Category: Home & Kitchen

An architecture centre founded by British architect Terry Farrell has opened in Newcastle, England, with an exhibition exploring building materials of the future and “urban rooms” for local residents.

The Farrell Centre is an exhibition gallery, research centre and community space that aims to provoke conversation about architecture and planning, both in the city and at a global scale.

The project was instigated by Farrell, who donated his architectural archive and put £1 million towards the build.

The inaugural exhibition, More with Less: Reimagining Architecture for a Changing World, looks at how buildings might adapt to the climate crisis.

Fake fur, mycelium and wool insulation feature in a series of installations designed to challenge traditional methods of producing architecture.

Elsewhere, three urban rooms host workshops and other events where locals can learn about the past and future of Newcastle and voice their opinions on development plans.

“The centre is here to bring about a better, more inclusive and more sustainable built environment,” said Farrell Centre director and Dezeen columnist Owen Hopkins during a tour of the building.

“The belief that underpins everything we do is that we need to engage people with architecture and planning, and the transformative roles that they can have,” he told Dezeen.

“Architecture and planning are often seen as something that’s imposed from above. We need to shift that perception.”

Forming part of Newcastle University, the Farrell Centre occupies a four-storey former department store building in the heart of the city.

Local studios Space Architects and Elliott Architects oversaw a renovation that aims to make the building feel as open and welcoming as possible.

The ground floor has the feel of a public thoroughfare, thanks to glazed facades on two sides, while bleacher-style steps create a sunken seating area for talks and presentations.

A colourful new staircase leads up to the exhibition galleries on the first floor and the urban rooms on the second floor, while the uppermost level houses the staff offices.

According to Hopkins, the launch exhibition sets the tone for the type of content that visitors can expect from the Farrell Centre.

The show features installations by four UK architecture studios, each exploring a different proposition for future buildings.

“We wanted to create something that expands people’s understanding of what architecture is, beyond building an expensive house on Grand Designs,” Hopkins said, referencing the popular television show.

Newcastle University’s Hub for Biotechnology in the Built Environment (HBBE) has created Living Room, a cave-like structure made by cultivating a mixture of mycelium and sawdust over a giant wool blanket.

Next, a mini maze created by Glasgow studio Dress for the Weather aims to showcase the thermal and experiential qualities of building insulation, with varieties made from low-grade wool and plastic bottles.

London-based Office S&M proposes low-tech but fun solutions for making buildings more comfortable.

These are represented by a silhouette of the head of Michelangelo’s David made from pink fur, a metallic space blanket, a chaise longue topped covered in expanding foam and a dichroic-film window covering that casts colourful reflections onto the floor.

“This whole room is about actually doing really simple mundane stuff, but in a way that is joyful and tells a story,” said Hopkins.

In the final room, an installation by London-based McCloy + Muchemwa brings nature indoors with a boardroom table covered in plants.

On the floor above, the three urban rooms have been fitted out by Mat Barnes of architecture studio CAN with custom elements that make playful references to building sites.

They are filled with historic maps, interactive models, informal furniture, display stands made from scaffolding poles, and architecture toys that include building-shaped soft play and Lego.

The idea of setting up an urban room in Newcastle was the starting point for the creation of the Farrell Centre.

A decade ago, Farrell was commissioned by the UK government to produce a report on the state of the UK’s architecture and planning system.

One of the key recommendations in the Farrell Review, published in 2014, was to create an urban room in every major city, giving local people of all ages and backgrounds a place to engage with how the city is planned and developed.

As Farrell grew up in the Newcastle area and studied architecture at the university, he became keen to make this concept a reality in this city.

Although the Farrell Centre is named in his honour, Hopkins said that Farrell is happy for the facility to forge its own path in terms of programme and approach.

“He established the idea and vision for the centre, but he is happy for us to build out that vision in the way that we think is best,” added Hopkins.

The director is optimistic about the centre’s potential to engage with the community.

“Newcastle is a city like no other,” he said. “The civic pride here is off the scale. People have such a deep-rooted love of where they live.”

“It’s amazing to be able to tap into that as a way of creating a better built environment.”

