101 Architecture+Design

Guided by the philosophy of less, but better, their mission is to design high quality, easy-to-use skincare, fragrances + candles that fit into your modern lifestyle. They are honest about ingredients and their products are meant to be gentle, effective and efficient. Less steps in your routine, less packaging, less fuss, less waste.

Taking roots in the founders’ backgrounds and passions, design has been at the heart of everything the brand does, from the packaging to the formulas, taking pride in being designed for all – all skin types, skin tones + genders. Since its launch 19 years ago, MALIN+GOETZ has evolved from a 13-skincare product line and one neighborhood apothecary into a true global lifestyle brand spanning six continents and five categories - face, body, hair, fragrance and home.

MALIN+GOETZ now expands into Battersea Power Station with the same vision as in 2004 – creating a modern beauty store experience reminiscent of traditional neighborhood apothecaries: brimming with activity, efficacious treatments + exceptional customer experience.

Located in the remarkable building of a decommissioned coal-fired power station, this latest MALIN+GOETZ expansion took visual cues from Turbine Hall A that the space is situated within – both the rich architectural history and the iconic design elements creatively informed the concept of the store.

In collaboration with 101 ARCHITECTURE+DESIGN, the apothecary is designed to be in keeping with the luxurious Art Deco intent. The spatial coordination was developed on the basis of using the store front as a central point of symmetry, creating a small but elaborate Art Deco arcade of fluted glass. Simple geometric shapes, adorned with minimal ornamentation, reminiscent of an industrial era of glamour.  

Strong architectural influence was taken from the rich historical context the boutique sits in - Turbine Hall A, completed in 1935 by Sir Gilbert Scott, boasts a strong Art Deco theme; in which Control Room A is housed -   

Halliay’s Art Deco interiors boasted Italian marble, polished parquet floors and wrought-iron staircases, walls lined with grey ‘ribbon napoleon’ and black Belgian marble, wrought iron staircases, walnut veneer furniture, holophane light fittings and a heavily decorative bronzed door. 

He additionally designed a deliberately sparse and simplistic facade, complemented intermittently with bold flourishes and narrow vertical windows and pilasters, dubbed the ‘Jazz Modern’ effect. The defining motif remains to be the chimneys, each built on stepped pedestals to emulate fluted doric columns, inspired by romanesque and classical architecture. 

Upon its completion in 1935, despite the constant backlash throughout it’s construction (resulting in the appointment of Sir Gilbert Scott nearing the final stages of the project, to appease critics), the press upon opening had dubbed the Power Station as a ‘Cathedral of Electricity’ and even so far as ‘Temple of Power’ - relaying the sheer monolithic presence the structure had, paired with the vision of Pearce, Halliday and Sir Gilbert Scott. 

WilkinsonEyre’s 30 year journey to fully restore the old powerhouse was an extremely faithful one - so far as to using recent technological advancements (previously invented for events such as the F1), to perfectly emulate the paint on the dials of Control Room A, where possible conserving what could be preserved, and where introducing new elements, staying truthful to the original ‘Jazz Modern’ concept. 

First taking visual cues from the Turbine Hall A that the space is situated within — both the rich architectural history and the iconic design elements creatively informed our concept.

Turbine Hall A features Halliday’s towering Art Deco classically influenced pilasters, their monumental scale denoting the ‘Temple of Power’ of the press release on its initial grand opening. The resultant imperial promenade has a clear, classical rhythm, and symmetry. The retention of it’s historic materials, too, we felt was something to carry over into our concept, the Italian marble, visibly scarred from the historic explosion in the 70s, and the rigid, but decorative ironmongery throughout designed to be in keeping with the original wrought-iron, luxurious Art Deco intent. 

We first implemented these moments through our site co-ordination - the initial footprint  was noticeably unbalanced, to which our response sought to re-introduce the symmetry of the exterior. The presentation of the store appears slightly shallower, echoing the effect of the grandiosity of the Hall outside, symmetry encouraging the onlooker to view the space as centrally coordinated. After establishing zoning and optimal positioning of the shelving, the form of which was heavily inspired by the predominantly linear elements of Art Deco, contrasting interesting curves and scallops breaking up the rigidity and encouraging visual interest.

