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Most people think that cabinet resurfacing and cabinet refacing services are different. In fact, they are both industry terms, used interchangeably, describing the same process. Cabinet refacing/resurfacing is an affordable, efficient and eco-friendly way to update the look of existing cabinets, without a full replacement.
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Promotion: Chinese architecture practice Studio8 has renovated the interior of a 1930s villa in Hangzhou, China, transforming it into a hotpot restaurant and cocktail bar that celebrates the building’s history.
The Gud restaurant and bar includes a roof terrace, dining space on the upper floors and bar on the ground floor.
The 496-square-metre space occupies a three-storey building that was built in 1939, as well as a later-built extension and the ground floor of an adjacent property.
Although the villa had previously undergone a number of renovations, when designing the restaurant Studio8 aimed to maintain the building’s original features, including the street-facing facade.
Service areas, including the kitchen, restroom and staircase, are located in the extension and adjacent building, leaving the full space of the historic villa for restaurant dining and the cocktail bar.
The Gud restaurant specialises in hotpots, which lead Studio8 to study the culture of the cuisine and introduce aspects of it into the interior design, creating a “museum-like experience”.
The project’s design was informed by three stages of making and experiencing hotpots – the heat from the fire that cooks it, water as the main medium of the food, and the elevation of the flavour coming from the steam.
Studio8 used the themes of “heat, medium and elevation of flavour” to influence the function, materials, textures and light used in each space.
The cocktail bar on the ground floor of the historic villa was designed to be a lively space. It features a red floor, a fireplace, structural columns that display antique hotpots and red velvet sofas.
Part of the original brick wall was left exposed and a recessed mirrored ceiling at the perimeter of the room makes the space feel larger and more luxurious.
“As the first element, heat is a fundamental design factor on the first floor, where human interactions were planned out accordingly,” said Studio8.
“The aim was to create a warmer and more welcoming space at the beginning of the hotpot experience, where people and friends meet first, have a cocktail and wait for everyone to arrive.”
On the upper floor is the restaurant’s main dining area, which features glass-brick niches in the walls where windows used to be.
At the sides of the dining area, Studio8 opened up the ceiling to expose the wooden roof structure.
“After passing through the heated cocktail bar, comes the second element, water – the medium that reunites all elements,” said Studio8.
“Family and friends are seated together in groups around the round tables on the second floor for the food experience, a process that the architects relate to water reconstructing the atoms of the ingredients.”
The building’s original timber staircase was removed and a new enclosed staircase that connects the three floor levels was added in the patio area.
The staircase has double glazed U-shaped glass partitions along its floors with a “lighting system to represent the continuous energy flow transition”.
A terrace and private dining room are located on the third floor of the villa.
“Here, the customers are reconnected with the city and able to look at it from different heights and angles, corresponding to the last element, steam, the elevation of taste,” said Studio8.
“The simply designed interior shows off the geometric shape of the attic, while benches on the roof allow customers to have a more exclusive interaction with the city.”
Studio8 is currently working on a number of renovation projects that aim to respect the history of the building, including the transformation of hotels and restaurants.
The photography is by Sven Zhang.
Partnership content
This article was written by Dezeen for Studio8 as part of a partnership. Find out more about Dezeen partnership content here.
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More and more homeowners are interested in designing an eco-friendly kitchen. When deciding to use a green approach, they especially aim for kitchen remodeling companies that offer automatically sustainable and inherently durable options that minimize the exploitation of Mother Earth’s resources.
Using eco-friendly solutions while renovating your cooking space won’t only reduce the environmental footprint you leave behind, but also ensure you get both stylish and cost-effective kitchen upgrades.
In order to help you learn more about the ways in which you can design an environmentally-safe cooking area for yourself and your family, we’ve gathered several extremely useful tips.
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American startup Recompose has opened a funeral home in Seattle designed by architecture firm Olson Kundig, where human remains are composted and turned into a nutrient-rich soil that can nurture new plant life.
Set in a converted warehouse in the city’s SoDo district, the facility is one of the first to make use of a burgeoning practice known as natural organic reduction – or human composting, which was legalised in the state of Washington in 2019.