More with Less: Reimagining Architecture for a Changing World is on show at the Farrell Centre from 22 April to 10 September 2023. See Dezeen Events Guide for more architecture and design events around the world.

A vengeful doll from an Alpine folk tale was the imagined occupant of this colourful cabin-style home created by German designer Markus Benesch at Milan design week.

The maximalist Alpine Rising installation featured decorative Alpine-style furniture and multi-coloured wall coverings, all filled with references to life in the mountains.

Benesch developed the design after becoming fascinated by the fabled character of the “tuntschi” doll.

According to the story, the tuntschi is fashioned out of wood, straw and cloth by herdsmen who spend the summer tending cattle on the mountain and crave female company.

The doll comes to life, yet the herdsmen continue to objectify her. So when the time comes for them to return home, she takes murderous revenge on one of them.

This got Benesch thinking about what happens after the story finishes.

“I wondered, what is this doll doing when she is alone in the wintertime?” he told Dezeen. “I thought, maybe she has the time of her life.”

One of the starting points for the design was to think about the types of pastimes that the doll might enjoy.

One idea was that she might ski. This resulted in swirling motifs – reminiscent of snow tracks – that appeared throughout, plus a pair of bespoke skis.

Benesch also thought the doll might take up pottery, which led him to the work of Austrian ceramicist Florian Tanzer, founder of Vienna-based studio Luma Launisch.

Tanzer’s rough and enigmatic ceramics often depict unusual characters.

For Alpine Rising, he created vases and vessels that integrate the face of the tuntschi. Some pieces had more than one face, in reference to her two-faced nature.

Benesch and his small-production furniture, textile and wallpaper company Curious Boy created a completely custom interior for the tuntschi’s Alpine cabin.

Divided into rooms, it was filled with farmhouse-style furniture pieces that combined traditional Alpine woodcraft with colourful motifs typical of Benesch’s designs.

Benesch creates these patterns by inlaying wood with pigmented resin.

In ash wood, designs on show included the cabin-style Tuntschis cabinet, the elaborate Himmibed and the playful Stui dining chairs.

Walnut was used for the amorphous Splügen lamp, while the zigzag-patterned Hochzeitsschrank wardrobe was crafted from pine.

For the wallpaper and textiles, Benesch created repeating patterns using images of wooden shingles that typically clad Alpine chalets, then overlaid them with various colours and tones.

Underlying the entire design was an idea about getting away from today’s digital world and the harmful effects it can have on mental health, and instead celebrating “an analogue lifestyle”.

This idea was emphasised by hand-carved ash and walnut spoons and a pack of custom-designed playing cards.

“We want to disconnect from the crazy of our today’s world and reconnect more with ourselves in nature,” added Benesch.

The exhibition formed part of the 5Vie district during Milan design week, where other exhibitions included Artemest’s L’Appartamento, a 1930s apartment redesigned by six different studios.

Following Milan design week, we collected ten standout installations and projects on show during the week.

Alpine Rising was on show from 15 to 21 April 2023 as part of Milan design week. See Dezeen Events Guide for more architecture and design events around the world.

Exhibition and furniture photography is courtesy of Markus Benesch Creates. Ceramic photography is by Gregor Hofbauer.

Harnessing soft colours and gentle curves, interior design studio Vives St-Laurent has completed a shop for children’s boutique Billie Le Kid in Mont-Tremblant – a Canadian ski resort known for its colourful architecture.

Following on from Billie Le Kid‘s first store in Montreal, the brand brought in Vives St-Laurent to create a new outpost that captured the spirit of the brand while reflecting its location.

Its storefront was designed to resemble a theatre, showcasing the brand’s wholesome edit of children’s clothes, toys and books.

Custom-made awnings recall the idea of a general store, while the front was repainted in a vibrant blue-on-blue palette to reflect Mont-Tremblant’s colourful charter.

Referencing the facade, arched openings throughout the boutique bring a whimsical touch to the transitions between different sections.

Rounded corners were used to soften the edges of the display cabinets, adding character and creating a playful and welcoming atmosphere.

Bianco Carrara marble was used on top of the checkout counter to convey a sense of timeless luxury, while moss-coloured velvet changing room curtains reference the theatre concept and bring softness and tactility to the space.

