equipment. Old machinery has been sourced from all around the world. One of their machines is from 1899 and is ‘so heavy that it bent the winch when it was moved to Beverly’ according to company owner Graham Thompson. SOM have used a variety of materials to maintain the tradition of their hatmaker clients’ practice and to produce what they express as a ‘contemporary workshop with an industrial aesthetic’. Blackened steel, walnut and cork all take pride of place in the workshop to introduce a refined understatement to the interior, and to match its authentic equipment.
At Optimo, each hat is tailored and custom made. So has been their headquarters. Steel casings frame workstations and custom floor to ceiling shelving have been implemented in the space. The restored brick walls have been restored and glazed. Each of these elements works to emphasise the 50-foot height of the former firehouse.
One floor up, a design atelier hosts Optimo’s clients in an expansive studio space. History lies in materials and objects from the past once again where hat-making memorabilia lies on full height steel shelves. These remnants of industrial history add weight to references to the building's past, where for example, there are old fire-pole holes converted into port windows that boast views of the workshop one floor down.
Equally, in the private office that sits adjacent to the atelier, open shelving mirrors the style of the industrial carts on the production floor. The firehouse’s original marble that has been repurposed to finish a kitchen that sits behind the south wall of this office. Brass light fixtures through the private areas of the second floor match the brass of the new and very public front doors of the property. Every square inch of the property marries into the industrial luxe theme it so seems.
Optimo now runs from the old firehouse as the last custom men’s hat maker in Chicago. The niche company employs local residents in Beverly’s community, and have infused it with creativity to support its economic and social status. Although SOM had never designed such a small factory before, they excelled in their rigorous attention to detail. This year they won three awards for their role in the project including a ‘Recognizing Exemplary Design (RED) Award, a Design Excellence Award, and a Citation of Honor Award for their interior architecture. By drawing on a rich industrial past, both SOM and Optimo have been able to play a part in the inventive future of a quiet old community.
Photography by Tom Rossiter courtesy of SOM.
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Des Moines in Iowa, America began as a coal mining town back in 1864. Through the rest of the century, a number of mines were exhausted and left behind for another. By 1893, 23 mines existed in the region, however by 1908, the city’s resources had vastly depleted and the city became reliant upon other forms of industry. Efforts to rejuvenate the city during the Great Depression of the 1930s did little to protect against its long-term economic effects and the city sank into decline from the 1950s to the late 1980s. Although the city has seen an impressive movement in business, its unstable past has led to these businesses overlooking whole districts in which industrial neighbourhoods continue to lie.
In 1901, in what was one of these districts, there stood a 55,000 square foot commercial building that was being used to manufacture agricultural machinery for the Advance Rumely Thresher Company. Over the course of 113 years, the building managed to stand the test of time but had been gutted by fire in 1918 and was left only partially rebuilt on a design by the Iowa architectural firm of Proudfoot, Bird & Rawson in 1919. More recently, another Iowa firm Neumann Monson Architects saw the historical significance of this disused building and saw an opportunity for growth there. They took on the project keen to grasp the sustainability that is integral to ‘breathing new life into an existing resource’. They endeavoured to create the first building in Iowa with a LEED Platinum status and the ability to produce more energy than it consumes. With its geothermal and solar energy sources, MarketOne qualifies for the Netzero energy certification. That's not the full story, however. In order to carry on in the most resourceful way possible, the firm insisted on maintaining the building’s original characteristics alongside the installation of a number of solar panels They set themselves the task of creating work environments that were ‘faithful to the 1901 facility’s open warehouse floors’.
The MarketOne project connects the use of modern heritage features and materials of the future. Neumann Monson has also worked hard to divert old materials from the waste stream by retaining and repurposing many existing materials. Load bearing red brick runs through the entirety of the industrial property and both cast iron and heavy wood columns remain a focus of the workspace. Furthermore, the workspaces are vastly open and are also left with an original high-ceiling. Where needs have required enclosed spaces, the architects have designed them as islands central to the building with short walls and low ceilings. The fact that these ceilings are well below that of the rest of the floor meant that the open aired nature of the warehouse is preserved. Glass and poly-carbonate partitions are used to do this as well, for they not only encourage daylight to enter the warehouse building right to its core but also mean that there is an open visual connection throughout each floor.
Between floors, state of the art metal stairs are a domineering presence. Heavily perforated slats offer a further visual connection emphasising the grandeur of the building. Low lighting illuminates the rugged brick walls and speaks for their impressive strength and age. In doing so it also illuminates how wasteful their destruction would be, and how wasteful their neglect has been.
