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Battersea Power Station

MALIN+GOETZ was founded in the Chelsea neighborhood of New York City in 2004 by Matthew Malin + Andrew Goetz who set out to uncomplicate skincare. With limited shelf space in their small New York City apartment, they started the brand with 6 essential products that would work for all skin types, including their own. A cleanser + moisturizer for face, body and hair that leave even the most sensitive skin feeling healthy and balanced from head to toe.

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.

(MALIN+GOETZ) , Borough Yards, Retail Unit 104, Stoney St, London

Designed in collaboration with 101 Architecture+Design, the new Malin+Goetz boutique takes inspiration from the glass tinctures of apothecaries gone-by, offering a playful expression of colorful and colorless, rigidity and softness.

‘locality impacts form.’

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.

Aesop Bath, 16 New Bond St

Aesop are a brand known for their respectful, considered and site specific approach to interior Architecture. Each space is meticulously developed, paying close attention to materiality, context, scale and the user’s journey whilst respecting rigidly defined requirements for the stores operation and presentation of product. The result is a retail Architect’s dream, where each store is no longer a subtle variation of the space before, rather a fresh step into solving a unique design question with a distinct answer.

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

PSLab London, 22 Wild's Rents

PSLab are lighting designers who approach every project with a blank slate. “Whatever the project, the final product is custom-made and produced in our in-house manufactory. The interaction between design and build, embedded in a fabric of good communication, is the essence of PSLab" With offices in Beirut, Stuttgart, Bologna, Dubai, Amsterdam and Antwerp, finding a home in London was the logical next step. The studio space occupies a converted warehouse in the heart of Bermondsey South East London.

Franciscan Road, South-West London - Extension & Loft Conversion

101 A+D approached this residential project with several design considerations in mind; the conservation area in which it was set, its corner plot amongst the wider street, alongside the scale and mass of the development. These considerations are inevitably concerned with the relationship of the built work to neighbouring properties and the urban fabric of the streetscape. The aim is to find a happy medium within these constraints and establish a form, appropriate in its scale and intended use, creating an effective and generous internal series of spaces.

rag & bone, 13-14 Sloane Square, Belgravia.

rag&bone have established themselves as a dynamic, vivacious brand with a nod to both contemporary tailored aesthetic and close attention to wearability, quality of material and construction. ‘Inspired by a desire to create beautifully constructed constructed clothes, rag&bone pride themselves in the time-honoured techniques of supremely skilled local manufacturers at some of the oldest factories in the USA’. 101 was familiar with the original store installation, thanks to the experience gained supporting rag&bone in their first UK venture.

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

Chloé New Bond Street, 143 New Bond Street, Mayfair

An intense collaboration of over 3000 hours of design and development between 101 Architecture+Design and the design department in Chloé has resulted in an exceptionally detailed global ‘bible’ to support regional architects’ store installation and responsibility worldwide, implemented with precision in 143 New Bond Street.101 Architecture+Design's intimate knowledge of the brand's architectural detailing and millwork development positioned us optimally to support the installation of the first Flagship in London.

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

Aesop Coal Drops Yard, London

Aesop are a brand known for their respectful, considered and site specific approach to interior Architecture. Each space is meticulously developed, paying close attention to materiality, context, scale and the user’s journey whilst respecting rigidly defined requirements for the stores operation and presentation of product. The result is a retail Architect’s dream, where each store is no longer a subtle variation of the space before, rather a fresh step into solving a unique design question with a distinct answer.

Polette 111 Oxford Street, Soho

101 Architecture+Design are proud to announce a new partnership with the daring and refreshingly unconventional brand Polette, taking a lead forwards in terms on retail delivery, user interaction and a robust focus on technology at its core. Acting as local Project Managers, co-ordinating with Polette’s in house design and management team, 101 engaged a variety of contractors within weeks of appointment over the Christmas Period. We delivered this project within 2 percent of the initial estimate and 3 days early.