The spatial coordination was developed on the basis of using the store front as a central point of symmetry, creating a small but elaborate Art Deco arcade of fluted glass, establishing 4 clear zones to encourage circulation throughout the store, equally additionally drawing from the surrounding greek and Art Deco influences. Simple geometric shapes, adorned with minimal ornamentation, reminiscent of an industrial era of glamour. 

Additionally, there is a stepped ceiling that offers a subtle Art Deco nod, providing passive light to the store. 

The Italian marble used in Turbine Hall A, combined by the natural lighting of the skylights above, creates soft beige - like tones, which we incorporated into our own colour palette. 

“Continuing the lighting language established in the public realm spaces, Speirs Major chose a warm light (2700K), bringing to mind the original tungsten lighting of the period for both the functional and architectural lighting. Gentle highlights to the key details include uplighting the industrial gantries, the main soffit and friezes, and vertical accents to the Art Deco columns”. - Arc Magazine 

Taking some elements from our previous project working alongside Malin+Goetz, the project introduces a warm ‘mushroom’ toned colour scheme - informed further by the incredibly industrial Control Rooms, and their perfectly restored Art Deco panels and dials.

For our cabinetry, we incorporated a high quality laminate, to refer back to the era of the 1930s, with mustard-y, mushroom-y tones, and subtle Art Deco references in the distribution of the Consultation space, and fixtures, as well as clear information taken from the Control Rooms.  The central furniture features 2 symmetrical portholes that house window displays, and juxtapose the rigidity of the glass tube structure surrounding it.

The central shelving dramatically contrasts the glass tubes, cleverly designed to appear as though floating. 

Stainless steel with aged, nickel-like effect, to appear as though it has dulled over time, the purposeful illusion of an installation having the permanence of somewhat a relic, or a aged ruin, much like the Power Station itself before it was reclaimed by the architects who had dutifully restored it. 

The ‘fluted’ glass - characteristic of the grandeur of high society Art Deco interiors -(such like the ‘Jazz Modern’, and the grandiosity of the Control Room, and it’s beautifully polished parquet, which was to only be stepped on using felt slippers so not to scuff the elaborate flooring),   offers a semi-translucent partition between ‘zones’, in addition to an interesting visual, the regular 50mm interruptions leaving the store seemingly open, and encouraging circulation, enabling visibility with intrigue. 

The stainless steel rails supporting the glass tubes echo ceiling suspended racks in factories, such like the ones visible in both Turbine Halls. 

Borough Yards sits behind Borough Market - an iconic, historic space - dating back to the 11th century, now predominantly known as a premium food outlet. The space’s identity brings a quality into the surrounding area, and with it the unique qualities of its architectural components.

The shape and flow of London bridge’s and borough market railway tracks above inspires the flowing design of the cabinetry – warping and mirroring this curve into a dynamic form that informs the space and stimulates client interaction and story telling. In response to the visually stimulating and busy market outside, the latest Malin+Goetz apothecary offers a calm and contemplative experience - a suitable and complimentary response to its context. In this space of transformation, trained consultants offer expert advice and skin sessions to suit your individual needs and lifestyle.
The visual cues throughout the space provide a richness of tone, the detailing ornate, and intricate. 

Key elements of the design express the rich historical context the backdrop of Borough Market has to offer. One of the largest food markets in London, records of trade dating back over 1,000 years, back when Southwark was itself a small market town. Since the 1950s, however, it has seen an architectural and cultural new lease of life, its ornate Art Nouveau facade transforming the historical space into what is now primarily a premium food outlet.

The surrounding streets, though informed and embellished by the strong Victorian motifs offered by the locale, hadn’t quite offered a natural flow from the primary arterial roads, until the development of Borough Yard.  The development offers a more cohesive space-; easily accessible, visible from the surrounding area, and offers a more natural circulation. The space is home to a variety of retailers, and has provided a revitalised desirable location that more naturally compliments the exciting primary draw of the market beyond.