The renovation was completed in 2015, but Neumann Monson has done more than just save a building from neglect. They have used the process of industrial conversion to add new heights to Iowa, both literally and figuratively. Though the area of the MarketOne renovation has spanned 55,000 square feet, another 1,887 square feet has been added to provide a new deck on the top of the building. The architects have contributed much more prominently to the urban landscape of De Moine however. The project is the perfect example of how new technologies and old characterful structures can work together. Culture can be retained whilst energy efficiency can be improved.
Since the completion of the building, there has been increased investment in the area which has remained sensitive to respecting existing structures. And, despite the invisibility of many of the building’s sustainable features, they have been very noticeable to the public eye. This year the MarketOne project won the AIA Iowa Craft Award for 2018, joining Neumann Monson’s array of awards from previous years. These consist of the 2016 AIA Iowa Design Award, the 2016 IIDA Great Plains Chapter Award and the 2015 AIA Central States Design Award. The positive reception of the building and its sustainable features is a clear signal to other developers of where the future lies.
Photography by Cameron Campbell Integrated Studio
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With its reputation of glitz and glamour, Hollywood in Los Angeles, America is rarely categorised as an old industrial area, but its rise is embedded in its longstanding history in the film industry. Through the entire 20th century, Hollywood faced major industrial boom periods. In the early 1900s, filmmakers began moving to the Los Angeles area to find freedom from the Motion Picture Patents Company in New Jersey. Following widespread success in doing this, in 1911 the first motion picture studio in the area was built by Sunset Boulevard by filmmaker David Horsley's general manager Al Christie. Soon after, movie studios began to multiply all over Hollywood, for example, Cecil B. DeMille in 1913 and the Charlie Chaplin Studio in 1917. These studio spaces were essentially large adaptable warehouses. Another boom of industrial architecture occurred with the rise of television in the 1950s. This prompted the construction of television and music recording studios all over the city. The future of the city is always evolving, however, and Hollywood is now becoming internationally known as a burgeoning art and design destination.
Fittingly, this month, LA-born furniture design studio APPARATUS celebrated the opening of their new showroom at 1021 N McCadden Place, right near the heart of Hollywood. This involved 14 months of renovation work on a disused television production studio and 5,000 sq ft warehouse space. This was led by APPARATUS co-founder, Gabriel Hendifar, and the firm now neighbours JF Chen, Blackman Cruz, Ralph Pucci and Regen Projects. The challenge was to adapt an old industrial space to channel the brand’s signature polished aesthetic through a Southern California lens.
The design studio was able to accomplish this goal with a palette of desaturated sunset tones and attention to detail such as the positioning of paintings of De Chirico to propose a refined vision of Los Angeles living. However, the textures and materials used in the architecture of the showroom pay great dues to the industrial origins of the building. Steel and glass both feature in the entrance of the showroom, and the building has been left without any street-facing windows. Instead, natural daylight will champion the studio coming in from a row of clerestory windows 15 feet above the ground, in order to allow a transportive experience that echoes that of the New York APPARATUS space. They emulate the style of warehouse windows. Furthermore, retaining the raw and combining it with the smooth that has been produced by new technologies has been central to the project. In the architecture lies a mix of a mix of stone and veneer, and in details fabrics and textures range from the rough to the refined. Other basic materials have been used to craftsmanlike effect in the building’s plaster walls, troweled by hand, and about three tons of discreetly placed gravel.
Photography by wichmann+bendtsen; Styling by Helle Walsted.
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Industrialisation was once key to the growth of Helsinki, the capital of Finland. The process began in the 1860s and culminated in the construction of industrial areas to the North of the city such as the district of Kallio, which was primarily inhabited by factory workers. Whilst this is no longer the case, many factory buildings remain. They are finding new purposes, however, new ways to participate in the city’s modern climate.
Bob the Robot found a home when Joanna Laajisto Studios created the House of Bob for the Finnish advertising agency. Working with an old bread factory, the studio intended to design the six-metre-high factory space to be more like a private member’s club than a corporate environment. The studio decided to celebrate and work largely with the industrial features already inherent in the property seeing that the quality and longevity required for a high-end work environment already lay within it. In the 1,500m² factory, space lay ideal for example; it was vastly open plan, offering good potential for workers to interact with one another. The property was just in need of a little design expertise.
