Sunday 6 December 2020

South Carolina's Post House inn features a mix of old and new

Bedroom of Post House inn in Charleston, South Carolina

Local design studio Basic Projects combined antiques with modern furniture pieces so that boutique hotel Post House in South Carolina "feels like it has always been there".

Host to seven guest rooms and a restaurant, Post House is situated just outside of Charleston in the suburban town of Mount Pleasant.

Bedroom of Post House inn in Charleston, South Carolina
The Post House inn occupies a 19th-century building

The building was originally constructed back in 1896, but since then has been reincarnated as various eateries and guest accommodations.

When ownership of the building ended up falling into the hands of Kate and Ben Towill – the couple behind Basic Projects – they set out to design Post House as an inviting inn that blended new and old-world charm.

Bedroom of Post House inn in Charleston, South Carolina
Bedrooms are lined with chintzy William Morris wallpaper

Sourcing eclectic pieces for the project came naturally to Kate Towhill, who used to work as a set designer for films.

"This project brought me back to my days as a set designer; I really wanted the space to feel like it had always been there, but never wanted it to feel like a tired bed and breakfast," she explained.

"I did this by mixing found antiques and modern pieces to keep things feeling fresh, making sure to not forget those creature comforts, like crisp white soft sheets and branded plush house robes."

Bedroom of Post House inn in Charleston, South Carolina
Decor is provided by patterned rugs and bedside lamps

Walls upstairs in Post House's bedrooms have been covered with wallpaper by William Morris, as the Towhills felt his chintzy, floral designs matched the age of the building.

Some of the suites feature plain white or powder-blue surfaces, but have been dressed with patterned Turkish and French rugs that Kate Towhill found at an antique fair in Massachusetts.

Interiors of Post House inn in Charleston, South Carolina
Post House's restaurant is downstairs on the ground floor

The studio did however make sure that not every decorative element was vintage so that the rooms "still felt fresh and durable".

The rattan beds, for example, come from US furniture brand Serena & Lily, while the ornately-printed bedside lampshades were ordered custom via e-commerce site Etsy.

Bar inside Post House inn in Charleston, South Carolina
Blue chairs run in front of the drinks bar

Wooden chairs and marble-topped dining tables have been scattered throughout the restaurant downstairs.

Intimate seating booths have set at the peripheries of the room, illuminated overhead by porcelain wall sconces that the Towhills purchased from Felix lighting specialists in England.

Restaurant inside Post House inn in Charleston, South Carolina
Work from local artists has been put up on the restaurant's walls

"Lighting is my favourite part about my job," said Kate Towhill. "It is so important to create a glow when people are inside or walking by – that glow and warm twinkling lights say 'come on in and sit down!'," she continued.

"Bad lighting can affect everything in my eyes, even how the food tastes!"

Restaurant inside Post House inn in Charleston, South Carolina
Cosy dining booths lay at the restaurant's peripheries

Paintings and illustrations made by local artists have been mounted on the restaurant's walls and behind the bar, in front of which is a row of plush, teal-blue high chairs.

During the warmer months, guests can spill onto the outdoor dining area, which is shaded by red-and-white stripey awning. On site there's also the Rose Room, an events space complete with grand Murano-glass chandeliers.

Outdoor dining area of Post House inn in Charleston, South Carolina
Striped awning shades the outdoor dining area

Kate and Ben Towill spent several years living in New York before moving to Charleston in 2013, when they set up Basic Projects. The studio has previously renovated a South Carolina home to feature tropical decor details and transformed an old pharmacy into a restaurant in Savannah.

Photography is by Kirk Robert.

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Dezeen's top 10 cabins of 2020

Skigard Hytte by Mork-Ulnes Architects

In a year when the coronavirus pandemic caused travel restrictions, cabins offered a welcome sense of escapism. As part of our review of 2020, here are Dezeen's top 10 cabins, including one made from infested wood and another with a titanium roof.


Bruny Island Cabin by Maguire + Devin

Bruny Island Cabin, Australia, by Maguire + Devin

The wood-lined Bruny Island Cabin was designed as a holiday home on Bruny Island in Tasmania and features only built-in furniture. Every element in the cabin is part of its frame, apart from a mattress and a freestanding table.

Its minimalist design prioritises storage as well as outdoor space and is flanked by two decks, one of which contains a sunken bathtub under removable decking panels.

Find out more about Bruny Island Cabin ›


Poisson Blanc by naturehumaine

Poisson Blanc cabin, Canada, by Naturehumaine

The snow-white Possion Blanc cabin has a gabled roof made from titanium, while the rest of the building is made from wood that was painted white to match the roof. Its striking shape takes cues from the rocky, inclined site that the 112-square-metres two-storey cabin overlooks.

"Its shape and its most minimalist expression allows for optimal compactness and a reduced footprint on its site," Naturehumaine said.

