Markus Andrews

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    The Rome Edition opens in converted 1940s bank building

    American entrepreneur Ian Schrager’s The Edition group has landed in Rome, opening a hotel in a converted bank that makes use of its soaring lobby, original marble staircases and hidden front courtyard.

    The Rome Edition began welcoming guests earlier this year to the 91-room hotel, located a block away from Via Veneto – the street that was immortalised in the 1960 movie La Dolce Vita.
    Arrival to The Rome Edition is via a path under a bronze pergola that leads to the lobbySchrager and his in-house team spearheaded the renovation of the grand building, utilising many of the original features including a cipollino marble staircase, central courtyards, statues and lamps.
    “Built in the 1940s and formerly occupied by one of the main Italian banks, the building is a striking example of the rationalist style and was created by Cesare Pascoletti in collaboration with the famed architect Marcello Piacentini,” said The Edition team.
    The plant-filled, sunken courtyard acts as an all-day lounge and dining spotUnusually for Rome, arriving guests are escorted through a sunken garden “piazza” – which acts as an outdoor lounge, restaurant extension and gathering place – before reaching the lobby.

    Once inside, dramatic seven-metre-high ceilings, full-height windows and green curtains, and travertine floors and walls set the tone for The Edition’s signature brand of soft minimalism.
    The dramatic hotel lobby features seven-metre-high ceilings and full-height green curtainsSymmetrical arrangements of custom white furniture and low coffee tables exaggerate the strict geometry of the architecture.
    “The lobby is Edition at its most dynamic,” said the team. “It is a place to relax and make merry; a place to see and be seen or play a few games of pool on the custom-made table.”
    The Amina restaurant is divided into two dining spaces, one of which is accented with chartreuse-coloured upholstery and carpetFor the hotel’s signature restaurant, Anima, the team partnered with local chef Paola Colucci on a menu that puts a modern spin on family recipes and traditional Roman dishes.
    Amber glass separates the kitchen from the two dining areas, one with chartreuse-toned accents across furniture and artwork, and the other blue.
    The restaurant’s second dining space is decorated with blue accentsThe various bar areas on the lobby level each provide guests with a experience. The Punch Room is a concept borrowed from other Edition properties including another recent opening in Tampa and occupies a cosy room with warm wood panelling and deep red tones, for sharing bowls of punch – a 17th-century tradition that’s been given a contemporary spin.
    A dark walnut bar, Rosso Levanto marble fireplace, dark pink velvet sofas, and custom armchairs in rosewood and dark brown leather all add to the cosy atmosphere in the dimly lit space.
    Off the lobby, The Punch Room bar is lined in walnut and includes dark pink velvet furnitureWith space for just 10, the intimate Jade Bar features a rotating cocktail menu and is fully lined in deep green antique marble.
    This small and dramatic room is furnished with emerald-hued velvet soft seating and satin brass and gold accents – including a wall-mounted sculpture influenced by artist Jeff Koons.
    The Jade Bar is wrapped in antique green marble, with emerald seating and brushed brass accentsIn the front courtyard, The Garden is filled with over 400 plants and lightly perfumed by the jasmine that climbs over the facade.
    A bronze awning divides the outdoor space in two, with an al fresco dining area for Amina on one side, and an all-day casual terrace for cocktails and light bites on the other.

    Tampa “about to explode” as a destination, says Edition hotels founder Ian Schrager

    Teak banquettes and free-standing furniture are surrounded by “an Italianate arrangement of lanterns to give it the feel of a traditional Roman garden”.
    The roof terrace on the seventh floor features a pool and bar area that offers sweeping views over the Eternal City’s rooftops.
    Walnut wall panelling and herringbone floors feature in the bright guest roomsIn the bright guest rooms, walnut wall panelling and herringbone floors are paired with custom beige leather furniture.
    Carrera marble basins and brushed brass fixtures stand out against the grey stone bathrooms, and frosted glass partitions are used to conceal showers and toilets.
    Carrera marble sinks contrast the dark grey stone in the bathroomsThe Rome Edition is the group’s 16th global property, following locations that include Times Square in New York, West Hollywood in Los Angeles, and Tokyo.
    The Madrid Edition, designed with British minimalist John Pawson, was longlisted in the hotel and short-stay interiors category of Dezeen Awards 2022.
    The photography is by Nikolas Koenig.

