Over the past two years, architect Robert Mills (Robert Mills Architects and Interior Designers) and his yoga-enthusiast spouse, Lucinda Mills, have created a sophisticated yoga and Pilates emporium in Melbourne’s South Yarra neighbourhood.
The business, One Hot Yoga, is divided into four studios that occupy space at three addresses. Studio 1 (One Hot Yoga) is at 36 River Street, Studio 2 (One Hot Yoga and Mat Pilates) is at 46 River Street, and right next door at 48 River Street is the newest addition, Studios 3 and 4 (One Hot Pilates).
In total, the studios take up nearly 800 square meters (about 8600 square feet) of space. We love the reception area with its minimalist customized furnishings, glass-covered display case and views of the inner courtyard with its lush greenery.
Simplicity, natural materials, finely controlled lighting and tone-on-tone colour schemes create a gracious and calm environment for all of the spaces. Elegant touches, such as heavy linen curtains and beautiful change rooms enhance the ambiance of understated luxury. Tuija Seipell
A science and engineering museum’s café project inspired interior designer and photographer Anna Wigandt to create a cool space for enjoyment and study, but she also invented a few products of her own.
The Science Cafe & Library is located in Wigandt’s home town, Chişinău (formerly known as Kishinev), the capital city of Moldova on the river Bîc.
The main features of the self-serve café and library are the jigsaw-puzzle table and the book displays.
The table’s inspiration, according to Wigandt, was German astronomer Johannes Kepler’s 1596 book, Mysterium Cosmographicum (Cosmic Mystery) that dealt with the proportions of celestial bodies.
The modular table’s various configurations allow set-ups from small: each café visitor can form their own work table, to large: lecture groups to gather around one big table.
The surrounding book displays are divided into eight topic areas ranging from Shipbuilding and Astronautics to Nuclear Science and Biological Engineering, each identified with the striking lettering.
The greatest achievement in this project, however, is the lighting. The designer ended up inventing a few engineering marvels of her own in the process. The chandelier was created specifically for the space out of 408 actual test-tubes. The same tubes were used for the pendants hanging from the meatal rigging above the table.
The celestial darkness of ceiling give the entire space an aura of being outdoors, under midnight sky. We also like the hexagons, chevrons and honeycomb patterns on the walls and floor. - Tuija Seipell.
Many of the trends we are seeing – and liking - in retail, hospitality, services and even urban planning, deal with smaller size because a strong, growing segment of us is tired of Big.
We want small, independent, pop-up, mobile, local, rogue. But – and this is an important but – we want it served up to us in a professional manner, we do not want amateur fumbling even from the smallest providers.
In essence, we want what we cannot have from the mega-malls, big boxes, airports, big brands or grocery giants. And that leads to another important ‘but’. We want small BUT we still want the big, too. Nothing new here, but it still seems that many brands, marketers and researchers have a hard time dealing with the fact that we are not black-and-white, either-or. We are both-and, plus a little extra.
You cannot divide consumer habits into age categories or behaviours the way you could a decade or two ago. We are indeed picking and choosing from each basket, and we will continue to do so, but we are choosing small significantly more often than we used to.
It is hard to imagine someone whose ideal living environment - city, town or village – would be a vast expanse of gigantic malls where global brands offer indistinguishable wares in boring lookalike stores, or where cavernous big boxes ply cheap goods stacked up floor to ceiling. Acres of parking lots; people always in cars. And actual “living” taking place separately in isolated enclaves, and working in yet another isolated location.
More and more frequently, we envision the ideal living environment as something quite similar to a traditional small town or vibrant village. Or a neighbourhood with people, services and work all within walking or biking distance.
We believe that this trend is going to get stronger and stronger, and it will be good for the businesses that understand their niche and offer their customers true value: something that is worth their money and time.
Small businesses are the essence of such neighbourhoods and towns. They are the glue that makes it all stick together. They bring people together, they create small oasis of lovely interaction.