Find out more about Poisson Blanc cabin ›


The Edifice by Marc Thorpe Design

Edifice, US, by Marc Thorpe

Marc Thorpe's Edifice is an off-the-grid cabin in upstate New York's scenic Catskill Mountains, where the cedar-clad box is nestled in a wooded site.

The cabin was designed to be self-sustaining, inspired by the writings of Henry David Thoreau and Ralph Waldo Emerson, and features solar panels as well as a composting toilet, a rainwater collection system and a wood-burning stove.

Find out more about Edifice ›


Mountain and Cloud Cabins by Wiki World and Advanced Architecture Lab

Mountain and Cloud Cabins, China, by Wiki World and Advanced Architecture Lab

Each of these 18 mirror-clad timber cabins in China's Hubei province is an individual hotel room. They come in five different versions, including 14-metres high loft cabins with pointed shapes.

The main structure can be assembled in one day, and the cabins' interiors have a Scandinavian feel, inspired by the designer's time living in Norway.

Find out more about Mountain and Cloud Cabins ›


Ashen Cabin by Hannah

Ashen Cabin, US, by Hannah

Infested ash wood was used to clad the exterior of this small off-grid cabin, which is elevated on 3D-printed concrete stilts and contains more 3D-printed concrete throughout.

The cabin was built as a small-scale study of more sustainable construction that combines lumber destroyed by an invasive beetle with digital fabrication techniques.

Find out more about Ashen Cabin ›


Outside the modular Space of Mind cabin prototype by Studio Puisto

Space of Mind, Finland, by Studio Puisto

Studio Puisto worked with furniture brand Made By Choice to create Space of Mind in response to the coronavirus pandemic. The adaptable, modular cabin was designed so that it can be built anywhere and give people a space to relax.

Its lightweight wooden structure measures ten square metres and is prefabricated, and users can choose from different cladding options and foundations. Even the interiors are modular, with wooden pegs used to attach different furniture pieces.

Find out more about Space of Mind ›


Cabin Thunder Top ski by Gartnerfuglen Arkitekter in Norway

Cabin Thunder Top, Norway, by Gartnerfuglen Arkitekter

Cabin Thunder Top is located in Telemark, Norway, which has a long history of skiing. The wooden cabin has an accessible stepped roof that doubles as both a viewpoint and, fittingly, as a winter ski jump.

The six-metres-tall building is an extension to an existing log cabin and made from ore-pine, a traditional Norwegian building material. Its colourful window and door frames were painted in the hues used to mark Norway's public hiking trails.

Find out more about Cabin Thunder Top ›


Skigard Hytte by Mork-Ulnes Architects

Skigard Hytte, Norway, by Mork-Ulnes Architects

Mork-Ulnes Architects' founders Casper and Lexie Mork-Ulnes designed this modern mountain cabin for their own family. The cabin is a regular grid of 45 wooden columns, clad with the Skigard quarter-cut tree logs that gave it its name.

The cabin is raised up on pillars to avoid disturbing the ground beneath, and local cows and sheep sometimes seek shelter underneath it. A grass top references traditional sod roofs.

Find out more about Skigard Hytte ›


False Bay Writer's Cabin by Olson Kundig

False Bay Writer's Cabin, US, by Olson Kundig

Drawbridge-style shutters offer privacy to the owners of the False Bay Writer's Cabin, which also functions as a guesthouse. The decks can be pulled up to protect its glass walls or used as decks when lowered.

"It is intended to be a shelter of extremes, open or closed," said architect Tom Kundig of the 46-square-metre cabin, which also features a rotating fireplace.

Find out more about False Bay Writer's Cabin ›


Refugio en La Paisanita by STC Arquitectos

Refugio en la Paisanaita, Argentina, by STC Arquitectos

Refugio en la Paisanita, located in the heart of Córdoba, was built from reclaimed and recycled materials including scrap metal and oil pipes. The cabin was designed to be mindful of its environment and stands on stilts to avoid damaging the forest floor.

Its frame is made from metal pipes, while the roof consists of recovered eucalyptus boards.

Find out more about Refugio en la Paisanaita ›

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AOE covers exhibition centre in China with white perforated metal

Shuifa Geographic Information Industrial Park Exhibition Center by AOE in China

Chinese architecture studio AOE has wrapped a conference centre near Jinan, China, in a layer of perforated metal screens.

The Shuifa Geographic Information Industrial Park Exhibition Center sits 12 miles outside of the city of Jinan in east China.

Exterior view of Shuifa Geographic Information Industrial Park Exhibition Center by AOE in China
The conference centre has angled outer walls

An inner wall of glass is screened by slanting walls of translucent mesh, which appear solid from a distance and diffuse lights at night.

"The interior of the building is obscured by the white perforated plating," said AOE

"As night falls, light shines through the perforated plates to make the whole building glow, like a piece of shiny marble standing in the wilderness."