This sees the body of the deceased placed on a bed of plant materials inside a stainless steel vessel, purpose-built to accelerate the natural process of decomposition.
Over the course of 60 days, their remains are converted into one cubic yard of fertile soil – enough to fill the bed of a pickup truck. Loved ones can then take this compost home and use it to nourish their garden, plant trees in memory of the deceased or donate it to a local conservation area.
The aim is to offer a less polluting alternative to cremation or burial, which are hugely emissions and resource intensive, and instead create a meaningful funeral practice that allows people to give back to nature.
“Clients have shared with us that the idea of their person becoming soil is comforting,” Recompose founder Katrina Spade told Dezeen.
“Growing new life out of that soil is profound and the small ritual of planting, using soil created from a loved one’s body, is so tangible.”
Recompose’s 19,500-square-foot flagship facility in Seattle accommodates an array of 31 cylindrical composting vessels, stacked inside a hexagonal steel framework.
This vertical construction helps to conserve space in a bid to overcome the land-use issue associated with traditional burial and make human composting feasible even in dense urban areas.
“Recompose can be thought of as the urban equivalent to natural burial – returning us to the earth without requiring lots of land,” said Spade, a trained architect who developed the vessels as part of a residency at Olson Kundig‘s Seattle studio.
The building itself was designed in collaboration with the architecture studio to reimagine the experience of being in a funeral home, making the process more transparent and bringing in elements of nature instead of overt religious iconography.
In the spirit of regeneration, much of the warehouse’s original shell was preserved. Warm wooden flooring and a planted wall enliven the central lobby, while strips of green glass are inset into the walls to provide glimpses of the intimate ceremony space beyond.
Here, loved ones can participate in a “laying-in ceremony”, similar to a traditional funeral service.
“The Gathering Space has floor-to-ceiling coloured glass windows that let light in, similar to the way light filters between trees in a forest,” said Olson Kundig design principal Alan Maskin.
“In a way, Recompose is a funeral home turned inside-out. There’s a suggestion of transparency and openness about death – including the ability to see and understand the entire process – that’s very different from a traditional funeral home experience.”
During the ceremony, a simple wooden lectern allows the bereaved to share words about their loved ones while the body of the deceased is draped in a cotton shroud and presented on a dark green bed called a cradle.
Mimicking the ritual of throwing dirt on a casket, guests can place flowers and plant materials on their person, which will help their transformation into soil.
The funeral home also has dedicated rooms for those who want to perform more hands-on care for their deceased ahead of the ceremony by bathing the body or reciting prayers and songs.
At the end of the service, the cradle is moved through a so-called threshold vessel embedded into the wall and into the Greenhouse, where it will join the other vessels in the array.
“A tremendous amount of care was taken to consider the experience of the body,” Maskin said. “There’s even a bit of poetry inscribed along the inside of the transitional vessel used during ceremonies.”
“That poem isn’t for the living; it’s only visible inside the vessel.”
Each vessel in the array contains a mix of plant materials developed by Recompose that includes wood chips, straw and a cloverlike plant called alfalfa, with ratios adapted based on the person’s body and weight.
Over the course of 30 days, the natural microbes found in the plants and the body will break down the remains, with any unpleasant odours filtered out and fresh air – and sometimes moisture – pumped into the vessel, which is intermittently rotated to speed up decomposition.
At the end of this process, any remaining bone fragments are ground down using a cremulator and any medical implants are removed for recycling.
The remaining soil is placed in a curing bin to dry out for another two to six weeks before it can be collected by friends or family.
Unlike cremation, this process does not require huge amounts of energy and fossil fuels, Recompose says, while the carbon contained in the human body is sequestered in the soil rather than released into the atmosphere.
The process also forgoes the vast amounts of embalming chemicals and emissions-intensive materials like steel and concrete that are needed for burials.
In total, the process to “transform your loved one’s body into soil” saves around one metric ton of CO2 emissions per person compared to burial or cremation, Recompose claims.
Since 2019, a number of US states have followed in Washington’s footsteps and legalised natural organic reduction, with New York joining Colorado, Oregon, Vermont and California in the last month.