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    Spacon & X adds kombucha brewery to 1930s functionalist building in Copenhagen

    Danish studio Spacon & X preserved “different layers of unique history” when designing the Folk Kombucha brewery, which is set within a listed building in Copenhagen’s Meatpacking District.

    The factory belongs to fermented-tea brand Folk Kombucha and features a production area for kombucha brewing overlooked by a mezzanine level used for workshops and other social events.
    Spacon & X designed a brewery for Folk Kombucha in CopenhagenLocal firm Spacon & X aimed to balance the history of the 1930s functionalist building with its contemporary needs when designing the interior, which is led by cobalt blue, orange and pink accents.
    “The buildings in the Meatpacking District are from the 1930s and have a strong character,” said architect Malene Hvidt.
    “Our design team aimed to preserve different layers of unique history,” she told Dezeen.

    Mustard-hued floor tiles were preserved in the renovationSpacon & X maintained the building’s “archetypal Meatpacking white-tile walls” as well as mustard-yellow and green marble floor tiles.
    Translucent iridescent panels were placed behind the various stainless steel fermentation tanks to delineate spaces within the brewery.
    The studio also maintained the building’s green marble flooringStainless steel was also used to form the extensive network of pipes connected to the tanks as well as custom tables and benches topped with bright blue rubber.
    This tangle of tubes was echoed with the addition of spaghetti-shaped wire lighting.
    “The buildings in the area are all known for their white facades with windows and panels painted in a strong cobalt blue colour,” explained Hvidt. “Cobalt blue was chosen to pay tribute to the area itself.”
    A mezzanine overlooks the main production areaSpacon & X created lounge tables by recycling plastic packaging salvaged from fish and other food waste, which was industrially produced at the site before it became the Folk Kombucha brewery.
    “Instead of throwing out this long-lasting hygienic material, we transformed it into unique custom-made tables,” Hvidt said.
    Hand-hammered steel lamps also feature on the interiorArtwork made of scoby — a culture of yeast and bacteria that kickstarts the kombucha fermentation process — was used to decorate the interior alongside bespoke hand-hammered steel lamps.
    Other spaces within the multipurpose building include offices, a separate lounge, a laboratory and various storage areas.

    Pihlmann Architects creates sleek brewery in former Copenhagen slaughterhouse

    “The brewery’s spatial design was created in a way that resembled and preserved the listed building’s long history and strong character,” said Hvidt.
    “The design also incorporates subtle, organic and innovative spatial solutions with functionality and uses the building’s industrial nature as a guiding principle.”
    Cobalt blue, orange and pink accents define the breweryElsewhere in Copenhagen, Spacon & X previously created the interior for a burger restaurant filled with natural materials and plants.
    The studio has also completed an Ace & Tate glasses store in the city, taking cues from colourful artists’ studios.
    The photography is by Hedda Rysstad.

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    Michael Hsu outfits self-designed Austin studio with “humble materials”

    Michael Hsu Office of Architecture has adorned its studio with wood-and-fabric lined walls and industrial details in Austin in order to create a material “representation” of its work.

    Located in Austin’s Rosedale neighbourhood, the 10,750-square-foot (1,000-square metre) studio combines elements of residential and warehouse architecture.
    Michael Hsu Office for Architecture has completed its self-designed Austin studio”The new studio provides us with the additional space we needed and is a physical representation of our process. The spaces are designed to facilitate how we work now – allowing for different modes, sizes, and shapes of collaboration.” founder Michael Hsu said.
    “We wanted to design a space for our team to develop curiosity and creativity while being surrounded by a community of talented people.”
    The project features bespoke touchesIt was completed in July 2022 for its growing team. Michael Hsu Office of Architecture occupies the first and third floors of the three-storey building.