Now, public areas, such as the lobby and café have been left open, allowing both customers and employees to mingle freely. In these areas of the office space, striking chandeliers have also been custom made. Their straight black metal structures hang at a right angle to the open ventilation and pipework that sit along the ceilings and the walls. The strict angles of the industrial feature and stylistic features mean that they complement one another well.
Furthermore, fluted glass panels have been used to divide open plan space, for example, it is used in meeting room walls. This offers privacy without encroaching upon the large and open air that is inherent to the cavernous warehouse building. In addition, the use of more alternative materials ‘breaks away from typical corporate office environments’ as Joanna Laajisto puts it.
The studio approached materials with a keenly resourceful eye, repurposing where they could in order to help with budget costs. Laajisto stated, “We like the idea of hi-lo design; high-end details side by side with lower end materials. For us it was fulfilling to use marble pieces with defects that normally would be left unused’. The marble of which she speaks is Carrara marble, which was used continuously through the design of House of Bob. Paired with the oil slick of the natural MDF used in the workspace’s stair rails, the building began to take on an industrial luxe aesthetic. Completed at the close of summer 2018, the office pays homage to its history in a number of unconventional ways that make the project nothing less than cutting edge. It is no surprise that Bob the Robot has moved so keenly into the workspace this November month.
Photography by Mikko Ryhänen.
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Combining shop, workshop, and restaurant under one roof, British designer Tom Dixon has unveiled a new flagship in the creative heart of London’s Kings Cross.
Set against the industrial backdrop of Coal Drops Yard, the new London flagship will lead as a multi-disciplinary platform for innovation in design. Displaying the designer’s distinct collections and extraordinary objects within the building's arched brick walls, customers are invited to explore lighting, textiles, furniture, and perfumery.
Facing the Regents Canal, The Coal Yard dates back to 1851. Together with Coal Drops Yard, the heritage site once formed the hub for coal distribution in and out of London. Today, the industrial architecture of Victorian London remains, providing an atmospheric background to its developing surrounds.
Spanning 1, 625 sq m the new store introduces a new immersive experience for its customers. Inspired by a fascination for manufacturing and craftsmanship, The Factory is an open workshop for making, creating and testing ideas. A creative collaboration between Dixon and renowned chef Assaf Granit, sees the flagship’s new restaurant, Coal Office, imagined as an experience in fresh, creative food within a beautifully designed and atmospheric space.
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Built between 1880-1889 and operating for over 100 years, Sydney’s Eveleigh rail yard was once the largest enterprise in Australia. In what is considered one of the best examples of railway workshop complexes, the rail yard, and the arresting spaces within it, once saw to the build, repair, and maintenance of train carriages for the rapidly expanding rail network, even seeing to the production of the first electric carriage. But over time, and as industry developed, productivity within the deteriorating rail yard buildings sadly declined until they were eventually closed in 1988.
Armed with the vision for "creating an artistic hub where creative work could be explored, developed, commissioned and presented" the NSW State Government completed purchase of the site in 2003. Adaptive reuse soon began, with care to retain and highlight existing heritage features such as distressed brick walls, original columns, iron framework and concrete floors. Reopening in 2007 under the name of Carriageworks, the world-renowned venue is today the largest and most significant contemporary multi-arts centre of its kind in Australia.
Thinking about visiting? See what's on here. Our tip? Saturday morning is best! Carriageworks is also the location for Eveleigh market, a weekly farmers’ market featuring seasonal produce and artisan food stalls. Housed in the Blacksmith’s workshop adjacent to the rail yards the 2,000 sq m industrial venue provides the opportunity to support the local community as well as producers, suppliers. We recommend sipping on a flat white from Single O while grabbing a loaf of Sourdough from The Bread & Butter Project. Share what you find on Twitter and Instagram via @mywarehousehome
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The original Domino Sugar plant in the Williamsburg area of Brooklyn, New York, was built in 1856. By 1870, it processed more than half of the sugar used in the United States. In 1882, a fire completely destroyed the original building and it was rebuilt in brick and stone.
Finally, after a long struggle, the Domino Sugar Refinery, which was once the largest in the world, shut down in 2004. In 2013, the developers gave Brooklyn based photographer Paul Raphaelson exclusive access to the derelict refinery before demolition work began. He was the last photographer in the building and his book 'Brooklyn's Sweet Ruin' is a powerful record of a New York icon's final days.