This comes as people are increasingly becoming aware of the hidden environmental impact of the deathcare industry and moving towards alternative funeral practices from liquid cremation to burial pods that grow into trees.
“Members of the baby boomer generation have started experiencing the deaths of their parents and I think many are asking: was that the best we can do,” Spade said.
“But what’s interesting is that it’s not only older folks,” she added.
“Over 25 per cent of our Precompose [prepayment plan] members are under 49. I think this is because the climate crisis has played a role, too. People are wondering why our funeral practices haven’t been considered when it comes to our carbon footprint.”
Recompose plans to expand into Colorado in 2023 and California in 2027, while rival company Earth Funeral has set its sights on Oregon.
The photography is by Mat Hayward unless otherwise stated.
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For our latest lookbook, we have collected 10 apartments in Spain that have been brought to life using decorative tiles, from preserved 20th-century features to speckled contemporary terrazzo grout.
Known for its abundance of colourful tiles, Spain has many period apartments with original details including ornate archways and eclectic tiling.
The following architecture and interior design studios have made the most of these traditions when renovating homes, which often involved refreshing the homes’ interiors while maintaining their history, or adding contemporary elements that nod to the past.
This is the latest in our lookbooks series, which provides visual inspiration from Dezeen’s archive. For more inspiration see previous lookbooks featuring statement carpets, pop-up shops and homes with sliding doors.
Yurikago House, Barcelona, by Mas-aqui
Architecture studio Mas-aqui opened up an apartment in Barcelona by creating multiple levels lined with slabs of exposed concrete, slatted wood and reddish ceramic tiles.
The dwelling was named Yurikago House after the Japanese word for a cradle, which references the shape of the timber structure that supports part of a new mezzanine that was created in the renovation.
Find out more about Yurikago House ›
Madrid apartment by Sierra + De La Higuera
Set within a 1940s building, interior spaces in this Madrid apartment were delineated with vibrantly hued Moroccan zellige tiles, from bold yellow accents in the living room to an emerald green kitchen.
The tiles are defined by imperfect hand-moulded surfaces and feature throughout the home in the form of decorative skirting as well as flooring and cabinetry.
Find out more about this Madrid apartment ›
Valencia apartment by DG Arquitecto
During the minimalist renovation of a 1920s apartment in Valencia, local studio DG Arquitecto preserved the original mosaic elements – flooring that the firm called “typical” of the city.
The studio paired mid-century rattan dining chairs and delicate timber elements with the colourful tiles while original mouldings and decorative arched doorways were also maintained.
Find out more about this Valencia apartment ›
1040 Unit, Madrid, by Studio Noju
Working within Madrid’s iconic brutalist Torres Blancas tower, emerging practice Studio Noju created an apartment that balances contemporary details with the building’s brutalist history.
Each of the dwelling’s three bathrooms were individually colour-coded with small geometric mosaics that nod to the green ceramic tiles that clad the apartment’s terraces.
“The [mosaic] material allowed us to solve all the elements of the bathroom such as shower areas, vanities, walls and floors, referencing a similar material strategy used in the original design,” studio co-founder Antonio Mora told Dezeen.
Find out more about 1040 Unit ›
Eclectically arranged decorative floors dating back to the early 20th century take centre stage in this Barcelona apartment that was renovated by Narch architecture office.
Known as encaustic tiling, which is common in the city, each tile is created by pouring pigmented ceramics into moulds and pressing them to create a pattern.
Elsewhere in the apartment, doors made from laminated glass screen off its bedrooms. This material was chosen for its neutrality in order to emphasise the space’s ornate flooring.
Find out more about this Barcelona apartment ›
Casa Olivar, Madrid, by Matteo Ferrari and Carlota Gallo
Casa Olivar is a two-storey apartment by designers Matteo Ferrari and Carlota Gallo, which is characterised by handmade terracotta floor tiles that complement the home’s muted colour palette.
Created as a “sensorial refuge”, the dwelling includes two large windows in the living room that flood the space with natural light. Earthy-toned, simple materials feature throughout, including textured plaster finishes.