    The exterior is wrapped in locally crafted terracotta block along the base and dark-coloured horizontal cladding around the top floors that is punctured by large windows.
    Exposed steel trusses add an atmosphere of industry to the spaceThe rectangular plan is bisected by a large pale green exterior staircase with a slatted roof to shade it from the Texas sun. Wooden soffits warm the exterior material with subtle blade signs directing circulation.
    Inside, exposed steel trusses – painted white – add an atmosphere of industry to the space, while the thin black window frames and mullions provide delicate contrast.
    Scarlet-hued velvet furniture contrasts with various industrial accents”The spaces allow for different modes, sizes and shapes of collaboration across a larger footprint,” the team said. “Humble materials were used in beautiful and unexpected ways.”
    “Bespoke furnishings and curated artwork throughout the space reflect a commitment to collaboration with MHOA’s favorite fabricators and artists.”
    A painting by Patrick Puckett decorates the entry loungeThe ground floor – with conference rooms designated for entertaining clients scattered within the buzz of the office – prioritizes finish and formality with bold monochromatic colours.
    The entry lounge is wrapped in light grey routed wooden wall panels and adorned with a vibrant painting by Patrick Puckett and a custom light fixture by Warbach Lighting in collaboration with artist Brandon Mike.
    The casual workspace is juxtaposed by more “formal” conference roomsGrey drapes and scarlet-coloured velvet furniture serve as a plush alternative to the clean lines of the custom spalted maple and polished aluminium reception desk.
    The open-plan workspace is full of light with Calacatta Gold Borghini marble and soft white details set off by raw white oak flooring and walnut desktops and millwork.
    These rooms are draped in sapphire silk and mohair wall coveringsThe casual workspace is juxtaposed with the “formal dining space” of the conference rooms. Draped in sapphire silk and mohair wall coverings, the conference rooms have custom tables by Michael Wilson and Drophouse, vintage chairs and suspended metallic light fixtures.
    Upstairs, the light-filled elevator lobby has playful art inclusions like Shawn Smith’s pixelated deer head sculpture and Hsu’s vintage Ducati motorcycle.

    Ten self-designed studios by architects and designers

    The third floor serves as a collaborative space for the designers with “a hands-on material lab and a generous lounge and kitchen designed to support social connection”.
    A custom mint-green and chrome Litmus Industries cabinet divides the space and serves as an intimate moment within the open space full of combined white desks.
    A mint-green and chrome Litmus Industries cabinet divides the space”It was important to the team to represent expertise and show exceptional hospitality to clients while being inclusive and accommodating to MHOA’s designers,” the studio said.
    The office’s affinity for soft jewel-toned furniture placed in large industrial spaces is evident in its 2019 design of Shake Shack’s headquarters in New York and the recent conversion of a 1930s church for Argodesign’s Austin office.
    The photography is by Chase Daniel.
    Project credits:
    Architecture + interiors, FFE selection and procurement: Michael Hsu Office of ArchitectureCustom light fixture: designed in collaboration with Warbach Lighting and artist Brandon MikeCustom tables: Michael Wilson and DrophouseCustom millwork and reception desk: Litmus IndustriesArtists: Patrick Puckett, Denise Prince, Clare Grill, Seung Yul Oh, Dorota Jedrusik, Hugo Pernet and Paolo Arao

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    Otherworlds transforms Goan villa into restaurant that “celebrates chance encounters”

    Local design studio Otherworlds drew on the traditional Goan balcão when converting a 1980s villa in Panjim, India, into the Terttulia restaurant and bar.