But just like in the traditional small town, today’s small businesses must try harder. From the startup on, they must earn their place in the circle. The merchants and service providers in the old towns were professionals of their trade. They knew their customers, they respected them and they worked hard at earning their trust. The same is true today.
This trend, as we said earlier, is nothing new. It has been brewing for a long time in step with our overall dissatisfaction with the big, faceless brands and their outsourced, hopelessly horrible “service.” When Seth Godin wrote about the topic in 2005, we all took notice. Yet today, almost a decade later, it is still only a trend. But we believe it’s time has finally come.
Big brands offer smaller
One aspect of this trend is seen in the behavior of many big brands that are opening smaller-scale stores, restaurants and hotels that are more intimate, offer a more tightly edited selection of products and services, are targeted and tailored to meet individual local markets, and usually also pay more attention to design and local tastes.
We are also seeing a renaissance of boutique-scale businesses; stores, hotels, restaurants and services that do not plan to grow bigger, only better. These are often one-store or one-hotel operations that gain a dedicated, loyal client base by understanding their customers better than their bigger competitor chains.
Unfortunately, many of these become so successful that the bigger competitors want to buy them out in order to either remove them from the market or to gain some of their halo. Usually, with such buy-outs, the aura of the independent, owner-operated business disappears and the previously so loyal clientele moves on. The heart is gone from the business and the clients can see it.
Of course, another much-talked-about aspect of this trend are pop-ups. Any brand worth their reputation has opened pop-ups by now, but it is still an appealing proposition for both brands and customers. Pop-ups liven up neighbourhoods, malls and streets with new, temporary offerings. They give big and small businesses an opportunity to test markets, products and services. They give businesses a chance to benefit from temporarily empty spaces. And they liven up potentially dead storefronts.
Pop-ups will still continue although we are also seeing some fatigue as some businesses now use pop-up as their chance to have regular blow-out sales and other repeating offerings that dilute the surprise factor and excitement of pop-ups. Perhaps there will be a new, more exciting reiteration of the pop-up that will bring back the excitement?
In the manner of the ice cream truck, milk man, shoe-polish box and hot-dog stand of the past, mobile offerings are also growing around the world. From food carts and mobile cafes to bike services and mobile pet spas, new, exciting businesses are popping up as mobile carts.
Many cities have been forced to alter their laws to accommodate these temporary, mobile businesses that often do not fit under the laws created for permanent, bigger operators. We think this is all to the good. While laws and regulations are necessary, they need to become much more flexible and nimble to adapt to startups and small operators that add desirable flavor, colour, excitement and convenience to their surroundings.
Also part of the mobile, portable phenomenon, are the various dwellings, hotels and businesses housed in repurposed shipping containers. The Illy Café in New York in 2007 garnered a much attention and a multitude of reiterations of the idea now pop up daily.
One valuable consequence from striving for smaller, portable, mobile, inexpensive, sustainable pop-up is that many forms of temporary housing options, portable clinics, schools and water purification stations and so on have become not just curiosities but real solutions in far-flung places and/or difficult conditions to help in areas of catastrophe, extreme poverty and environmental crises.
As poverty has often turned out to be the mother of invention, we believe that this is one area where sometimes even the silliest-seeming ideas can actually be transformed into real relief and smart solutions where they are most needed. As we who have everything in excess “play with our food”, perhaps we will in the process find ways – and the will – to relieve suffering everywhere.
We also believe that our exasperation with conspicuous consumption – that is partially expressed in our desire for everything smaller – has also helped to bring about a new kind of helping culture. We are starting to consider the consequences of all of our actions as companies, teams and individuals, rather than doing whatever it takes to momentarily satisfy our desire for the next fix for our inner emptiness, or to blindly and impotently try to meet the shareholders’ relentless demand for bigger profits.
The small mobile business is tied to another aspect of this trend – locality. More and more people want to buy local, not just food but other products and services as well. And while it is difficult for a small, new operator to compete with the prices of an established, strong brand, we feel that local businesses and local initiatives will continue to grow in popularity.