Find out more about Casa Olivar ›
Barcelona apartment by Parramon + Tahull
Barcelona studio Parramon + Tahull added bespoke birch plywood joinery and continuous tiled flooring to an apartment in the city’s Gracia neighbourhood, in order to blend with the building’s original features.
Created by Spanish manufacturer Wow, the terracotta tiles feature a mismatched geometric design that covers the entire apartment, including the kitchen and the bathroom.
Find out more about this Barcelona apartment ›
Laia and Biel’s House, Barcelona, by TEd’A
Architecture office TEd’A used crushed tiles to create playful terrazzo grout in a renovated apartment that belongs to the owners of the Mallorcan tile brand Huguet.
The grout was made from the original terracotta tiles that lined the home before its revamp, which were crushed into tiny pieces to form a reddish-hued aggregate that was mixed with existing white tile grout.
“Our idea was to keep the best parts of the old flat we bought,” Biel told Dezeen, citing sustainability and honouring the apartment’s original design.
Find out more about Laia and Biel’s House ›
End of the Roc, Barcelona, by Nook Architects
Nook Architects redesigned another apartment in Barcelona while maintaining its distinctive historical details, including a striking mural-style wall that is over 40 years old, timber beams and intricately patterned floor tiles.
“Our approach to End of the Roc revolved around the restoration and consolidation of the building’s original character,” said the architecture studio.
Find out more about End of the Roc ›
Casa Burés, Barcelona, by Vilablanch and TDB Arquitectura
Interior design studio Vilablanch collaborated with TBD Arquitectura to refurbish all 26 apartments within Case Burés – a 20th-century building constructed by the late architect Francesc Berenguer i Mestres.
The team selected “silent” contemporary furnishings to complement Case Burés’ original decorative features, such as stainless steel geometric cabinetry that was chosen so as not to “compete with” or “imitate” the colourful tiled flooring.
Find out more about Casa Burés ›
This is the latest in our lookbooks series, which provides visual inspiration from Dezeen’s archive. For more inspiration see previous lookbooks featuring statement carpets, pop-up shops and homes with sliding doors.
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Chinese studio FOG Architecture has turned a courtyard house in Beijing into a flagship store for fragrance brand ToSummer with exposed wooden roof trusses and columns.
Located within a 500-square-meter Siheyuan complex, the store occupies a 280-year-old courtyard house that are common in the region.
FOG Architecture renovated the building to reveal its original architecture, which features triangle-shaped timber roof trusses and series of wooden columns.
Layers of decorations added on the structure over the years as well as some of the interior walls were removed to expose the core wooden structure of the building as well as to create an open view of the space.
“We ‘skimmed’ the building to expose its ‘skeleton’,” said the studio. The resultant ‘column field’ became the visual centre of gravity of the space as well as what defines its outline.”
“One of the challenges of the project had to do with the building’s old and new functions – more specifically, how to transform this venerable courtyard which has stood for nearly 300 years as a private residence into a commercial space that is neighbourly, communal, and all-inclusive,” it continued.
Glass windows were installed at the storefront, inviting visitors on the street to observe the complex layout of the old courtyard house, while glass walls were used to divide the space.
Product display areas were arranged around three courtyards of various sizes at the ground level of the complex, each connected by a bridging hallway, which the studio described as “symbol of graduating from the past to the present”.
On the first floor, FOG Architecture remodelled the roof space to create a lounge area overlooking the building’s roofs.
These roofs were restored with the same grey brick tiles from the original building layered in the same density.
A rain chain was hung from the roof connecting to a hundred-year-old well of the site. The well-preserved brickwork of the well echoes the delicate crafts of the roof tiles.
FOG Architecture was founded by Zheng Yu and Zhan Di and has offices in London, Shanghai and Chongqing.
Previously the studio has completed flagship stores for ToSummer in Beijing and Shanghai. Other recent retail project from the studio include Super Seed’s Hangzhou store featuring kinetic display.
The photography is by InSpace Architectural Photography.