    Housed in a Portuguese-style villa, Terttulia Goa is defined by a central island bar informed by the balcão – an outdoor porch with built-in seats that serves as the entrance to a typical Goan home.
    The restaurant takes its name from the Spanish word tertulia, meaning a social gathering with literary or artistic associations.
    Intimate two-seater booths flank the bar”The balcão is a crucial part of a Goan home as this is where one spends most of their time,” Otherworlds founder Arko told Dezeen.
    “At a time of rampant urbanisation, all houses tend to become very self-contained, private and detached, separated away from the city or the neighbourhood,” he continued.

    “The balcão becomes all the more important at such a time as it is built with the idea of reinforcing the kinship between the house and the neighbourhood.”
    Terttulia Goa is defined by a central bar informed by the balcãoMultidisciplinary studio Otherworlds overhauled the villa, which it describes as a “formerly enclosed shell”, by removing some of the external walls and extending the dining area into an outdoor porch.
    This area is sheltered by a large bamboo canopy with elliptical openings that diffuse the natural light, transforming the space throughout the day.
    The canopy is intended to mitigate the region’s extreme weather conditions; sheltering customers from the rain during monsoon season and providing a semi-open space with plenty of air circulation during the hot summer months.
    Low-hung lamps add a sense of “whimsy”Otherworlds designed the bar so that customers face each other, rather than facing the wall, in a bid to “encourage chance encounters”.
    “The intention was to create an immersive atmospheric experience that inspires a feeling of being in a tropical, lush outdoor space under an overgrown natural canopy,” said Arko.
    A metal and fluted glass structure hung from the building’s external walls floats above the white marble bartop and holds the arc-shaped lamps that light the intimate two-seater booths flanking the bar.
    A bamboo canopy was inserted to mitigate the region’s extreme weather conditionsAt night, the restaurant is lit by low-hung sinuous lamps informed by sweeping stems that are intended to add a sense of “whimsy” to the interior.
    Adhering to Terttulia’s signature green and white colour scheme, the studio opted for a palette of locally sourced materials, including the green-pigmented hand-cast concrete that it used to create the restaurant’s flooring.
    “The green pigmented hand-cast concrete floor, largely termed as IPS [Indian Patent stone], is found in most places in the country and is also used to finish the balcão in all Goan homes,” Arko explained.
    Terttulia Goa is housed in a revamped 1980s villaOtherworlds worked with local workshop Jyamiti & Sea to create ovoid terrazzo accents that are scattered in various places across the floor and walls.
    The studio achieved what it terms “the perfect green” using a mixture of white and grey cement and green oxide pigment.
    Otherworlds opted for a palette of locally sourced materials”The tricky bit with coloured concrete is achieving the exact shade [because] once the cement sets and is polished, the result is quite different from the initial wet mix,” said Arko.
    “The process required numerous iterations and experiments to get the right mixture of materials that would yield the correct shade.”
    The green cement is offset by dark wood derived from the matti, Goa’s state tree.
    “We imagined the restaurant to be an extension of the house and while being part of it, [we also wanted it to] feel like a part of the city.”
    Other projects that take a contemporary approach to Indian design traditions include a rammed-earth family home in Rajasthan designed by Sketch Design Studio and a Rain Studio-designed “native yet contemporary” home in Chennai.
    The photography is by Suryan and Dang. 

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    Hanczarstudio designs migraine treatment centre to be “devoid of stimuli”

    From a muted colour palette to lights that are rarely switched on, the MIGRE treatment centre by Hanczarstudio in Wroclaw, Poland, was designed to help alleviate discomfort.

    Local design practice Hanczarstudio designed the interior of the MIGRE migraine treatment centre in Wroclaw, Poland, to deviate from traditional medical environments.
    “We wanted to create a space that was soothing and evokes associations with a beauty salon, spa or massage parlour, rather than a medical facility,” said Hanczarstudio founder Szymon Hanczar.
    Hanczarstudio designed MIGRE to reduce impact of migrainesMigraines are persistent and throbbing unilateral headaches, often accompanied by nausea as well as noise and light sensitivity. The causes of migraine episodes are difficult to identify, but throughout the design the studio aimed to minimalism potential sources of discomfort.
    Photophobia – meaning sensitivity to light – was addressed by diffusing soft light throughout the space. Translucent blinds help to temper bright natural sunlight coming in through the windows.