Through contemporary application, the design of the development echoes the architectural intricacy of the market. It is visually interesting, while also being quite busy. In response to this, we have created a calming, minimal space, that compliments its context suitably. 

Our main feature comprises of the singular piece of furniture, which through the span of several design iterations stemming from the abstractions of the railway line that runs above the footprint of Borough Yard, acted as one single sculptural piece of furniture, flowing from front to back. The shelving is un-impacted by the neutral space that surrounds it, and appears to be free standing, and therefore maintains a certain deception that it is light, playful and dynamic.

The railway line mimics the flowing journey through the heart of industrial London, both sprawling and fluid, and exaggerates the curve of the track in the evolution of an interesting curve that wraps around the entire area of the store.  The surrounding contemporary, and complex, sprawling furniture, a combination of flowing curves, and regular grids, works as a direct response to its situation.

The development of the structure has led to the implication of the journey a user experiences as they enter - to the left, dramatic cuts and abstraction within the furniture, growing in consistency as the shelves wrap around the back of the store and direct the user to the right, where the dramatic flowing shape of the footprint is highlighted by the contrasting rigidity of the conventional grid.

One way in which our concept impacts spatial coordination, is that the shelving informs not only the space, but the zoning as well. The entrance to back of house is not so much a doorway, but an implication through a portal, which allows the flowing form to be uninterrupted. 

The Back of House becomes therefore an interesting visual cue - matt black surfaces reserved for the back of house are revealed in portals behind the furniture, which create a pleasing interplay between light and dark. 

The consultation table, characteristic of a Malin+Goetz boutique, rises monolithic from the centre of the store, proposing a juxtaposing permanence of stone effect material a backdrop for the darker, mushroom furniture beyond it. 

The ceiling is a rafted detail to echo the underside of a railway bridge, to relay back to the industrial, Victorian concept. The beams offset from these slats create a zoning that impacts the arrangement of the store, and the dark nature bleeds through into the back of house, not hiding away the workings of the store, but celebrating them, providing an opportunity for an interesting visual hierarchy. 

The shape of the space is directly taken from the connection between the development and unit location, Borough Market and London Bridge trains station. These spaces are all shaped by the flowing railway tracks above. This form informed the shelving - warping and mirroring this flowing curve into a dynamic form that informs the space, and how the customer will interact with it. 

4 tones of brown increasing in intensity towards the back of the store , creating a hierarchy of colour throughout and into the store. Most resourcefully, the minimal, but bold nature of the Malin+Goetz product packaging creates a dramatic contrast from the shelving - the lightest colours appear as though the tonality is extracted through the stark white negative space of the products, whereas the darker shades towards the rear of the store are complimented by pops of colour - candles and fragrances packaged in bright, but natural shades. 

Being made entirely of acrylic, the shelving has a translucency to it that creates a visual interest throughout the furniture which remains partially visible from front to back of the store. Through several design iterations, sections of the otherwise regular grid have been cut away, and there are special moments throughout the store where the break can be viewed as abstracted, offering not only functionally in the potential for larger objects, but also a contrast from the uniformity of the grid. 

Furthermore, the semi-translucent nature of the shelving is an additional nod back to the apothecary shops of days past - glass tinctures and tightly packed rows and grids, the nature of the material - though somewhat similar to glass, offers a subtle but contemporary take on the very Victorian concept. 

Our ceiling is a stark contrast to the shelving. Charred timber slats reminiscent of the train tracks running overhead. The charred texture of the timber presents a dramatic contrast, the rough materiality complimenting the otherwise minimalist takes of the soft, polished floor, the smooth acrylic flowing furniture, and the simplistic but bold Malin+Goetz product. The charred timber, in presenting this contradiction, creates an atmosphere of warm brown tonality, not only relating to the colour palette of the surrounding development by adding a subtle warmth to an otherwise contemporary and minimalist interior. 

Terrazzo flooring in natural tones introduces a subservient, more minimalistic surface to offer a more organic, neutral pattern, contrasting the business of the shelving, and the dark, raw texture of the ceiling above. 