As Domino Park opens, in the first phase of an ambitious project to redevelop part of the refinery and a substantial area of land surrounding it, it is fitting to share some of Raphaelson's photographs. Here, in all its colour and chaos, is a prime example of post-industrial America. But as we marvel at its past, we also celebrate its future.
New renderings also published here reveal the remarkable remodelling of the old sugar refinery's waterfront that is currently underway, and being led by Two Trees Management.
© 2017 Paul Raphaelson from the book: 'Brooklyn’s Sweet Ruin: Relics and Stories of the Domino Sugar Refinery' Photographs and text by Paul Raphaelson, Schiffer Publishing, amazon.com
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By preserving the original art deco features of this Melbourne warehouse, Biasol has now created a shared studio and office space for their team.
Australian design studio Biasol has completed a modern warehouse conversion in the creative neighborhood of Cremorne, Melbourne. Founded by Jean-Pierre Biasol in 2012 Biasol are best known for their work with UK coffee franchise GRIND. But by preserving the original art deco features of this Melbourne warehouse, they have now created a shared studio and office space for their team.
Once an industrial hub, Cremorne is now home to a rising influx of startups and creatives finding new use for its retired buildings. Inspired by the manufacturing history of the area. The space, now known as Gwynne St Studio, highlights existing architectural features such as exposed brick walls, large steel trusses and an open plan layout. A playful injection of bold colour complements hard lines while steel signage in an art deco font speaks to the building's heritage. Inside, a simple palette of materials sees a focus on high-quality finishes. Floor to ceiling black framework with reeded safety glass creates a sense of privacy.
Photography by Ari Hatzis.
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Rust Architects have completed a contemporary interior scheme inspired by loft living within a newly completed tower block in central Tel Aviv.
The existing raw space, spanning 100 sq m, features floor-to-ceiling factory style windows, unfinished surfaces and an exposed concrete ceiling. The now completed space merges sophisticated, functional design with luxe industrial materials such as iron, marble and glass.
Throughout the interior, a monochromatic palette is offset with accents of blue, timber and buttery vintage leather; a stylish combination standing testament to the continuing popularity of industrial style and warehouse living worldwide.
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This impressive 350 sq m, split level loft in Salzburg, Austria has been recently converted by visionary architects Smartvoll. Located in Panzerhalle, an area where tanks were once stored and repaired, this extraordinary apartment now sits amongst a thriving neighbourhood of creative co-working spaces, coffee shops, bars, and restaurants.
According to Smartvoll, the challenge was not only to preserve the existing space but to fill it with natural daylight. To achieve this, a sculptural concrete staircase has been inserted into the very centre of the main living zone. The staircase divides the space, creating a roof for the kitchen whilst also supporting the bedroom, bathroom, and guestrooms above. On the mezzanine, sleeping zones have been moved to the margin, providing views of the Salzburg mountains.
The carefully considered interior features smoothed and waxed concrete in a modern interpretation of the building's heritage. Subtle semi-transparent materials such as glass contrast concrete and original brick throughout.
Photography by Tobias Colz
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Independent communications design studio Four23 has completed a self-designed office space within a former precious metal workshop in London’s Clerkenwell.
Executed by Harriet Paterson, the interior takes inspiration from a photograph of an oak and brass toolbox; a metaphor for the team at Four23, wherein each individual has their own role and specialist ability but when placed together provides the ability to craft anything.
On entry, visitors are greeted with a seated reception area. A sliding oak door leads to subsequent meeting rooms, each offering a space to plan, think and get together. In the communal area, moveable partitions create a flexible mix of private and shared studio zones also suitable for hosting events, lectures, workshops, and exhibitions.
A considered space with acute attention to detail, the interior scheme features iconic designs from brands such as Vitra and Anglepoise as well as contemporary labels like Muuto, Northern, and Urban Ears. Black metal windows, raw London brick, and exposed pipework, amongst other industrial elements, reference the original building whilst brass and engineered timber provide a warming contrast.
Photography by Paul Massey
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Built in 1857 this stoic building was once the largest processor of malt in Europe. Acquired by Axel Vervoordt Real Estate in 1998 the retired industrial giant, now known as Kanaal, has been recently converted into 98 residential apartments. With priority given to restoring the building’s distinct historic character, architect Stéphane Beel has created a series of unconventional yet luxurious living spaces across the estate's six remaining silos.
Within these cylindrical structures, where grain was once stored, the layout of this third floor 200 sq m apartment by interior architect Arjaan De Feyter comes to life in a series of connecting circular spaces. Rich with sophisticated and refined materials such as plastered concrete, brass, silvered ash and travertine a quiet minimalist scheme has been achieved throughout.