    Plants absorb sound and promote a sense of calmArtificial lighting had to be installed in order to meet building regulations, however these are usually left switched off in favour of indirect natural light.
    “Standards are met with the inclusion of all upper light sources, but in the day-to-day operations of the centre, they are not used,” explained Hanczar.
    “The project even included halogens, which are absolutely inadvisable in the environment of migraine sufferers, as illumination for the display rack, but it too has its alternative source of soft lighting in the form of reflected light.”
    Blinds diffuse sunlight, which is reflected off of wooden surfacesThe 110-square-metre space – that includes five treatment rooms, an entry hall and a waiting room – was lined with rhythmic floor-to-ceiling oak panelling. Furniture with rounded edges, a significant amount of which is bespoke to the project, was used through out the space.
    The decision to use a neutral, warm-toned colour scheme and avoid any use of bright or contrasting colours was taken in order to avoid aggravating migraine symptoms through visual overstimulation.

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    Migraine sufferers can also be highly sensitive to noise – the site benefits from being in a relatively quiet neighbourhood, and acoustic ceiling panels installed throughout help to mitigate any additional loud noises. Upholstered chairs, plants, wood panelling and blinds further help to dampen sound.
    “[MIGRE is] a soothing, patient-friendly space, devoid of stimuli that exacerbate malaise during attacks of migraine pain,” said the studio. “It was the needs of patients, not fashionable trends, that had a decisive influence on the final design of this space.”
    Treatment rooms have timber panelingDespite being worlds apart from conventional medical spaces with stark white walls and bright overhead strip lights, the interior still needed to be up to code with hygienic standards.
    Specifying PVC carpet tiles for the flooring, easy to clean hard surfaces and removable and washable upholstery ensure that the space can be kept sterile and sanitary.
    Both bespoke and specified furniture and treatments are medical grade”The interior design will not take away [the patient’s] illness, but I hope it will make them feel maybe better and for sure calmer,” Hanczar told Dezeen.
    Other medical treatment centre’s featured on Dezeen include a cancer care facility in Belgiuminterior by Archekta and Ark-shelter and a wellness centre in New York City by Remedy Places.
    The photography is courtesy of Zasoby Studio.

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    Blue Bottle Coffee Qiantan references greenhouses and Shanghai’s brick architecture

    Architect Keiji Ashizawa has created a Blue Bottle Coffee shop in Shanghai’s Qiantan area with a glazed facade and interiors in a hue that nods to the city’s brick buildings.

    Located next to a park in the recently developed Qiantan area, Ashizawa designed the oval-shaped cafe to reference its immediate surroundings.
    His studio removed the floor slabs from the first floor of the building, creating a double-height space with an atrium-like feeling for the ground floor of the cafe that would have a connection to the surrounding park.
    Blue Bottle Coffee Qiantan is located in a newly developed area”In rainy Shanghai, we wanted to provide a place where people could enjoy the park even on rainy days,” Ashizawa told Dezeen.
    “Also, looking at the overall plan of the park, I thought that a rich interior space was required,” he continued.

    “The result is seen as a greenhouse, like those found in botanical gardens. I thought that adding a new story to the park would increase its enjoyment.”
    It features a double-height space and a central staircaseFrom the ground floor, a long stairway leads down to the cafe’s basement level, which houses the main coffee counter.
    The staircase in Blue Bottle Coffee Qiantan was designed to reference the colour of soil and have a cave-like feeling.
    “We decided to create a cave-like space for visitors to appreciate the long stairway down to the basement, creating an experience that is like crawling through the earth in the park,” the studio said.
    A coffee counter in the basement has a colour reminiscent of bricksIt also evokes the colour of red bricks, which are commonly used for Shanghai architecture. The same hue was used for the coffee counter and for a tall central wall.
    “Shanghai’s brick architecture in the old city is a strong contrast to the architecture of modern Shanghai, and it leaves a very strong impression on the eye,” Ashizawa said.