Project credits:
Design team: Zou Dejing, Wu Leilei, Wang Shengqi, Tang Mo, Lei Ronghua, Jiang Lu, Huang Yingzi, Zhuang Shaokai, Sun Yuan, Zhang Xinyue, Chen Yixuan, Zheng Yining, Tao Xinwei, Cao Xiaomao, Hou Shaokai, Xiong Aijie, Khoon Choi (client representative), Zhan Di, Zheng Yu
Project management: Shen Qianshi (client representative)
Lighting Design: Zhang Xu, Liben Design
Structural engineering Consultant: Tao Xinwei, Wang Haibo
Construction drawing: BS Design
Contractor: Youlong Jinsheng
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Architecture studio Enter Projects Asia has completed a private gallery for a collector in Chiang Mai, Thailand, featuring an undulating rattan structure designed by an algorithm that weaves its way in and out of the building.
The 2,000-square-metre gallery complex comprises gardens, water features and a series of pavilions for displaying the owner’s collection of silverware, fine china and porcelain, including what is reportedly the largest collection of Wedgwood porcelain in Southeast Asia.
Enter Projects Asia, which is based on the Thai island of Phuket, developed a holistic proposal for the project that spanned everything from spatial planning to lighting and furniture, with the fluid rattan structures providing a consistent element throughout the scheme.
The aim was to create a less “clinical, antiseptic” interpretation of a traditional gallery, based on the studio’s research into parametric design and dynamic forms, Enter Projects Asia director Patrick Keane explained.
“We sought to create an immersive experience, giving the space a warmth and depth uncharacteristic of conventional art galleries,” he said.
The gallery features two wings arranged on either side of a central entrance. Each wing contains an exhibition space, with a private dining area also accommodated in the larger of the two volumes.
The rattan installation begins at the entrance and traces an overhead route through the building, seamlessly transitioning between inside and outside.
At several points, the suspended structure drops down to create bulbous open-sided pods, incorporating shelves for displaying artworks and objects.
The installation‘s complex form was generated using generative design software and is intended to simulate the movement of clouds and steam.
Its shape seems to change constantly when viewed from different perspectives, adding visual dynamism to the interior.
Lighting integrated within the overhead structure creates a warm glow both during the day and night, while concealed lights illuminate the display areas.
The three rattan pods – measuring five, four and three-and-a-half metres in height respectively – were fabricated in a factory during the coronavirus lockdowns before being transported to the site and assembled.
Enter Projects Asia regularly works with rattan palm, which is a naturally abundant resource in the region. Previously, the studio produced a similarly sculptural wickerwork installation for an office and factory building in Waregem, Belgium.
During the pandemic, the practice also launched an initiative called Project Rattan that focuses on creating bespoke rattan furniture and lighting using local craft skills.
According to Keane, the fast-growing palm species are well suited to use in interior design, offering a sustainable alternative to conventional building materials.
“It is not hard to be sustainable in construction if we adapt to our environment,” he said. “Why would we use synthetic, toxic plastics when we have all the noble materials we need at our fingertips?”
Keane founded Enter Projects in 2005 after completing his studies in Australia and the USA. Since relocating to Asia, the firm’s projects aim to combine a focus on innovation with a strong sustainable agenda.
Previously, a rattan studio the practice designed for yoga brand Vikasa was named leisure and wellness interior project of the year at the 2020 Dezeen Awards.
The photography is by William Barrington-Binns.
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Architecture practice Office S&M has completed its own office inside a former paint-making workshop in Hackney, London.
With an entire wall of material samples and areas for modelling and sketching, Office S&M‘s workspace aims to act as a laboratory to support its ongoing exploration of materials “that are both practical and fun.”
The studio, headed by architects Catrina Stewart and Hugh McEwen, frequently experiments with materials and colour.
For its own office, complementary shades such as electric blue, yellow, red and green, were combined.
“For this workspace, we particularly used an electric blue and a bright yellow to contrast with each other and make the space larger,” McEwen told Dezeen.
“At the same time, because the workspace is south facing, we used the blue to cool the light and even out the warmth of the sun when looking at samples or drawings.”