Bespoke furnishings follow the building’s line and curvature. While soft textures like linen work to create an acoustic barrier. Only two straight walls have been integrated into the final design. These multifunctional partitions work to not only divide space but provide adequate storage.
Inspired by this feature? In Warehouse Home Issue Seven we travel the world visiting three incredible silos now converted for commercial and residential use.
Photography by Piet-Albert Goethals
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Founded in 1987, jj Media has grown from a family business to the largest production services company in the UK. The agency’s sizeable locations portfolio ranges from old churches and theaters to country mansions, ships, and printworks. A particularly impressive industrial site is Wapping Hydraulic Power Station. But jj Media also operate ten studios of their own, totaling 35,000 sq ft and located in a former match factory and an old milliners building, both in the heart of London’s fashionable Shoreditch. The two buildings narrowly escaped destruction during the second world war. A bomb fell on Wimbourne House, the milliners building, piercing the roof and every floor before landing undetonated in the basement.
Acquiring the listed sites, jj Media have taken care to sensitively preserve their original features. Various quirky decorative pieces and vintage furniture and lighting have been individually sourced to suit each space and complement their heritage elements. It was this considered celebration of each building’s authentic characteristics that attracted our team to the former match factory Perseverance Works. It was there that we photographed imagery for the launch issue of Warehouse Home. Where the hum of machinery once filled these buildings, there is now a new creative buzz. 10,000 further spaces are expected to join jj’s portfolio via Connect in its first three months. The future looks snappy.
Built in 1890, Wapping Hydraulic Power Station (above, and left) originally operated using steam but was later converted to use electricity. The station powered machinery across London until its closure in 1977. Today, the towering pump rooms and engine house owned by property developers UK Real Estate Ltd host exhibitions and events booked via jj Media agency.
(Below) At Perseverance Works, the white-painted exposed beams, wooden doors and raw brickwork of the LOFT location are popular with a wide variety of clients looking for heritage features. Meanwhile, as its name suggests. APEX boasts a 20ft high vaulted roof with wooden trusses and original Victorian sash windows. Both venues are filled with an abundance of light. There’s no sign of bomb damage today at Wimbourne House, where the basement SOHO studio is popular with clients hosting press events and is even used as a wedding venue. ROME on the floor above offers stylists attractive red brick walls with the remnants of many years of paintwork. Vintage industrial lockers and other decorative accessories have been specially sourced for the location from vintage fairs and architectural salvage specialists by jj’s director Johnny.
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In 1923, Le Corbusier noted, “Thus we have the American grain elevators and factories ... magnificent first-fruits of the new age.” As testaments to a bygone era, these utilitarian structures continue to be worthy of our full admiration.
Those silos to which Corbusier referred then were most likely constructed in steel and concrete and it is for this reason that so many survive today. But as fortunes and industries changed, many silos fell into disrepair and dereliction. City officials and developers have had to be brave and bold converting these soaring structures. The spatial variations mean these projects are particularly challenging. Most storage silos are windowless towers and only have ground floors. But vision and perseverance pay off.
Where grain was once weighed, cleaned and stored, communities and visitors can gather, homeowners can now set up house. Cultural venues use the dramatic proportions, while design-conscious homeowners embrace the epitome of urban living. And so silos become new focal points defining their districts and honouring local heritage for decades to come.
COBE ARCHITECTS | Copenhagen, Denmark
(Above, and left) This 17-storey old grain silo is the largest building standing in Copenhagen’s Nordhavn (North Harbour). The enormous post-industrial development is currently being transformed into a new district for the city and Danish architects COBE were tasked with reworking the soaring silo.
The recladding of the concrete exterior has updated its appearance with galvanised steel patinating over time while maintaining an essential link with the silo’s past. Internally, many of the 38 single and multi-level apartments retain raw concrete while floor-to-ceiling windows offer panoramic views.
Images (main and left) courtesy of COBE Architects | Photography by Rasmus Hjortshøj of COAST Studio.
Image (below) courtesy of The Royal Portfolio | Photography by Iwan Baan.
THOMAS HEATHERWICK | Cape Town, South Africa
(Above) Heatherwick Studio from London has achieved a remarkable hotel in a 1920s grain silo set on Cape Town’s waterfront. Formerly the tallest building in the city, the silo now holds the Zeitz Museum of Contemporary Art Africa, South Africa’s largest art gallery.