What we do know as well is that whether a business is local or small, it still has to meet the needs of today’s demanding clientele.
Many small operators seem to believe that just because they are passionate about their business and because they want to do it, customers somehow owe them their patronage. That is not the case today, and it never was.
We will not part with our time or money – at least not repeatedly – if we are not getting great service and great products. Being small, local or independent will carry a business only so far. A loyal customer base will not develop out of pity or shame.
Professional branding is also a given today. And that does not necessarily mean having to spend a lot in the creation of logos and package design, although it may mean those as well. What it does mean is that if you are going to succeed, you will need to be able to charge a premium price. And to charge that price, you need to look and behave like a brand that knows who it is and what it does and why it exists.
Clear messaging, cohesive visuals, well thought-through customer experience, professional staff – all of these are important. And yet, you can achieve all this without having to appear or behave like a pretentious branding exercise with a fake story and dumb logo. It is all about knowing who you are, what you offer and why your valued customers should spend their time and money with you. All the basics of business still apply.
The last aspect of the Small is the New Big trend that we’ll cover in this article is what we’ll call Rogue concepts. They incorporate many of the other aspects of the trend with the added appeal of a grass-roots initiative.
The Rogue concepts add the empowering angle of people taking to the streets, creating their own “brands”, doing it their way, breaking the rules.
This, perhaps more than any of the other aspects, speaks to the true core of the entire trend. We are tired of giving our power – and time and money – to the Big Brand. There’s an undercurrent of sophisticated protest. Call it idle nonsense of the well-heeled, if you like, but we think it is part of a serious undercurrent. The world of Wall-E is not quite as absurd as we’d perhaps like to think and the power to change it is in our hands. - Tuija Seipell.
Images 1,2,3 - Happy Bones Cafe, NYC, images 4/5 - Grey Goose Pop up bar in Edinburgh., Image 6 - Intelligentsia coffee van, Image 7 - Sigmund Pretzels, Image 9 - LA Distributrice - Montreal, Image 10 - Omotesando coffee - Japan, Image 11 - Velopresso Mobile Espresso bar, Image 13 - Box Park - London, Last image - Homer Wine packaging
Cooking is a serious and competitive business and professional cooking schools can have the air of military camps where fear and strict order dominate. Nothing wrong with that in the world of celebrity chefs, fame and Michelin stars.
But for the rest of us, cooking is either a fun and enjoyable creative endeavour or a boring daily necessity best avoided at all costs.
Many consumer-facing cooking schools, sensing a growing market niche, are offering relaxed, fun classes in cool surroundings that don’t intimidate the participants.
The all-female Japanese ABC Cooking Studio has more than 125 casual cooking studios in Japan, Hong Kong and China.
High-stakes chefs train elsewhere, but ordinary women who love sophisticated cooking in a happy, relaxed atmosphere flock to ABC whose studios draw more than 250,000 participants per year.
Their latest location, in Huangpu, Shanghai, China, is a new take on their already relaxed approach to cooking. Designed by Prism Design under the direction of Reiji Kobayashi, the new studio is all white, soft and friendly.
Black ceilings, light wood accents and white main features keep the studio’s ambiance clean and professional, avoiding the all-so-common trap of too cute that would have opened up with the introduction of pink, baby blue or yellow.
You can relax now and forget all of your bad memories (should you have any…) of drab and dreary home economics classes because the newest cooking schools are cool.
It is true that The Culinary Art School in Tijuana, Mexico is not of the high-school variety – it is for serious chefs with high aspirations – but it oozes a new, cool confidence that could potentially turn even the most nonchalant teenager into a passionate chef.
The elegant use of wood is the key attribute in The Culinary Art School. Its new building was designed by San Diego, California-based Jorge Gracia Arquitecto whose founder, Jorge Gracia, was born in Tijuana in 1973.