The office features a separate meeting room acoustically isolated with sheets of recycled plastic bottles.
The plastic-bottle wall also works as a point of light thanks to the bulbs it contains inside.
“For our own office, we decided to use another common waste material, plastic bottles, but reimagined, to build a soundproofed meeting room,” said McEwen.
“The recycled plastic insulation is easy to work with, and irritation free, compared to traditional insulation.”
The space was divided into areas focused on collaboration, discussion and making to reflect Office S&M’s commitment to community-led design.
“We live in east London, and do much of our work in the areas near where we live and work,” said McEwen. “This gives us really local knowledge, so we can make sure projects have the most impact and can give back to the area.”
Additionally, Office S&M added plants, air purifiers and ergonomic workstations that intend to maintain the well-being of its occupants.
Other projects by the studio include a rental home for a young property developer that aims to offer a solution to London’s rental market, and the renovation of the Mo-tel House, a residence that features pale colours and bathroom counters made of discarded milk bottles and chopping boards.
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From Norway to New Zealand, this lookbook explores rural cabins with cosy living areas that are animated by natural materials and views out over wild landscapes.
Cabins are a popular building typology with architects all around the world. Typically built from wood, the little shelters are ideally suited as peaceful retreats in remote locations.
Their small size and the use of organic materials such as wood helps these structures to blend in with natural surroundings, while also creating warm and calming living spaces for inhabitants.
As demonstrated by this roundup, little else is needed to make a cabin cosy, and keeping their interiors pared-back retains focus on the main event – the views out to nature.
This is the latest in our lookbooks series, which provides visual inspiration from Dezeen’s archive. For more inspiration see previous lookbooks featuring interiors with statement carpets, earthy bedrooms with natural colours and hotel interiors enriched by jewel tones.
Enough House, Canada, by Brian MacKay-Lyons
Dark-stained floorboards complement the light and exposed timber beams and columns of this cabin on a farmstead in Nova Scotia.
Its living room has large windows for looking out over the rustic landscape but retains a sheltered feel with low ceilings, a soft rug and comfy leather furniture such as the 2 Fauteuil Grand Confort armchair by Le Corbusier.
Find out more about Enough House ›
Looking Glass Lodge, UK, by Michael Kendrick Architects
A black fireplace is suspended from the ceiling of this sitting area, located in the Looking Glass Lodge in East Sussex.
The room has a pared-back design filled with woven furnishings and wooden surfaces, helping to ensure the focus stays on the floor-to-ceiling glazing.
According to its designer Michael Kendrick Architects, the studio’s aim was to give the cabin “a sense of transparency and belonging within its setting”.
Find out more about Looking Glass Lodge ›
The Hat House, Sweden, by Tina Bergman
Despite its tall ceilings, The Hat House’s living-dining space has been made to feel snug with its warm material palette dominated by different woods.
These include spruce panels on the walls and end-grain spruce blocks for the floor. A cushioned window seat allows the owner to immerse themself in the view.
Find out more about The Hat House ›
Bruny Island Cabin, Australia, by Maguire + Devin
Baltic pine lines almost every surface of this off-grid cabin in Tasmania, designed by Maguire + Devin with references to traditional Japanese houses.
Nearly every piece of furniture forms a part of the building’s frame, creating a minimalist and uncluttered interior. This includes a raised seating area, positioned beside a pane of glass and finished with a low-lying table and rugs for sitting.
Find out more about Bruny Island Cabin ›
Biv Punakaiki, New Zealand, by Fabric Architecture
Hidden within the rainforest in the coastal village of Punakaiki, this holiday cabin has large spans of glazing that aim to immerse occupants in the landscape.
Furnishings are few and far between to prevent distracting from the view, but a homely feel is created through the warm and exposed timber structure and mid-20th-century furnishings including a leather butterfly chair.
Find out more about Biv Punakaiki ›
Forest Cabin, Netherlands, by The Way We Build
Arches made of poplar give a chapel-like character to this tiny mobile cabin, located on a campsite in the Robbenoordbos forest in the Netherlands.