Exterior of Shuifa Geographic Information Industrial Park Exhibition Center by AOE in China
White perforated metal forms the facade

Four angular volumes lean towards and away from each other, creating canyon-like entrances. AOE  deliberately wanted the complex to look like stylised rock formations.

As one of the first projects to be built in the new Changqing Economic Development Zone, AOE used an introverted design to minimise views over the less-than-inspiring location,

"In order to eliminate the visual impact of the messy surrounding environment, geometrical hills are designed to surround the square, which slowly rises as people enter the site, gradually blocking out the view," said AOE.

Water feature outside Shuifa Geographic Information Industrial Park Exhibition Center by AOE in China
A stepped water feature mimics a waterfall

The density of the perforation increases as the floors rise, to match the functions of the rooms inside. Exhibition halls are located on the two lower floors, so the walls are more transparent.

Upstairs, the third and fourth floors contain office space and have a denser mesh for privacy.

"The gradual changes in the perforated plates allow the permeability of the building facade to gradually change from top to bottom, giving a sense of depth to the overall surface of the building," said AOE.

Entrance to Shuifa Geographic Information Industrial Park Exhibition Center by AOE in China
Entrance is via canyon-shaped gaps

This outer skin also shades the glass from the sun to keep it cool, regulating the building's temperature in a more sustainable manner.

Water cascades down stone steps outside, a feature that is designed to look like "a stream of clear spring water flowing from the cracks in the rocks" said AOE, while the green landscaping is to evoke "a mountain waterfall".

At the centre of the exhibition centre is a four-storey atrium lit from above by a skylight.

Aluminium bridge in conference centre atrium
Bridges wrapped in aluminium cross the atrium

Two bridges wrapped in aluminium crisscross the upper levels, their reflective surfaces mirroring the white walls.

Perforated white metal mesh wraps the inner levels too, with cut-out windows for visitors to look out over the lobby.

Aerial view of Shuifa Geographic Information Industrial Park Exhibition Center by AOE in China
The centre is in the new Changqing Economic Development Zone

AOE is an architecture practice based in Beijing.

More conference centres in China include Ningbo Urban Planning Exhibition Center, which is covered in green ceramic tiles, and the Light of Internet World Internet Conference Centre that is surrounded by robot-constructed pavilions.


Project credits:

Architect: AOE
Lead architect: Larry Wen

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Saturday 5 December 2020

Under Armour designs pilots' spacesuits for Virgin Galactic's first commercial spaceflight

US sportswear brand Under Armour has designed the spacesuits and footwear that Virgin Galactic's pilots will wear for its first commercial spaceflight later this month.

According to the brand, the spacesuits are designed to make the pilots feel confident while ensuring they are understated enough to not be distracting.

While each all-in-one suit has been tailored to the pilot it is intended for, they are all made from a royal-blue material with black panels under the arms, above the feet and running along both sides of the body.

Detail of Virgin Galactic pilots' spacesuits by Under Armour
Under Armour has designed the spacesuits for the Virgin Galactic pilots

The suits are made of tough, flight-grade knitted fabrics that are as lightweight as possible – with each garment weighing just over one kilogram.

Cushioning on the shoulders offers comfort as pilots are held into position by straps when seated in zero gravity. This also serves to support the pilots during boost, when the forces press them back into their seats.

Detail of Virgin Galactic pilots' spacesuits by Under Armour
The pilots will wear the suits for Virgin Galactic's first commercial spaceflight

"A pilot's flight suit has been refined over the decades to embody a certain undeniable look and function, but they also have to perform beyond expectations," said Randall Harward from Under Armour.

"We took that as a starting point and built in all of the Under Armour solutions we've developed for comfort, support, movement and temperature management."

"Our goal was to build a suit that leaves a pilot – like any athlete – feeling confident and with zero distractions during a critical moment of performance. It's been a fascinating journey."

Detail of Virgin Galactic pilots' spacesuits by Under Armour
The suits were designed to be striking but not distracting

Under Armour was given a brief to create a non-pressurised spacesuit that both reflected the pilots' role in the space mission and practically supported their task.

Chief pilot Dave Mackay and pilot CJ Sturckow will wear the spacesuits and footwear on future flights, including its first commercial spaceflight that will fly private astronauts – astronauts on spaceflights not conducted by a government agency – into space from Spaceport America in Las Cruces, New Mexico.

This mission is due to take place later this month, with the flight window opening on December 11th 2020.

Footwear and spacesuit for Virgin Galactic pilots designed by Under Armour
Under Armour also designed the pilots' footwear

As Virgin Galactic's technical spacewear partner, Under Armour has designed other astronaut apparel pieces for the company, including similar suits designed for private astronauts.