101 Architecture+Design’s director originally being from the South-West took the lead on this project. “The wonderful opportunity arose to partner with James Plumb Studios, an award winning multidisciplinary team. Building upon the success of the critically acclaimed ‘Lamb’s Conduit Street Boutique’ in London, James Plumb studios developed a complimentary sister store to the contemplative, meditative darkened space of Lamb’s with an honest, soft, light, open, simpler journey. A self imposed restrictive palette of tones, materials and finishes left no where to hide when it came to the designs implementation. With a meticulously researched celebration of Bath’s heritage and architectural detailing, we knew that this space would be the jewel of Bath’s historic shopping district”

It was 101 Architecture+Design’s mission to ensure that the studios vision was achieved. Having carried out multiple retail projects in Listed Buildings, within the World Heritage Site - Bath, The team at 101 knew the importance of ensuring an unwavering attention to detailing and the priority of quality, honesty and commitment to this space. Local contractors are a preference for the brand, and after meeting with the team at Flying Pig, we knew our expectations of the contractor could be met with the right support. The programming of the store’s build had little to no option to run over, lead by the stores new team desire to fully establish themselves as part of the community long before the lead up to Christmas.

The exposure of the perimeter walls ashlar blocks, seen behind the point of sale are robust in scale sitting proudly. Heavily worn, chipped, drilled, scraped and torn provide the user a glimpse into the long history of the space. The 2 sinks could represent the design response to these stones’ presence. Large sawn soft ashlar blocks are carefully tooled to reveal a unique space to clean hands, held carefully in place by aged, blackened steel or bricks covered in thick render - an extension to the softly curved structural walls.

Responsibilities: Historic Research, Contract Management, Cost Management, Planning including Listed building Consent, Supplier Procurement, Program Control, Coordination of S.O.D (Schedule of Dilapidation) Designers role under CDM regulations. Quality Control, Project Management, Architectural Drawings, Specification Development.

Project Value: Confidential.
Planning and procurement: 6 months.
Construction: 6 weeks.
Space: 140m2 (4 Floors)
Designer: The Studio of James Russel and Hannah Plumb: https://jamesplumb.co.uk
Contractor: Flying Pig Renovation Company. http://www.flyingpiginbath.co.uk

Existing division of spaces has currently resulted in an awkward circulation and use of space, especially within the primary living/dining room. Furthermore, the sloping garden arrangement has lead to a lack of appropriate, diverse planting that is not solely along the perimeter of the property.

Drawing from the existing building and the rich fabric of the surrounding area, the proposal applies the traditional 'red London stock’, ’blue engineering' brick typology in a contemporary fashion, creating a datum wrapping around the extension. The introduction of new glazing and rooflights will bring more light through the south facade and into the living spaces.

Opening up the internal walls, alongside a rear extension on the ground floor will reorder the space creating clear zoning and circulation. The extension allows for an interior reworking, to include a utility room and relocation of the kitchen offering a larger, open relationship between living, dining and garden spaces.

Reworking the patio and lawn area to introduce a number of raised beds, and the addition of a wildflower green roof will bring more opportunities for biodiverse greenery into the garden, whilst still preserving the mature trees and bushes along the perimeter.

101 Architecture+Design continues their collaboration with ‘The Studio of James Russell and Hannah Plumb’ - shortlisted designers of the year.

Project Value: Confidential

Planning and procurement: 1 months.

Construction: 20 weeks.

Space: 280m2

Designer: The Studio of James Russell and Hannah Plumb. https://jamesplumb.co.uk

Contractor: Monarch. http://www.monarch-group.co.uk

Responsibilities:  Contract Management, Cost Management, Litigation Support, Supplier Procurement, Program Control, Quality Control, Project Management, Architectural Drawings, Specification Development.

The area was primarily built around the turn of the 19th century, and the style of construction was heavily informed by the Arts and Crafts movement, with a varied array of large decorative chimneys stacks, solid masonry brick walls and additive forms of pitched roofs, gable ends and porches. These characterful features lend the area a distinctive sense of place that 101 aimed to embody throughout their design. Creating a cohesive addition to the property that is greater than the sum of its parts.