The polished concrete floor was a practical choice, as the low-maintenance material allows skiers to visit the store in their ski boots.

Painted tongue-and-groove panelling was added to give the boutique a touch of nostalgia.

“We combined classic and contemporary materials to create a harmonious yet unique ambience,” Vives St-Laurent’s interior designer Léa Courtadon told Dezeen.

Courtadon said she chose the store’s calming colour palette of stone beige and sage green to create “a whimsical mood that recalls the playful world of childhood while maintaining sophistication and ensuring the products stand out”.

Sturdy vintage Canadian furniture was chosen to draw on the idea of the general store and family home. Long wooden refectory tables were repurposed as displays for toys and clothing, adding visual interest while paying homage to the brand’s Canadian heritage.

A row of vintage frilled-glass pendant lights creates a feature above the counter.

“The lamps’ rippled globes resemble ballerina tutus, adding a delicate touch to the overall design,” Courtadon said.

In contrast, the main lighting system with its matt white finish was chosen to blend seamlessly with the store’s high ceiling. The railing system allows for precise positioning to highlight different items within the display cabinets.

Vives St-Laurent used baskets for storage to contribute to the nostalgic, homespun aesthetic as well as offering a practical way to store and display plush toys.

“They create an impression of abundance and allow children to interact with the toys, promoting a sense of independence and autonomy,” said Courtadon. “It all contributes to a playful and engaging atmosphere that’s ideal for a kids’ store.”

Since its founding in 2018, Vives St-Laurent has completed a range of projects across Canada. Among them is a tactile home in Montreal with a grey-heavy colour scheme.

The photography is by Alex Lesage.

For our latest lookbook, we’ve collected eight peaceful kitchens with Scandinavian design details, in homes including a chalet in Belgium and a forest retreat in Sweden.

Plenty of wood and stone, minimalist details and practical solutions make these eight interiors from across the world good examples of Scandinavian kitchen design.

As well as being stylish, the pared-down interiors make for functional, clutter-free kitchens where it is easy to find and use all the items needed to make a meal in a relaxing atmosphere.

This is the latest in our lookbooks series, which provides visual inspiration from Dezeen’s archive. For more inspiration see previous lookbooks featuring outdoor showers, interiors with exposed services and Milanese homes with eye-catching material palettes.

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Forest Retreat, Sweden, by Norm Architects

Architecture studio Norm Architects designed this kitchen in a traditional Swedish timber cabin using oakwood to create a warm feel.

Its discrete handleless low-lying cupboards have plenty of storage space, while a stone splashback is both decorative and functional. A black tap adds graphic contrast.

Find out more about Forest Retreat ›

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Villa E, Denmark, by CF Møller Architects

A carved lightwell brings light into this sundrenched kitchen in a villa in Denmark. The brick tiles that clad the kitchen wall give the room a tactile feeling.

The floor of the open-plan kitchen is made from herringbone parquet, a style often seen in living room that here gives the kitchen area a more luxurious feel.

Find out more about Villa E ›

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Stockholm apartment, Sweden, by Westblom Krasse Arkitektkontor

This Stockholm flat might be the exception that proves the rule when it comes to Scandinavian kitchen design – that it has to be designed using discrete colours and materials.

Instead, local studio Westblom Krasse Arkitektkontor chose a pale lilac hue for the kitchen, which nevertheless features wooden details in the form of a table and chairs. An orange pendant light contrasts nicely with the monochrome kitchen.

Find out more about Stockholm apartment ›

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Vipp Pencil Factory, Denmark, by Vipp

Danish homeware brand Vipp used one of its own modular kitchens for Vipp Pencil Factory, a pop-up supper club in Copenhagen.

The dark-brown wood, commonly used in Scandinavian kitchens, contrasts against the grey concrete walls of the former pencil factory and is complimented by glass cabinets and a marble benchtop.

Find out more about Vipp Pencil Factory ›

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Habima Square apartment, Israel, by Maayan Zusman

Local designer Maayan Zusman renovated this apartment in Tel Aviv using plenty of Scandinavian brands and details, including lamps by Gubi and chairs by Ferm Living.

