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Residential Interior / Interior Design & Architectural Visualization — 2008 · INCEPT Ltd

Yakubu Interiors

The entrance hall seen from floor level: a floating stair with timber treads and a chrome balustrade sweeps up the right-hand side against a curved ochre wall, two tall glazed doors with frosted geometric panels stand on a pale blue-grey wall to the left of it, a tall antelope sculpture and a round pedestal table with a plant sit under the stair, a large narrow vase stands at the far left, three globe pendants hang from the cornice, and the speckled pale floor tiles take the daylight as long reflections; the frame carries only the studio’s mark and blog address.

Five interior renderings made for INCEPT Ltd in November 2008, when the studio was working as a team-up: the entrance hall of a house seen twice, from the floor and from the stair landing, then its kitchen, living room and bedroom, all dressed in pale tiles, ochre walls and dark timber.

The post is two sentences long and names everyone involved. “Revival” is described as a team-up of Kwahmi//studios, acethetics studios and PXL PPL — spelled here exactly as the studio wrote them — put together to produce five interior designs for INCEPT Ltd, whose own web address the post gives. The client is therefore the same practice behind the studio’s Deneese interiors a year later, and the two are kept as separate commissions: Deneese is described by the studio as a mock-up, while nothing here says that, and the rooms are different houses.

Two of the five frames are the same entrance hall from opposite ends, which is the set’s most informative pair. From the floor, a floating stair with timber treads and a chrome balustrade sweeps up a curved ochre wall past two tall glazed doors and a standing antelope sculpture; from the landing, the same balustrade is seen from above, with the hall opening onto a sunlit sitting area beyond. A red-and-cream Greek-key relief panel appears in both, and so does the round pedestal table, which is how the two are known to be one space.

The other three are a kitchen, a living room and a bedroom, and they share one vocabulary rather than three: large pale speckled floor tiles, ochre and blue-grey walls, dark timber joinery, and pattern carried by printed panels — a three-part floral over the bed, a single wide floral in the living room, an etched floral on the wardrobe. The living room is deliberately canted, the only frame in the set photographed on a diagonal, which suggests it was the one the studio wanted to read as the most dramatic.

Software is known from the post’s own labels — SketchUp and V-Ray, alongside 3d visualization, architecture, homes, interiors and portfolio. No town, site or architect is named, so the listing carries the bare Ghana the studio’s other INCEPT work uses. The title is the post’s own, and the post never explains what Yakubu is: a person, a house name or a client’s project title are all equally supported by the record, so nothing is inferred from it.

The frames were published at 1000 pixels wide and the two darkest — the hall from the floor and from the landing — were uploaded as small JPEGs that compress better than any re-encode of them, so they are served here exactly as the studio uploaded them.

The source post is on blogspot — Yakubu interiors, 25 November 2008.

The entrance hall seen from floor level: a floating stair with timber treads and a chrome balustrade sweeps up the right-hand side against a curved ochre wall, two tall glazed doors with frosted geometric panels stand on a pale blue-grey wall to the left of it, a tall antelope sculpture and a round pedestal table with a plant sit under the stair, a large narrow vase stands at the far left, three globe pendants hang from the cornice, and the speckled pale floor tiles take the daylight as long reflections; the frame carries only the studio’s mark and blog address.
The same hall from the other end, looking down over the curved chrome balustrade from the stair landing: the timber treads drop away at the left against the ochre wall, the pale tiled floor sweeps round to a glazed double front door at the right and an opening ahead onto a sunlit sitting area with a chair and a plant, the red-and-cream Greek-key relief panel repeats on the pier, and a small round table with a plant and magazines sits at the foot of the stair.
The kitchen, dressed in dark timber cabinets run along two walls under pale worktops: three windows with venetian blinds light the sink and a bank of wall shelves at the left, a tiled chimney hood and a range cooker with an oven sit at the right, a bowl of flowers stands on the counter, and the floor and splashback are laid in large pale tiles.
The living room, shown on a deliberate diagonal: a wall of grid-glazed windows and a glazed door looks out on greenery, an ochre wall at the right carries a wide framed floral print above a low dark cabinet, a white sofa and an armchair sit around a glass coffee table on the pale tiled floor, and a tall potted plant stands by the windows.
The bedroom, built on a dark feature wall panelled with a three-part white floral print above a low timber bed dressed in brown linen: a coffered ceiling with a timber inlay and a run of downlights sits overhead, a window at the left looks out on sky and birds beside a lounge chair and ottoman, a white bench and low table stand at the foot of the bed, and a tall wardrobe with an etched floral pattern closes the right-hand side.