In terms of materiality, we are exploring a cut red sandstone for the exterior of the extension, as it offers a tonal continuation to the red brick construction of the existing property, yet creates a contemporary distinction in finish and scale. Larger blocks of stone cladding could be laid out in a bonding pattern echoing that of the surrounding brickwork.

The footprint of the extension offers a generous addition of space by opening up the rear corner of the ground floor and creating a series of interconnected rooms. The interior is rearranged and extended to provide a clearer order of spaces whilst preserving the flow between them. The closing of the corridor alongside the stairs creates an exploratory avenue through the living room and down a new set of steps into a tall and open kitchen and dining space. An intimate study/library space with a prominent aspect to the garden retains its relationship to the more public room with an open doorway and window seat that extends to the corner.

Since 101 Architecture+Deisgn’s early beginnings, opening with strategic planning, dilapidation and building consultation for the UK portfolio, the team have continued to support the New York based architecture department through diligent research, careful specification and drawing work, and a close attention to supplier procurement.

Three projects later, building upon 101 A+D’s successful delivery of the community store in 107a Commercial Street, the team were invited to work with rag&bone again and oversee a thorough refurbishment of the Sloane Square boutique. 

The design involved significant alterations to the staircase, basement level arrangement, lighting and mechanical strategy, as well as a comprehensive replacement of furniture.

‘We spoke at length about the direction of the refurbishment with the original contractor to deeply understand the methods and ethos of the primary installation, and wanted to ensure the addition sensitively built upon the success of the design - rather than simply replacing it, a common practice within contemporary retail architecture environment. The craftsmanship of the existing space was impressive, and so we knew a substantial time dedication to site was required to pay homage to this early approach.’

Bringing more natural light into the lower floor was a priority for this refurbishment, and so translucent etched toughened and laminated panels replaced timber insets on the intermediate landing. With no room for error, 101 A+D’s lead project manager, Graeme Manson, took it upon himself to personally measure, order and install the glass to ensure absolute perfection.

Responsibilities: Historic Research, Contract Management, Cost Management, Planning including Listed building Consent, Supplier Procurement, Program Control, Designers role under CDM regulations. Quality Control, Project Management, Architectural Drawings, Specification Development.

Project Value: 400k+

Planning and procurement: 4 months.

Construction: 3 weeks. (Lower ground floor closure 2 weeks with continuous trading) upper floor 1 week.

Space: 500m2 (2 Floors)

Designer: rag&bone Architecture Department: https://www.rag-bone.com/stores

Contractor: Prodrive Shopfitting. http://www.prodriveshopfitting.co.uk 

Negotiating with the freeholder, and head freeholder, ‘the City of London’, required a thoughtful, considered approach to the project management scenario. With European stakeholders being principally involved in the build, 101 Architecture+Design ensured that clear communication through drawings was of utmost importance.

Chloé’s introduction of this concept was first envisioned by renowned Architect Joseph Dirand where his prototype “La Maison Chloé” drew upon a residential-inspired environment, with interconnecting rooms establishing zones in which the occupant could experience the essence of the brands categories, journeying from ready-to-wear, through small leather goods and onwards to small accessories. The furniture helped support and reinforce this aesthetic vision and as the concept developed through 4 stages, helped maintain this implied zoning within a more traditional, open, retail implementation.

A dedication to the highest calibre materials and finishes can be seen presented in the Cash Desk area, where a bookmarked pink marble panel, highland with bespoke brass wall sconces, exudes luxury and quality. Patinated brass and cast corner sections make up the ready-to-wear section towards the deepest area of the floor.

The implied division of rooms was achieved by the ‘Floated Oak Arch’ whereby the aged oak panels are left to sit in water, drawing out some of the colour and casing impactful splits to appear.  Behind these panels sit a stock space for shoes and a technical room, cleverly concealing functional spaces within the elegant retail environment. This palette of aged oak and various tooling of ‘Pierre Beaunotte’ sandstone used within the interior architecture of the space was also implemented with the visual merchandising tools. Honed monolithic blocks stand proud, creating implied feature walls, with key products highlighted with bespoke brass floor lamps.