The entire school complex carries an air of strict order, almost an ascetic solemnity. If you didn’t notice the stoves or wine racks, you could mistake this for a place of religious study.
And, passionate chefs certainly express a fervour for food, ingredients and cooking that could be likened to religious zeal. It is easy to imagine how the colours, textures and aromas of various ingredients stand out in this kind of environment. It is like a stage for culinary creation or like a frame for gastronomic artwork.
Also in the category of cool cooking schools is the Sydney Seafood School established in 1989 and completely refurbished for its 20th anniversary. It conducts cooking classes for all skill levels and draws more than 12,000 students annually.
Words such as handsome and sexy come to mind when you look at this space, the creative work of Dreamtime Australia Design, based in Sydney, Australia.
Some time ago, we have featured Dreamtime-designed Churchill Butcher Shop in Sydney.
In Sydney Seafood School, a tactile intrigue, and a contrast between serious study and serious fun, are evident in every space. The school’s entry wall is a honeycombed sandstone creation by sculptor Michael Purdy.
The dark and impressive hands-on kitchen looks formidable with lots of shiny stainless steel and glass, but its gravity is lightened by chalkboard walls with “fish graffiti” as art. The cool auditorium’s walls are lined with Icelandic fish leather. In the dining room, the harbour view competes for attention with a row of fun fishnet chandeliers and their more than 6,000 little globes. Where do we sign up? Tuija Seipell
Blame us, Norwegian designers and/or their possible dislike of communication, or a slight language barrier, but Norwegian design is not often seen in design media.
We would love to change that and we are currently liking the award-winning work of Oslo-based Inne Design’s Interior Architect Vigdis A. Bergh.
We noticed her work with hair salon and spa INCH whose owner Kirstin Arnesen is clearly onto something. Her little unisex emporium for the balance of body and mind has been gradually growing in Oslo.
We love the design features Inne Design brought to the first store. The eclectic mix of custom-furnishings and individual finds from flea markets and antique stores creates a fun and interesting environment. Also worthy of mention is the ocreative repurposing of such simple pieces as the retro round tables fitted with mirrors that can be removed should they be needed for serving drinks or buffet food at events held in the space.
We like the flexibility, the balance between the feminine and the masculine, and the raw and funky concrete flooring and street art contrasted with velvety plush seating and classic pieces.
Another project worth a note by the same design team is Melkerampa.- Tuija Seipell.
Entering the Hair Do hair salon in Chiba, Japan, is a surprising experience. No pink or frilly fake-spa softness, nor overly stark funky or shiny hair salon set-ups, just cool balance.
In this new, two-story building, with the upper-floor interior made to look like an old loft, there’s an overall sense of light and space and breathing room – our definite favorites.
Add to that the monochromatic wood-tone paneling and unpretentious furnishings, and we have a setting with real composure.
What makes this salon even more attractive, is the two-story glass wall that gives the clients something additional to look at than just themselves, and adds natural light as one of the main design components.
Located at the Chiba monorail station, the salon also adds some visual interest to the commuters’ daily routine.
The total area of the high-volume salon is 106 square meters (1,141 sq.ft). The architect and designer of the salon is the 36 year-old Ryo Matsui whose retail, office and residential work often includes wood paneling, monochromatic interiors and rounded edges. - Tuija Seipell
Photographs: Daici Ano
Wood is both universal and unique. No other material is as deeply embedded in the history, culture and life of humans worldwide as wood, yet every single piece of wood is unique.
The color tone, texture, durability, flexibility and even sound qualities of different tree species have puzzled and challenged artists, architects, designers, builders and artisans for thousands of years.
Still today, nothing matches wood in versatility or beauty, so it is great to see how today’s designers and architects continue to face the challenge of wood, and use it creatively to interpret sleek, modern designs.
They use wood to meet their current needs and desires for which wood is ideally suited. People seek calm surroundings, simplicity and minimalism to soothe their frayed nerves and to counter the constant visual overload they face. Wood’s warmth and natural beauty works wonders for creating a sense of balance and calm.