While the garments are visually very similar, it was important for the sportswear brand to set the pilots' suits apart from those that will be worn by the future astronauts to help highlight the roles they play in the spaceflight.

"A common colour palette accentuates the fact that pilots and customers are all part of one crew. But the addition of black within the pilot spacesuits, sets the pilots a little apart and is a reminder that the destination of each flight is the black sky of space," Virgin Galactic said.

The pilots' spacesuits also feature the Virgin Galactic pilot wings emblem.

Detail of Virgin Galactic pilots' spacesuits by Under Armour
Each suit weighs just over one kilogram

Under Armour also created the 3D-knitted covers for the seats in the interior cabin of the Virgin Galactic SpaceshipTwo craft, which was designed in collaboration with London studio Seymourpowell.

The craft will be designed to take six passengers on a sub-orbital flight into space to view the Earth and experience several minutes of weightlessness at $250,000 per seat.

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Olson Kundig principal designs himself a cosy beach cabin

Agate Pass Cabin by Olson Kundig Architects

Olson Kundig Architects principal Alan Maskin has renovated and extended a beach cabin from 1938 in Washington State, turning it into his wood-lined retreat.

Agate Pass Cabin overlooks the Agate Passage, a tidal waterway on the Olympic Peninsula. Maskin added a first-floor extension and proper foundations to the old cabin.

Living room of Agate Pass Cabin by Olson Kundig Architects
Low ceilings have been open up into the old attic

Original wide planks of Douglas fir – a species that was bountiful in the region 100 years ago – still line the walls and ceilings.

Where some panels were taken down to make room for alterations, the wood was refashioned into cabinets or storage or used to line new ceilings.

Fireplace of Agate Pass Cabin by Olson Kundig Architects
Panels of original Douglas fir still line the walls

Contrasting wood such as Gulam plywood was chosen for additions to the cabin, to clearly mark what is original 1930s and what is new.

Maskin bought the cabin as a dream renovation project, although it took him years to find the time to work on it after he was made an owner of Olson Kundig Architects.

"My work life and love life were separated by Elliott Bay and a three-hour commute," said Maskin.

"I was looking for a small, extremely inexpensive fixer-upper. In my dreams, I wanted it to be a small cabin with a view of the water – hopefully with some character – and located somewhere in the middle of my two primary destinations."

Dining room Agate Pass Cabin by Olson Kundig Architects
A screened-in porch has become a dining room at one end

When he heard the cabin had come up for sale he went to view it and realised that he could see Agate Pass if he climbed up on the roof.

"I hired a residential building inspector to check it out and make sure that buying such a rundown house wasn't insane," added Maskin.

"While he was underneath looking at the foundations of the house, I noticed 12 bald eagles flying directly over the house. Let's just say that after that, the inspector's report didn't seem as necessary."

Office of Agate Pass Cabin by Olson Kundig Architects
The other side of the former porch is now a study

After years sleeping on a mattress in the cabin's unheated attic while he was busy with Olson Kundig Architects, Maskin finally found the time to redesign the cabin.

New foundations were added, with seismic upgrades as the Pacific Northwest sits on a fault line called the Cascadia subduction zone.

Staircase of Agate Pass Cabin by Olson Kundig Architects
A first floor has been added to the cabin

The low ceiling between the living room and the attic was removed, opening the space up to create a five-metre-high vaulted roof beneath the gables. A wood-burning sits on a raised metal hearth.

A screened-in porch was turned into a dining room and office space with views over the gardens.

Bedroom of Agate Pass Cabin by Olson Kundig Architects
The bedroom has views over the Agate Pass

Upstairs, the new first storey houses a wood-lined bedroom with views over the trees and the water.

The gable end is made of and flanked by windows. A cardboard 3D portrait of the American sculptor Ed Kienholz by the local artist Scott Fife hangs over the bed, which Maskin designed himself.

Bedroom of Agate Pass Cabin by Olson Kundig Architects
Gulam plywood was used for new additions to the cabin

Maskin also designed the bed and armoire. Above the office space is a first-floor outdoor terrace.

Other artworks on display in Agate Pass Cabin include works by Seattle artists such as Sutton/Beres/Culler, Leiv Fagereng, Karen Rudd, Rebecca Raven, Chris Crites, David Eisenhour, Mary Larson and Klara Glosova.

Seattle-based Olson Kundig Architects was founded in 1967 by Jim Olson. More cabins from the practice include a writer's cabin with drawbridge-style shutters and a narrow yet tall cabin for a family.

Photography is by Aaron Lietz.


Project credits:

Architect: Olson Kundig Architects
Design principal and interior design: Alan Maskin
Project architects: John Kennedy and Hill Pierce
Landscape (hardscapes): Alan Maskin
Landscape (plants): Duane West and Brian McLaughlin
General contractor: Krekow Jennings
Structural engineer: Nic Rossouw, Giraf Design
Lighting design: Niteo

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