Its compact living area is deliberately simple, furnished with just a writing desk and a wood burner for warmth and offering visitors a meditative space to “rejuvenate close to nature”.
Find out more about Forest Cabin ›
House by the Cautín River, Chile, by Iragüen Viñuela Arquitecto
Iragüen Viñuela Arquitectos opted for dark-stained wood for the interior lining of this ski cabin in Chile, creating a moody yet cosy living area where the outside views take centre stage.
“The interior of the house, completely covered in black wood, allows a great contrast with the white winter and green summer landscape, and offers an atmosphere of introspection and calm according to the vocation of shelter,” said the studio.
Find out more about House by the Cautín River ›
Cabin Nordmarka, Norway, Rever & Drage
An angular corner window animates the unadorned living room of Cabin Nordmarka that Rever & Drage recently completed in Norway.
The green and blue tones of the forested surroundings form a colourful backdrop to the elevated space, which is characterised by light timber planks and matching furniture.
Find out more about Cabin Nordmarka ›
The Author’s House, Denmark, by Sleth
Landscape studio Sleth designed this writer’s cabin to blend in with its natural setting on the outskirts of Aarhus.
Douglas fir planks line the living room, creating a cosy retreat for the owner while echoing the surrounding trees. Bookshelves at the base of its gabled profile help reduce the height of the room, making it feel even more snug.
Find out more about The Author’s House ›
Bergaliv Landscape Hotel, Sweden, by Hanna Michelson
This compact wooden cabin nestled in the treetops of a Swedish mountain is one of four designed for the Bergaliv Landscape Hotel.
Like many other cabins on the list, the interior is simply finished. This draws attention to a wooden L-shaped bench and window seat, designed for visitors to get lost in the views out over the landscape.
Find out more about Bergaliv Landscape Hotel ›
This is the latest in our lookbooks series, which provides visual inspiration from Dezeen’s archive. For more inspiration see previous lookbooks featuring interiors with statement carpets, earthy bedrooms with natural colours and hotel interiors enriched by jewel tones.
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Fashion brand Acne Studios has opened its latest store in China, which was designed by Stockholm studio Halleroed and is located in the submerged SKP department store designed by Sybarite in Chengdu, China.
The 338-square-metre store has a discrete sandstone exterior marked by a red LED sign displaying the brand’s logo.
Inside, grey sandstone walls contrast against sculptural tie-dye furniture in earthy tan hues by British designer Max Lamb.
“Our inspiration was aesthetically playing with design from the 1980s and 90s, and how that period looked at the future,” Halleroed founder Christian Halleroed told Dezeen.
“The inclined stone clad walls, the futuristic lighting together with the Daniel Silver mannequins – we thought of a futuristic space/computer age feel, but in a contemporary way of putting it together,” he added.
“We clashed this with the Max Lamb sculpture-like furniture that has a more primitive, earthy feeling.”
As well as the furniture, Lamb designed four fabric-clad touchscreens that are mounted on slim poles throughout the store and provide an overview of the brand’s current collection and stock availability.
Expressive mannequins by artist Daniel Silver and a light installation by designer Benoit Lalloz help to add a futuristic feel to the space.
Halleored, which has designed a number of Acne Studios‘ stores, normally works with Lalloz on the lighting but said the Chengdu store lights have a different feel to those in other stores.
“These were done a bit differently than previous since they are recessed in the ceiling, but still has the typical look of Benoit Lalloz,” Halleroed said.
“We wanted the lighting to feel like a spaceship,” he added.
A large mirrored column in the middle of the store reflects its pared-down interior, which features a colour palette informed by the grey hues used for early computer designs.
“We used a very restrained palette with the grey, monochrome sandstone on the floor and angled walls, high gloss white walls and ceiling, the black coves in the ceiling, and for the fixtures brushed stainless steel,” Halleroed said.
“The Max Lamb and Daniel Silver pieces contrast this, with their brown batik fabric and the white with patina and silver mannequins.”
Previous Acne Studios store designs featured on Dezeen include a “monolithic” store in Paris and a pink-ceiling flagship store in Milan’s Brera district.
The photography is courtesy of Acne Studios.
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