People also look for sustainable alternatives, eco-friendly options, greener solutions. When harvested, managed and used sustainably, forests are still the source of the greatest material on earth.
We especially love the influence of Scandinavian and Japanese traditions that we can detect in today’s wood architecture and design. Minimalist, functional, beautiful, and light in both color and weight.
Scandinavian building and design traditions are based solidly on the use of wood. Finnish modernist master, architect Alvar Aalto, stunned the world with Living Wood, his design for the Finnish Pavilion for the Paris World Exposition in 1937. In the pavilion, he combined both traditional and modern architecture and showcased his functionalist design sensibilities. It was considered one of the boldest and most innovative pavilions of the Expo.
Earlier, Aalto’s exploration of the limits of bent wood and mass production had resulted in the Paimio chair (1931) and other furniture classics, and had a permanent impact on how furniture looks even today. Aalto’s work influenced many other modernist masters including Charles and Ray Eames and Eero Saarinen.
The use of wood in Japanese architecture and design is characterized by austere construction methods, the lightness of materials, the connectedness between indoors and outdoors, and the way in which buildings merge with their surroundings.
With hardly any furniture used inside, Japanese master craftsmen were able to focus their skills on the buildings themselves, on skilful joining of sections without nails, and on revealing, rather than covering or adorning, the original texture and tone of the wood.
Wood as a material has held a charmed place in architecture and design for both its simplicity and complexity. It lends itself to imposing, bulky structures, yet also yields to delicate, undulating forms that seem lacy and transparent.
We love this lightness and elegance, the play of light and shadow, the countless tones of color that can be achieved with skilful use of wood both structurally and decoratively.
In more and more residential projects, both big and small, architects and designers are finding new, creative ways to reveal and highlight the beauty and versatility of wood. They manage to create structures that appear current and cool, yet also exude a classic, timeless elegance.
Every day, we come across images of fantastic single-use residences, recreational cottages, furniture, decks and patios, where the qualities of wood are perfectly matched with the users’ needs and the requirements of the surroundings as well.
In retail and hospitality, wood is also making an impact. We love the blocky, clean look of the Aesop stores. At the other end of the spectrum a good example is the lightness and playfulness achieved in RDAI Architects’ use of wood-slat “huts” as departments in the Paris Hermès store built inside an old hotel swimming pool.
In not just eco-lodges, but also in luxury resorts, spas and hotels, wood is becoming the material of choice. As guests are looking for a retreat, a sense of being back in nature, a quilt-free, tranquil vacation, resorts are responding with wood-frame structures, wood interiors and sustainable solutions that also look fabulous.
Wood is not trendy yet it is incredibly cool. It is a demanding, noble, ancient, living material that we have the privilege to use and enjoy. In wood, the architect, designer and builder face the exhilarating challenge of the sculptor — to reveal the character of the specific species, the individual tree. And we, the viewers and users of their work, have the opportunity to discover it for ourselves. We are looking forward to more. - Tuija Seipell.
At TCH, we are so obsessed with wood that we even created Treelife, an event to showcase the most innovate work using wood in the design of Treehouses.
We became obsessed with inflatables ever since we created the Mini Inflatables. The reaction they generated told us that we were on to something – we were not the only ones crazy about them.
We wanted to see more, do more and create more of them, and as always, we wanted to see what ideas others could come up with. So we launched a competition and asked for submissions.
Tons of suggestions came in, one more imaginative than the other. But to us, many of them were too complicated and cumbersome, trying a bit too hard.
But finally, we can reveal the winning design. It is a masterpiece in minimalism and function created by Pablo Crespo Pita from Spain.
Pablo’s CHAT inflatable is a series of three models with unlimited ways to link and enjoy them. We love the flexibility, practicality and the juicy colors.
For two weeks only, you can now purchase the CHAT Inflatable from here.