A pared-back colour palette and Crittal windows that let the light in also give the kitchen a slightly industrial feel.

Find out more about Stockholm apartment ›

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Chalet, Belgium, by Graux & Baeyens Architecten

This 1960s chalet in Belgium features light-filled living spaces, including a wood-and-stone kitchen that has plenty of storage spaces and large windows that open up towards a lush garden.

Even the kitchen fan has a plywood cover to ensure it matches the rest of the space.

Find out more about the Belgian chalet ›

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Saltviga House, Norway, by Kolman Boye Architects

Nicknamed the “house of offcuts” because it has a facade made of offcuts of wooden flooring material, this weekend retreat in Lillesand, Norway, has a kitchen with a view.

The Scandinavian kitchen design is underlined by the use of Danish furniture brand Carl Hansen & Søn‘s classic CH24 Wishbone chairs, which have been placed around a wooden dining table.

Find out more about Saltviga House ›

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The Hat House, Sweden, by Tina Bergman

Located in the forested landscape of Tänndalen in western Sweden, The Hat House has a traditional Swedish kitchen with an entirely wood-lined interior.

To save space, a small floating shelf was used to provide open storage, rather than cupboards. Contrasting dark black and grey colours were used for the splashback as well as the kitchen island.

Find out more about The Hat House ›

This is the latest in our lookbooks series, which provides visual inspiration from Dezeen’s archive. For more inspiration see previous lookbooks featuring outdoor showers, interiors with exposed services and Milanese homes with eye-catching material palettes.

Tree-like columns and other nature-inspired details feature in this indoor playground, which design studio Sarit Shani Hay has created for the children of employees at an Israeli software company.

The playground is set on the 15th floor of a skyscraper, surrounded by floor-to-ceiling glass windows that provide uninterrupted views across the city of Tel Aviv.

Despite this urban setting, Sarit Shani Hay wanted the space to “emphasise closeness to nature” and subtly incorporate biophilic design principles.

The studio has therefore made reference to the outdoors throughout the scheme.

Huge, round pieces of sea blue and forest-green carpet have been set into the floor. Circular panels in the same blue and green hues have also been put on the ceiling, bordered by LED tube lights.

Parts of the floor that are not covered with carpet have been overlaid with plywood or rubber to account for shock absorption.

A series of tall plywood “trees” with spindly branches have been dotted across the room; a couple of them suspend a swinging hammock, while another supports a gridded toy shelf.

Plywood was also used to make house-shaped volumes for the children to play in.

Each of these volumes includes playful interactive features such as ramps, tunnels, rope ladders, sliding poles and secretive nooks.

The children also have the option of using a climbing wall at the rear of the room, which has different-coloured footholds.

The project also saw Sarit Shani Hay create a small kitchen where the children can wash their hands and have snacks prepared for them. This space was finished with sea-blue cabinetry and a gridded tile splashback.

The indoor playground also features a small cafe area, where employees can enjoy their lunch breaks whilst being close to their children.

Playgrounds are increasingly offering more than just swing sets and slides. Architecture studio KWY.studio created a play area for a park in Billund, Denmark that includes pink marble sculptures.

Artist Mike Hewson has also designed a public playground in Melbourne that features giant boulders on wheels, encouraging children to climb and explore intuitively.

The photography is by Roni Cnaani.

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Project credits:

Design: Sarit Shani Hay
Lead designer: Adi Levy Harari

Lime-washed walls meet aluminium display fixtures in this minimalist studio and showroom that designer Hollie Bowden has devised for London brand Completedworks.

Set over two floors of a former pub in Marylebone, it provides space for Completedworks to design and display its jewellery and ceramics, as well as to host an array of craft-focused classes.

The brand was established in 2013 and up until now, has largely been sold via high-end department stores such as Dover Street Market and Liberty. But founder Anna Jewsbury felt it was time for Completedworks to have its own brick-and-mortar space.

“We increasingly had clients asking to come and see our pieces in person but felt that we didn’t have a space that felt considered and reflected our vision,” she said. “We wanted people to be able to enter our world and get to know us, and for us to get to know them.”

For the design of the showroom, Jewsbury worked with London-based designer Hollie Bowden, who naturally looked to the brand’s jewellery for inspiration.