The original intention of the brand was to change the shopfront colour from a rich deep blue to a softer more feminine beige. Having a precedent of over 100 years of a darker colour, 101 Architecture+Design collaborated with Patrick Baty, a specialist paint consultant who oversees refurbishments in the UK's most prestigious homes and palaces. Following a deep dive into the Westminster Archives, Listed Building Consent was granted by the planning department. 

Responsibilities: Project Management, Historic Research, Contract Management, Cost Management, Planning including Listed building Consent, Supplier Procurement, Program Control, Designers role under CDM regulations. Quality Control, Architectural Drawings, Specification Development.

Project Value: £800k+

Planning and procurement: 24 months.

Construction: 12 weeks.

Space: 100m2

Concept Designer: Joseph Durand Architecture (initial Concept 2012) https://www.josephdirand.com

Store Designer: Chloé Architecture Department, 101 Architecture+Design (2016-2018) https://www.chloe.com/experience/en/maison/

Contractor: Ganter UK Ltd. http://ganter-group.com/en/business-segments/retail/

Historical Paint Consultant: Patrick Baty. http://patrickbaty.co.uk

Millwork Contractor: Intrapesa. http://www.intrapresa.it/en/home

Building upon the success of Aesop Bath, where the concept was developed externally. Aesop have used the exceptional talent pool of their in house interior architecture team to establish the new concept for Coal Drop Yard.

'101 Architecture+Designs’ director, Simon Flynn comments; “Myself and the team here at 101 A+D cherish any opportunity to engage with the industry’s most accomplished design professionals in a collaborative dynamic design conversation, held half through speech and half through pen to paper. The concept developed by Aesop is a delicate considered intervention, a journey from light, geometric and technical to comfortable, cosseting and natural.”

Project Value: Confidential

Planning and procurement: 3 months.

Construction: 7 weeks.

Space: 130m2.

Designer: [Concept] Aesop HQ. [Detail Development] 101 Architecture+Design.

Principle Contractor: Monarch. http://www.monarch-group.co.uk

Specialist Contractor [Fiberglass] Stuart Pease. http://www.stuartpease.co.uk

Specialist Supplier [Flooring] Granby Workshop. https://granbyworkshop.co.uk

Specialist Contractor [Metal Frame] The Iron Age Metal Work. https://theironagemetalworks.com

111 Oxford Street Flagship is Polette’s first in the UK and focuses on maximising product to user engagement, with a flexible and adaptive retail model. No stocks, no cashier, only QR codes. 

We believe that retailers who can move with the fast pace of progress will ultimately succeed in saving this countries high street environment. Polette’s focus on efficiency aligns with 101 Architecture+Design’s commitment to encouraging minimising waste in an energy intensive industry. Polette’s model within a bricks and mortar platform takes one of more a showroom, rather than a stockist, reducing unnecessary transportation, heating and lighting costs. 

“Polette is for everyone. At the same time high couture and accessible, we love mixing and breaking stereotypes. From the smallest to the tallest, our glasses are for all ages and styles”

Project Value: Confidential

Planning and procurement: 2 weeks.

Construction: 2 weeks.

Space: 112m2 (Retail Floor only)

Designer: Polette in House.

Principle Management of Site: 101 Architecture+Design

Consulting Engineers & Subcontractors: Various

Millwork: Polette in House.

The design relocates the existing kitchen as part of a single storey extension, allowing a second bedroom to emerge. Whilst taking care to prioritise function across the new layout, maximising storage throughout.

The large arched windows along both the rear and side elevation, alongside a small skylight, ensure sufficient light ingress as a result of the increased depth of the space. Care was taken over the specific material choices such as the timber window frames to compliment a light brick and traditional limestone, crafting a minimal and respectful material palette overall.

Each location engages in a respectful exploration of the buildings narrative, it’s wider context informing the spaces story.