    Traditional Chinese roof tiles decorate the interior of Blue Bottle Coffee shop in Shanghai

    “We wanted to preserve some of Shanghai’s image in this newly developed location and architecture,” he added.
    “At the same time, since the cafe is located in a park, I wanted to create a sense of unity by using the image of earth in the architecture.”
    Keiji Ashizawa used wooden furniture throughout the spaceOn the ground floor, pale-wood stools are gathered around circular grey tables.
    Downstairs, Ashizawa clad the walls in greige microcement and added wooden chairs, tables and counters.
    The walls are clad in microcementLarge trees decorate both the basement and the ground floor, adding to the cafe’s botanical atmosphere.
    “The goal was to create a connection between the outside and the inside, with a natural form similar to that of the outdoor trees,” Ashizawa said.
    Large indoor trees connect the cafe with the park outsideWooden benches also offer visitors the option to drink their coffee outside in the park.
    Ashizawa has designed numerous other Blue Bottle Coffee shops, including one in a Kobu department store and another Shanghai outpost that was decorated with Chinese roof tiles.
    The photography is by Jonathan Leijonhufvud.
    Project credits: 
    Architect: Keiji Ashizawa DesignProject architect: Keiji Ashizawa / Chaoyen WuLighting Design: Aurora / Yoshiki IchikawaLandscape Design: Hashiuchi Garden Design / Hashiuchi Tomoya

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    “Fashion meets art and design” at Pittsburgh boutique by NWDS

    Global team NWDS took a spontaneous approach to designing the Tons fashion boutique in Pittsburgh, which contains a mix of modest materials and iconic furniture pieces.

    The Tons store in the city’s East Liberty neighbourhood occupies a long, narrow building with its shorter side facing the street.
    The Tons store features a variety of “mundane” materials, including concrete breezeblocks and metal cansFormerly an atelier, the two-storey structure was reimagined by NWDS to create a light-filled destination “where high-end fashion meets art and design”.
    “Inside is a spacious and light-filled interior that now hosts a multifunctional venue designed to meet the needs of a modern-day sartorialist equally interested in fashion, art, and culture,” said the group.
    In the lobby, new apparel collections are displayed below a tapestry-like artworkDesigning the interiors of the 400-square-metre space involved dividing up the floor plan into several distinct areas that all flow together, but serve different purposes.

    Throughout the various retail and office areas, a selection of unexpected materials were combined and layered.
    Some of the walls are splashed or streaked with white paintImmediately through the glass front door is a lobby where new collections are presented.
    Here, product displays were built from concrete breeze blocks, while the upper walls above the clothing rails were dressed in transparent plastic curtains.
    Glass panels are used to partition different retail areasThe ceiling above was covered with metal tubes of different lengths and diameters, and gives way to a double-height space where tall tapestry-like artworks by Sasha Brodsky hang over opposite walls, and white paint was seemingly dragged across another.
    “There was a lot of spontaneity and many design decisions taken on site: some surfaces were uncovered and left in an unfinished state, and some were splashed with white paint,” NWDS said.
    A selection of iconic furniture designs can be found around the store, including Frank Gehry’s Wiggle ChairFurther along, fitting rooms are lined up behind black and white streaked partitions to one side, facing a room defined by glass panels that hosts monobrand products.
    Towards the back, a lounge area that also displays shoes is reached by descending a short flight of stairs, which run parallel to a raised, built-in seating area.
    A built-in seating area at the back of the store overlook the sunken shoe roomThe lower floor level in this space results in a higher ceiling, which NWDS took advantage of by extending a mural the full height behind a wall-mounted shoe display.
    A staircase at the very back leads to the upper storey, where retail displays and office areas for store employees sit side by side, and a photography studio is in full view.