This can be seen for example in the hammered-metal door handles that appear throughout the studio and directly reference the creased design of the gold Cohesion earrings.

“[Completedworks] is known for the beauty of the textural surfaces and flowing almost baroque forms,” Bowden explained. “We developed a display language that played off that, with minimal details and strict lines.”

Almost every surface throughout the studio is washed in beige-toned lime paint, with only a few slivers of the original brick walls and a worn metal column left exposed near the central staircase.

Bowden used brushed aluminium to create a range of display fixtures, including chunky plinths and super-slender shelving units supported by floor-to-ceiling poles.

The space also houses a couple of angular aluminium counters for packing orders that include discrete storage for boxes and subtle openings, through which tissue paper or bubble wrap can be pulled.

A slightly more playful selection of colours and materials was used for the studio’s custom furnishings.

In the main showroom, there’s a modular display island sheathed in lilac linen. Meanwhile in the office, designer Byron Pritchard – who is also Bowden’s partner – created a gridded wooden cabinet inlaid with translucent sheets of paper, intended to resemble a traditional Japanese shoji screen.

This isn’t Bowden’s first project in London’s affluent Marylebone neighbourhood.

Previously, the designer created an office for real estate company Schönhaus, decking the space out with dark-stained oak and aged leather to emulate the feel of a gentleman’s club.

The photography is by Genevieve Lutkin.

A ceramic mural by Álvaro Siza is at the heart of this rustic restaurant interior in Porto, Portugal, designed by Space Copenhagen.

Located in a renovated 16th-century building in Porto’s Largo de São Domingos area, the Cozinha das Flores restaurant features a mural designed by the Pritzker Architecture Prize-winning Portuguese architect.

“Whilst Siza has created many pieces of non-architectural works worldwide, he had never created something of this kind for his hometown of Porto,” Space Copenhagen founders Peter Bundgaard Rützou and Signe Bindslev Henriksen told Dezeen.

“Given Siza’s prominence and contribution to Porto life, having him manifest this into a mural depicting his perception of the city was beyond our expectations.”

Sketches of figures playing musical instruments stand out in black against contrasting green and burnt orange tiles, which were completed by ceramic tile company Viuva Lamego.

“When asked to imagine a piece for Cozinha das Flores, he [Siza] depicted the recurrent theme of musicians, representing time well spent; fun, relaxed moments; a medley of emotions; and people joined by arts and culture,” said the studio.

“The specialist craftspeople used a traditional technique of hand painting the scaled-up facsimile of a sketched image from paper onto the tiles, painted dot by dot.”

The green and orange hues of the tiles appear elsewhere in the interior. Green cushions top the built-in oak seating bench that runs along the wall below the mural, while doorways were painted dark green.

The colour palette was unified with coppery plastered walls and warm lighting.

“We introduced plastered walls in earthy warm tones and a conscious use of light to enhance and saturate,” the studio explained.

Natural materials like stone, marble, brass and oak were used throughout the interior. The seating was arranged around an open kitchen, which has dark grey quartzite stone surfaces and wooden cabinets.

Under the direction of Lisbon-born chef Nuno Mendes, the restaurant aims to celebrate the ingredients, wine and culture of northern Portugal.

The warm, earthy hues chosen by Space Copenhagen were informed by the restaurant’s food, as well as the building and area in which it is located.

“The historical building structure that frames the restaurant and bar provided the base palette, which we have built upon,” said Space Copenhagen.

“Aged stone and dark-stained wood were our existing starting points. All elements are associated with the city of Porto”, it added.

Throughout the project, the studio prioritised regional materials and collaborated with a variety of local architects, artists and craftspeople. Woodworkers from northern Portugal crafted the dark wood furnishings and fittings.

“All stone, wood, metal and tiling has been sourced from regions in Portugal using a proximity criterion as priority,” said the studio. “All the millwork has been made by local artisans.”

Cozinha das Flores, and its adjacent 12-seater bar, Flôr, are amongst five heritage buildings that make up the Largo project, set to open later this year.

Other local projects by Siza include his 1963 Boa Nova Tea House, which was transformed into a seafood restaurant for Portuguese chef Rui Paula in 2014.