Simon Flynn [Director of 101 Architecture+Design] “Cubitts’ architectural personality doesn’t shout in bombastic enthusiasm, rather it speaks quietly and subtly, allowing the product to take centre stage. A monumental attention to detail is paid from initial concept, through design development, competitive tender and construction. We engage the most committed contractors, millworkers and core suppliers who share this clients commitment to quality, whist deeply respecting an honest budget”.

Project Value: < £100k

Planning and procurement: 5 months.

Construction: 10 weeks.

Space: 50m2.

Designer: [Concept] Deidra Hodgson. https://www.deidrahodgson.com

101 Architecture+Design has consulted on multiple retail projects within the Crown Estate and Westminster, and are familiar with their strict requirements, systems and processes.

The boutique is housed within the Thrale Jell designed Arcade from 1909 linking two of London’s arterial retail destinations, Jermyn Street and Piccadilly. 

Significant structural alterations included the removal of the existing staircase, taking diligent research to ensure that only contemporary non-listed items were removed. We installed new basement to ground and ground to first floor staircases and created the impactful ‘iris’ opening on the 1st slab, sensitively working around the building rich and historic fabric with minimal intervention. 

Other major works included the levelling of the ground floor, bracing works to support the two 500+ kilogram sinks in the window and centre of the room on the ground floor, all whilst complying with exceptionally complex requirements imposed by the landlord.

Responsibilities: Historic Research, Contract Management, Cost Management, Planning including Listed building Consent, Supplier Procurement, Program Control, Designers role under CDM regulations. Quality Control, Project Management, Architectural Drawings, Specification Development, Account negotiation. Engagement from Early concept (developed by SLG) through to completion.

Project Value: Confidential

Planning and procurement: 6 months.

Construction: 16 weeks.

Space: 160m2 (2 Retail Floors and Basement)

Designer: SLG. Studio Luca Guadagnino

Principle Contractor: T&B interiors. http://www.tandbinteriors.com

Consulting Engineers: Various

Millwork: Ampia. https://www.ampia.de

Each location engages in a respectful exploration of the buildings narrative, it’s wider context informing the spaces story.

Project Value: Confidential

Planning and procurement: 5 months.

Construction: 4 weeks.

Space: 50m2.

Designer: [Concept] Deidra Hodgson. https://www.deidrahodgson.com

Contractor: Estetiko https://www.estetiko.co.uk

107a Commercial Street, Spitalfields Market, draws together a combination of old world London market aesthetic with chic contemporary furniture and fittings. “The design involved the considered removal of past retail interventions to expose the original identity of this environment. Once this was complete, we could see the simplistic, honest, beauty of this humble space and wanted to, without heavy intervention, match the brands vision with respect for this historically sensitive and protected property.”

Staffordshire blue glazed bricks shown their age with spider web cracks proliferating across the supporting structural columns which frame this space. 100 year old Scots Pine, mistreated and soaked with concrete render was wire brushed by hand to reveal a rich warm textured and pitted contribution to the smooth contemporary furniture and wall paints. A dark and uninviting stock room was elevated to an inviting more private lounge and shopping space. Working alongside a recommended, primarily residential contractor raised new and interesting challenges, but with support and mutual respect, we believe an unsurpassed quality has been achieved.

Responsibilities: Historic Research, Contract Management, Cost Management, Planning including Listed building Consent, Supplier Procurement, Program Control, Designers role under CDM regulations. Quality Control, Project Management, Architectural Drawings, Specification Development.

Project Value: Confidential 

Planning and procurement: 2 months.

Construction: 6 weeks.

Space: 200m2 (2 Floors)

Designer: rag&bone Architecture Department: https://www.rag-bone.com/stores

Contractor: Trusted Building Service: https://trustedbuildingservices.co.uk/residential/

Ensuring historically approproate proportions and detailing were used in this entirely new shop front. Cubitts continued their devotion to period-correct, high quality detailing beyond these approvals into the manufacture, hiring Alex May Hughes (http://alexmayhughes.co.uk) to fabricate a hand gilded back painted glass fascia sign.

Please refer to https://www.cubitts.co.uk/journal/category/st-james-s/ for more information on the process and Alex's work.