Aberdeen Road, Bristol - Single Storey Rear Extension

Aberdeen Road lies within a lively neighbourhood of Bristol. The traditional Georgian terrace is both listed and sits within a conservation area. Following extensive research, a respectful yet contemporary design proposal emerged, with minimal alterations to the existing fabric. The proposal aims to increase the capacity of the property within reason, with minimal impact from the public street level. Careful consideration to the overall language and proportions of the property have been taken, playing with symmetry and form to create an architectural rhythm that relates to the original property.

Cubitts City, London Wall

Cubitts is an independent British spectacles and sunglasses company, from King's Cross, London. They offer a wide range of handmade frames which go through fifty carefully crafted stages over the course of six weeks. 101 Architecture+Design are proud to announce our third collaboration with Cubitts within Central London, and second with Deidra Hodgson. Under the artistic and creative direction of Tom Broughton, Cubitts establish a subtle English cool through their interior architectural deisgn.

Aesop Piccadilly Arcade, London

Aēsop drives a new standard for Interior Architecture within the contemporary retail offerings, encompassing thoughtful curated spaces and sitting softly within their context whilst injecting intellectualism, artistic endeavour and culture into each environment. 101 Architecture+Design continue our close partnership as sole local Architectural Designers and Project Managers for the retailer’s more complex pursuits, this project being the 4th. Taking on a project with this complexity required specialist local knowledge.

Cubitts Covent Garden, Monmouth Street

Cubitts is an independent British spectacles and sunglasses company, from King's Cross, London. They offer a range of handmade frames which go through fifty crafted stages over the course of six weeks. 101 Architecture+Design are proud to continue our collaboration, following the success of Cubitts Jermyn Street, with this dynamic, creative and forward looking retail brand.Under the artistic and creative direction of Tom Broughton, Cubitts establish a subtle English cool through their interior architecture.

Rag & Bone, Spitalfields Market, London

rag&bone have established themselves as a dynamic, vivacious brand with nods to both contemporary tailored aesthetic with close attention paid to wearability, quality of material and construction. “Inspired by a desire to create beautifully constructed clothes, rag & bone prides itself in the time-honored techniques of supremely skilled, local manufacturers at some of the oldest factories in the USA.”. 101 Architecture+Design acted as local Project Managers, supporting the wider retail design team, based in New York.

Cubitts St James', Jermyn Street

101 Architecture+Design partnered with Jake Phillips of ‘Jake Wild Studios’ to further expand upon their concept design and obtain all necessary statutory approvals for the implementation of Cubitts' latest offering, in this prestigious retail location in the heart of London. Working closely alongside the Crown Estate and the City of Westminster Planning Department, 101 Architecture+Design developed detailed designs, drawing upon our specialist experience of working with Listed Status Properties.

Aesop Harrods, Knightsbridge, London

Aesops long established interior architectural style hold’s a mirror to lesser retail brands with diluted identity and style. Satisfying the vision of a brand as unique as this was a challenge, successfully completed by bringing together designers from Germany, millworkers from Italy, key client stakeholders from France and local specialists from the United Kingdom, working collaboratively throughout. 101 A+D worked alongside the Harrods Architecture team from initial conception through to completion.

Chloé, 28 Rue de la Baume, 75008 Paris, France

Following a 2 year, (2,000+ hours) collaboration with the internal Architectural team in Paris, we’re proud to present a few snapshots of the showroom for Chloé and SeeByChloé. 101 acted as Satellite Executive Architects for the duration of the works, corresponding with the landlord’s suppliers, ensuring all updates to design and layout were effectively communicated to all, for maximum efficiency and design cohesion on site.

Notting Hill, London

101 Architecture+Design were delighted to work on a concept design for Gigi's Gelateria, an exciting, new ice cream parlour for Notting Hill, London. The gelato experience has historically been one embedded in a bold, colourful user experience. This relationship between the user and the gelato is heightened through the exaggerated bar form, typically arranged as a single expansive counter to showcase a plethora of gelato flavours. This counter acts as a centrepiece to the user journey, a concept we sought to continue within our proposal.