Pablo's other entry and our favorite is Air Couture below
Should you be so lucky as to be asked to design a Film Museum, how would you feel? Most likely, overwhelmed. The many juicy aspects of the dream factory of film business make one’s head spin! The technology – from the first scratchy silent films to today’s 4D experiences. The genres – from drama and documentaries, to sci-fi and animated movies. And the intrigue and mystery of film as propaganda tool and promotional vehicle. The stars and the drama of their lives online and off. The various awards, the gowns and the glitter. Even the people behind the movie cameras – the directors, the movie moguls and the critics – all seem to carry an extra aura of glamour and fascination. Add to that the sets, the locations, the props, the car chases, cliff-hangers, fantasy worlds and the historical epics created and recreated through film. Indeed, no lack of material.
When Tilman Thürmer the German-born architect and founder of Coordination Asia (that we have covered before), was selected as the Art Director of the Shanghai Film Museum, he had “film” and “Shanghai” as his directives. No more, no less.
The Shanghai Film Museum, opened on June 17 and currently hosting screenings for the nine-day 16th International Shanghai Film Festival, is therefore a highly commendable feat in its minimalist yet immersive approach.
It’s goal is to celebrate and introduce to visitors the past and future of Shanghai’s involvement as the centre of Chinese film. The 15,000 square-meter, four-storey building is located in a former film studio in downtown Xujiahui.
The new museum involves more than 70 interactive installations and 3,000 historic exhibits. The visitors can ad-lib for famous Chinese films in a real sound studio, walk the red carpet, or Carpet of Light, or learn about animation, post-production, sound and live broadcasting in fully equipped studios.
Thürmer chose light and shadow, black and white, as the main themes, with grays and metallic accents referring to the silver screen, the film equipment and the glittering awards.
We especially love Thürmer’s involvement in the other aspects of the customer experience as well, not just the design of the actual space and exhibits. Too often this is all left to the last minute and not considered important. Yet the visitor interacts with people and with the entire experience, not just the walls and “props.”
Thürmer’s role as consultant and art director was extended to the communication design and operations of the museum. He created a visual identity and a graphic design concept, and consulted the museum on selecting and training the right team.
“The opening of the new museum is the start of a longer development process,” Thürmer says. “The coming year will be about professionalizing operations, visitor services and management. To me, this museum can be considered a success when it stimulates a new generation to identify with Shanghai Film. I will be satisfied when I see young people leaving the museum inspired, thinking: ‘The Shanghai film industry, that’s what I want to dedicate my future to.’”
We love this kind of thinking! -Tuija Seipell.
The Cool House, the first ever pop-up concept created and curated by The Cool Hunter (TCH), was an unprecedented run-away success at Pacific Bondi Beach(10 days), Sydney, Australia and at Rockeby Studios, Melbourne (4 days).
Close to 10,000 people attended both events. Media attention, both online and off, and the overall reaction of the public – both in person and online – was overwhelmingly positive and enthusiastic.
To take advantage of the momentum and to realize the incredible HOUSE potential of The Cool HOUSE concept, TCH will now take this concept to the next level.
TCH will create a temporary pre-fab house, designed by an American architect and an American interior designer – selected though an invited architecture competition – and located in yet-to-be-determined spot in New York City.
The house will be open for 2/3 months and celebrate a selection of items and their designers. The space will be personally curated by TCH, and include the most desirable and most covetable furniture and designer accessories for the home including fashion.
New global designer destination:
The Cool House will create an exciting new designer “destination” and draw attention to American architecture and design.
The global media attention for this exclusive concept will be unprecedented in part due to the unequalled reach of TheCoolHunter.net blog of more than 2 million monthly readers plus other social media outlets (Instagram 240,000 followers, twitter 294,000 followers, plus 210,000 readers-strong newsletter subscribers. The partners involved in this concept will together reap the benefits of their collective marketing power.
For, developers, brands and marketing opportunities, contact us here.