The six floors over the museum hold The Royal Portfolio’s Silo hotel. Many original features, including 42 cylindrical storage silos, have been retained. Bulging pillowed glass windows, inspired by the shape of grain, offer far-reaching panoramas.
WENINK HOLTKAMP | Deventer, Netherlands
(Right) The Zwarte (Black) silo has a distinctive dark exterior due to its bitumen coating and stands imposingly beside Deventer harbour. Constructed in 1923, the former grain silo became derelict in the 1990s. A local foundation specialising in the regeneration of historically significant buildings approached the Eindhoven-based studio Wenink Holtkamp Architecten.
The silo’s authentic features, such as its loading cells, were preserved; tall windows were added. Today, the building is bringing new life to the area, housing a bustling street food market that has dramatic harbour views.
(Below) Brisbane based artist Guido van Helten is transforming facades of decommissioned silos. His murals powerfully pay homage to the local community and chart the changing history of the outback.
Van Helten used a computer to digitally map each artwork, with allowance for the difficult curvatures of the silos. Working from a cherry picker, the artist employed a spray gun, roller and a brush to bring the imposing figures to life.
Image (right) photographed by Tim Van de Velde.
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It is a sad truth that much of America’s once thriving textile industry has been outsourced to overseas locations and their cheaper workforces. And left in the wake are many abandoned mills. Those few that remain have either been forced to adapt to the modernisation of an industry now dominated by foreign imports, or they are fortunate enough to still cater to a niche market that values origin and craftsmanship over costs.
“In this post-industrial age, we’ve become too dependent on imports. We have no idea where goods come from or how things are made. If there is a basic message I’m trying to convey in my photographs, this is it: manufacturing still matters. This is a celebration of manufacturing—not a eulogy.” Christopher Payne
Visiting the mills near his birthplace, photographer Christopher Payne set out not only to capture New England’s textile heritage, but also to honour those individuals who are responsible for preserving small-scale manufacturing and craftsmanship in America, in spite of the global competition and unrelenting technological progress.
Circular knitting machines were introduced in the 1860s. The earliest models were hand-powered machines used to produce stockings. Newer models, like those shown here at Fall River Knitting Mills, Massachusetts, share the same function but can create more complicated garments in less time.
Each image in the Textiles series captures a different part of the process, including many which remain entirely unchanged. In capturing the transformation of raw fibre to finely wound and woven threads, this series is a vibrant celebration of an industry determined, and deserving, to survive.
Photography by Christopher Payne
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Two new, very different conversions, on either side of the Atlantic, prove that the imaginative reuse of industrial buildings can foster creativity, collaboration and a sense of community.
(Above, and left) Paper Mill Studios are the realisation of a long-term ambition for photographer Sam and stylist Sarah. They worked closely with Gresford Architects and Stack London to bring new life to a former industrial building, just a stone’s throw from ‘Silicon Roundabout’.
For Sam and Sarah Robinson this is a live-work arrangement. But the creative workspace evokes the essence of a stylish warehouse home throughout. Original timber floors and beams, together with exposed London brick, are a striking backdrop for the thoughtfully conceived interiors, combining vintage and reclaimed elements.
(Below) A dramatic blue origami-inspired staircase is the defining feature of the COWORKRS headquarters in Brooklyn. Devised by LEESER Architecture, the metal stairway unfolds through the three levels of the former factory. Yves Klein Blue on the exterior and teal on the interior, its dynamic form cleverly connects communal spaces, creating a sense of visual continuity and cohesion.
The raw fabric of the industrial building has been retained, from concrete columns, timber beams and exposed brick to original graffiti. Contemporary interventions are clearly distinguished. Colourful pathways run throughout the industrial building, linking the stairways and suggesting circulation routes.
COWORKRS comprises communal work zones and enclosed offices, together with kitchen and dining areas, glass conference rooms, a lounge and rooftop terrace. The venue offers over 500 desks for the next generation of startups.
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The co-founder of HelloFresh, internationally renowned 60-Second Chef Patrick Drake, lives in an open-plan loft in London’s fashionable Shoreditch. Just a stone’s throw away are the HelloFresh headquarters, where his love of warehouse living has also influenced the decor. Patrick's style is laid-back, with vintage and salvaged details. He has personally overseen much of the interior design at the HelloFresh London office, finding its vintage furniture and lighting. We took a seat at the chef’s table to find out more.
Photography by Debbie Bragg.
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