Previous projects by Space Copenhagen include the renovation of the Mammertsberg restaurant and hotel in Switzerland and the Blueness restaurant in Antwerp.

The photography is by Luís Moreira and Matilde Cunha.

A red “cave” hides behind the main dining space of this wine and small plates bar in Madrid designed by interiors studio Plantea Estudio.

Located on the ground floor of a neoclassical building in Madrid’s buzzy Justicia neighbourhood, Plantea Estudio designed Gota to appear “dark, stony and secluded”.

Guests ring a bell to enter the 70-square-metre bar, and are then welcomed into a dining room enclosed by thickset granite ashlar walls. While some of the walls were left exposed, others have been smoothly plastered over and washed with grey lime paint.

The floor was overlaid with black volcanic stone tiles that the studio thought were suggestive of a “newly discovered terrain”.

A bench seat runs down the left-hand side of the bar, accompanied by lustrous aluminium tables and square birchwood stools from Danish design brand Frama.

Guests can alternatively perch on high stools at the peripheries of the room, where lies a slender stone ledge for drinks to be set down on.

More seating was created around a bespoke chestnut counter at the room’s centre; its surfacetop has an in-built turntable on which the Gota team plays a curated selection of music.

Behind the counter is a storage wall where wine bottles, vintage vinyl records and other music-related paraphernalia are displayed.

An open doorway takes guests down a short corridor to a secondary cave-like dining space, which boasts a dramatic vaulted ceiling and craggy brick walls. It has been almost entirely painted red.

“It’s relatively common to find this kind of vaulted brick space in the basements of old buildings in Madrid – this case was special because it’s on the ground floor with small openings to a garden,” the studio told Dezeen.

“It was perfect for a more quiet and private area of the bar,” it continued.

“The red colour is an abstract reference to the brick of which the cave is really made, and also a reference to wine.”

At the room’s heart is a huge 10-centimetre-thick granite table that’s meant to look as if it has “been there forever”, surrounded by aluminium chairs also from Frama. Smaller birch tables and chairs custom-designed by the studio have been tucked into the rooms corners.

To enhance the cosy, intimate feel of the bar, lighting has been kept to a minimum – there are a handful of candles, reclaimed sconces and an alabaster lamp by Spanish brand Santa & Cole.

Established in 2008, Plantea Estudio is responsible for a number of hospitality projects in Madrid.

Others include Hermosilla, a Mediterranean restaurant decked out in earthy tones, and Sala Equis, a multi-purpose entertainment space that occupies a former erotic cinema.

The photography is by Salva López.

Six interior design studios, including Kingston Lafferty Design and T.ZED Architects, have overhauled a room at the 1930s L’Appartamento for commerce platform Artemest at Milan design week.

The designers each used furniture, lighting and art from the brands, designers and artists represented on the Artemest platform to showcase their own style in a room at the apartment in Milan’s 5Vie district for the L’Appartamento exhibition.

“We wanted to bring this stunning apartment back to life and show how different interior design studios, each with its own style and design approach, can work with Artemest to create inspiring and surprising interiors that celebrate authentic Italian beauty,” said Artemest founder Ippolita Rostagno.

In the entryway, Dubai-based studio T.ZED Architects aimed “to set the tone for what is yet to come” by preserving the character of the room and adding selected pieces.

The studio choose a mix of furniture in off-white, cream and brown, including copper and leather finishes that plays off the green tones of the richly patterned, period wallpaper.

Mirrors – including a Sybilla mirror with console by Ettore Sottsass for Glas Italia, and an Itaca floor mirror by Atlasproject – were placed to illuminate and enlarge the space, while amplifying the period details.

In the adjoining room, Dublin-based studio Kingston Lafferty Design aimed to “challenge visitors’ sense of what a living room should be” by placing a sculptural monolithic block seems to glow with a soft golden sheen in the centre of the space.

The block splits the room into two distinct spaces and contains a mirrored space described by the studio as “a gallery of lights”.

On one side of the block is an informal living room that evokes a sense of playfulness through the use of oversized furniture in bright colours, including the Osaka Blue Sofa by Pierre Paulin for La Cividina.