Project Value: Confidential 

Planning and procurement: 1 months.

Construction: n/a

Space: 30m2

Designer: Jake Wild Studios : http://wildstudio.co.uk

Contractor: n/a

Robustly negotiating with all suppliers and completed within the Harrods timeframe and within 2 percent of the initial budget.

Responsibilities: Contract Management, Cost Management, Supplier Procurement, Program Control, Quality Control, Project Management, Architectural Drawings, Specification Development.

Project Value: Confidential

Planning and procurement: 6 months.

Construction: 12 weeks fabrication and 4 days assembly on site.

Space: 30m2

Designer: 1zu33. https://1zu33.com/en/

Millwork: Intrapresa http://www.intrapresa.it

Principle Contractor: Jasysam (Prescribed by Harrods)

Mechanical and Plumbing: Four Seasons (Prescribed by Harrods)

Electrical: AM Electrics (Prescribed by Harrods)

81 Westbourne Grove, Notting Hill is 101 Architecture+Design’s 3rd store with Craig & Rose and the first where the team was appointed to oversee the project from start to finish; negotiating rent-free extensions, dilapidation and demolition valuations, design concept, including 3 new pieces of furniture, the overall build and local architectural project management. We’re proud to finish this project under budget and have made great step forwards to refine the stores design concept.

“E2’s initial concept, which was implemented in Chiswick, West London, and Edinburgh was critiqued and sensitively and respectfully refined. We looked to allow a better customer and staff experiences, whilst maintaining the unique, fresh and contemporary look and feel of the stores.”

We’re particularly proud of the advancements in the paint shelving display, where a need for a high weight load and robust structure initially had the team looking to use a more conventional racking method with applied cladding. Moving away from this design, enabled us to lighten the vertical structure, allowing the product to take centre stage.

Responsibilities: Design Development, Contract Management, Cost Management, Planning including Advertisement Consent, Supplier Procurement, Dilaps calculation and management of Demolition, Program Control, Designers role under CDM regulations. Quality Control, Project Management, Architectural Drawings, Specification Development.

Project Value: 200k

Planning and procurement: 2 months.

Construction: 6 weeks.

Space: 100m2 (2 Floors)

Designer: 101 Architecture+Design [Brand concept by e2] www.E-2.com.au

Contractor: Target Shopfitters: http://www.targetshopfitters.co.uk/about-us/

The works included: preparing technical and mechanical packages, delivering detailed furniture designs, quality and time management of the contractor’s work.

Concept Design: Caulder Moore

Project Size: 1510 ft2

Project Planning: 2 weeks

Project Duration: 12 weeks

This vast 30,000ft2 project spread over 7 floors, provides a beautiful Haussmann style, flexible selling and working space. 101 co-designed over 30 unique furniture and display items to help expand the brand identity of Chloé and SeeByChloé from the Boutiques, into the Showroom.

We started with a raw shell, saving all of the original fixtures, fittings and mouldings and sensitively brought this iconic property back to life, it’s interior style an extention of Chloé’s architectural language.

Taking inspiration from the colourful facades of Notting Hill, we wanted to continue this playful approach by introducing moments of colour and texture throughout the space. These colourful interventions would take the form of powder coated lighting tracks, tinted glass and neon lights. Our proposal aims to provide a balance of muted tones and bold, vibrant colours to create an environment that is exciting and engaging whilst not compromising the primary focus of the gelateria, being the counter and the ice cream itself.

The forms present in the design consist of a range of contrasting elements built up to create a whole. The solid mass of the counter tops, bases and banquette seating in marble, terrazzo and cushion are contrasted with the lightweight frame elements of steel and glass. The tension between heavy and light is reinforced by the use of brighter colours for the frame and a more muted palette for the solid features.

Additionally, a motif of circles and arcs is present throughout the design, in order to balance the angular edges of the counter design with a contrasting, softer formal language. Whilst experimenting with abstract forms influenced by the shape of an ice cream or ice lolly, applying this to various functions such as seating and lighting to introduce a subtle motif throughout the space.