When Hayden Slater, one of the minds behind the Pressed Juicery, approached the architecture firm Standard, helmed by Jeffrey Allsbrook and Silvia Kuhle, he was thinking big and small. In addition to a space in Beverly Hills (it would ultimately become both the design idea lab and flagship for the company), Slater and his partners planned on rolling out several more locations, ranging in size from small to smaller. They wanted a firm that could create a concept flexible enough to fit a compact storefront on down to almost a niche, with elements that could be incorporated or not without diminishing the character of the brand.
Almost immediately, Allsbrook and Kuhle zeroed on the lemonade stand as one of their guiding principles. “They never mentioned lemonade stand as a template, but we used it internally almost from the start,” Allsbrook says. The architects also saw white oak as central to their design. It reflected the chalkboard elements of the company’s Web site and offered a fresher, more sophisticated riff on the reclaimed wood found at the company’s original location. “Reclaimed wood conveys a certain image,” says Allsbrook, “but it’s kind of played out, especially in the market they’re positioning themselves in.”
In the Beverly Hills location, they did not simply panel flat surfaces with the white oak and call it a day. Instead, to give the space texture and interest, Kuhle and Allsbrook looked to the Fibonacci Sequence as inspiration for the wood’s installation. Now the storefront, counter, walls and ceiling of the Beverly Hills store feature a rhythmic pattern of the timbers. Actual chalkboards appear, too, and have been incorporated into the design for the supplement holders; white subway tiles line the walls. The effect is fresh and minimal and perfectly conveys the product and the brand’s image.
At the same time Allsbrook and Kuhle were designing the Beverly Hills location, Slater and his partners continued to expand their business—expanding Standard’s portfolio too. “We got to play with Beverly Hills,” recalls Allsbrook. Then the subsequent spaces started coming—fast. “We had to do downtown simultaneously, then Studio City. We designed a truck for them in Malibu as a glorified woody station wagon.” Says Kuhle, “There was lots to do all at once, but we could see it working as we were finishing the prototype.”
In the end, designing multiples sites proved to be a boon for the pair, as they saw in practice how their idea of creating discrete, easily transferrable design elements (white oak on the walls, storefront and ceilings, subway tiles, chalkboards, concrete floors) might or might not be adapted to different spaces. “Changes happened on the others. But with Beverly Hills, when we came back, the design and technical problems had been solved,” says Allsbrook. The result is a group of discrete elements that can be easily transferred in part or entirely to each new location, while maintaining the company’s identity.