The other side has a rich palette of jewel-tones to creates a more decadent atmosphere.

Leading from the living room a large terrace was reworked by Miami-based studio Moniomi, which aimed to create an outside room that felt like an interior space.

The studio used a combination of large-scale upholstered pieces, gridline patterns and graphic blacks and whites, softened by lush greens to reference the outdoor location.

The design language here features saturated colours and layered patterns – including the Nuovola 01 dining table by Mario Cucinella for Officine Tamborrino, which represent the studio’s Hispanic roots.

Another US-based designer, Nina Magon, created the L’Appartamento dining room, playing with monochromatic hues to enhance the authenticity of the original finishes here.

Sculptural furniture, such as the Trompe-l’oeil Trois dining table by DelMondo Studio, topped with a cluster of Flow[t] pendant lamps by Nao Tamura for WonderGlass was added to the space.

In the bedroom, Dubai-based studio, Styled Habitat, delved into the history of the 1930s to translate the romance of that era into the modern day and evoke a sense of timeless glamour.

To capture the experimental and avant-garde trends of European modernism, Styled Habitat juxtaposed new and old, with a Czech Chair by Hermann Czech for Gebrüder Thonet Vienna, alongside pieces like the Calle Pinzi Murano Glass Chandelier by Luci Italia.

Finally, for L’Appartamento’s hallway and the studio, Paris-based interior designer Anne-Sophie Pailleret was informed by her first reaction to seeing the apartment.

The long, narrow hall, has been covered with the textural Tra 1100 Wallpaper hand-crafted by La Scala Milano Wallcovering, contrasting with geometric Alfabeto Tiles by Margherita Rui for Ninefifty, on the floor.

The walls are further decorated with Ninfea wall lamps by Giovanni Botticelli in collaboration with Paola Paronetto, functioning as a gallery-style grouping of lights.

For the studio room, Pailleret created a mix of warm colours and graphic patterns, with comfortable and curvaceous furniture.

The photography is courtesy of Artemest.

L’Appartamento takes place from 17 to 23 April 2023 at Via Cesare Correnti 14, 20123 Milan, Italy. See our Milan design week 2023 guide on Dezeen Events Guide for information about the many other exhibitions, installations and talks taking place throughout the week.

Brooklyn-based Ringo Studio designed a store for kitchenware brand Our Place that features colourful tile displays and expressive drapery that hangs from the ceiling.

The Our Place Melrose store is the brand’s second location in Los Angeles, following the inaugural shop in Venice, and is situated in West Hollywood’s busy shopping district.

The interiors by Ringo Studio are based on the identifiable colour palette of Our Place cookware sets, which are known for in a variety of pastel, neutral and jewel-toned hues.

“It retains the warmth and intricacy of Our Place’s first store in Venice, concepted by Mythology, while also taking Our Place’s design ethos into new and unique expressions,” said the team.

Elements derived from classical architecture were included, from fluted columns that support a wavy-topped table to arches that curve over shelving units and form punctured openings for showcasing small items.

Storage cabinets have rounded corners, as do the doors that front them, and many of the built-in elements also feature filleted edges.

Long rectangular tiles laid in straight stack patterns cover several of the walls and display stands.

Each tiled block or surface is a different colour, with large panels including terracotta, lilac and cream, and smaller sections in pale blue and green.

An area towards the back is decorated entirely in terracotta, which covers the floor and walls, as well as matching strips of fabric hung in rows from the ceiling.

There’s also a side room where Our Place products are laid out on a dining table with mirrors on three sides, creating infinite reflections intended to “welcome everyone to have a seat at the table”.

Covered in mosaic tiles and with an undulating front, the table is accompanied by a pair of purple velvet chairs, and from the ceiling hangs purple drapery.

“Infused with the cozy feeling of home, the streamlined suite of products are artfully displayed throughout the store, making them feel like chic, sculptural objects,” said the Our Place team.

Ringo Studio was founded by architectural designer Madelynn Ringo, who has created retail experiences for companies such as Glossier, Studs and Funny Face Bakery.

Last year, the studio completed a store for fitness brand Bala in New York City, which includes scaled-up versions of its products.

The photography is by Jenna Peffley.