    Checkerboard walls wrap Awake NY store by Rafael de Cárdenas

    “Inside Tons, the client space and the workspace are blended,” said NWDS.
    “Buyers and managers have their work desks right next to the sale rails on the first floor, and store visitors are welcome to take a peek at the fashion photo shoot happening right there at Tons.”
    The unfinished aesthetic continues across the upper storey, where retail and offices spaces are blendedThroughout the store are a selection of iconic furniture pieces that continue the theme of unexpected materials and functionality.
    They include metal-mesh Hi Tech armchairs by Piero Lissoni, a Mate chair by (A+B) Dominoni, Quaquaro that doubles as shelving, and Frank Gehry’s compressed cardboard Wiggle Chair for Vitra.
    “An interior comprising modest materials is a backdrop for high-end Italian furniture pieces, a collection carefully curated by the NWDS team,” said the designers.
    An open photography studio allows shoppers to watch shoots as they happenNWDS was established in 2013 as a team of architects, designers, curators and researchers from cities including New York, Tbilisi, Moscow, Paris, Berlin, Yerevan, Lisbon and Dubai. The group’s projects span residential, retail, hospitality, culture, exhibition design and more.
    Other recently completed boutiques that feature unusual materials include the Boyy flagship in Milan, which reveals layers of the store’s history, and a Parisian jewellery store featuring rippled sheets of acrylic.
    The photography is by Ekaterina Izmestieva and Alexandra Ribar.
    Project credits:
    Design concept: NWDSSupervision and project management: Brnz BureauLighting design: Natalia MarkevichArt: Sasha Brodsky

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    Eight interiors that feature reclaimed and recycled materials

    For our latest lookbook, Dezeen has selected eight examples of interiors that were created with reclaimed and recycled materials, including a restaurant in Bangalore and a brick house in Ghent.

    Recent decades have seen more awareness and reflection on environmental and sustainable issues both inside and outside the design world, leading a number of designers and architects to choose sustainable design for their projects.
    From the use of unwanted items to the application of reclaimed bricks and recycled plastics, the eight projects in this lookbook present ways in which designers have rediscovered the value of waste.
    This is the latest in Dezeen’s lookbooks series, which provides visual inspiration from Dezeen’s archive. For more inspiration see previous lookbooks featuring sunny yellow interiors, beds that have been built into interiors and tiled kitchen worktops.
    Photo by Ishita SitwalaCircus Canteen, India, by Multitude of Sins

    Bangalore studio Multitude of Sins designed this restaurant interior, which was shortlisted in the sustainable interior category of Dezeen Awards 2022, to showcase a collage of unwanted objects.
    The salvaged objects were sourced locally from a donation drive in a few weeks. The studio categorised them, then organised them into a colourful, stylish interior.
    Find out more about the Circus Canteen ›

    Kamikatsu Zero Waste Centre, Japan, by Hiroshi Nakamura
    The Kamikatsu Zero Waste Centre (above and main image) was created as an eco-friendly community and educational space for recycling activities, and features a facade made of 700 windows donated by the local community.
    Architect Hiroshi Nakamura attached harvesting containers from a mushroom factory to the wall to be used as bookshelves. Unwanted objects were also collected from abandoned houses, previous government buildings and schools in the local area.
    Find out more about the Kamikatsu Zero Waste Centre ›
    Photo by Sam A HarrisSilo, UK, by Nina+Co
    The dining tables of this zero-waste restaurant in London consist of flecked recycled-plastic tops and sustainably-sourced ash wood legs, with mycelium pendant lamps dangling above.
    The dining space also features a long bar counter made from recycled plastic packaging.
    Find out more about Silo zero-waste restaurant ›
    Photo by Magdalena GruberUrselmann Interior’s office, Germany, by Urselmann Interior
    The renovation of the ceiling in this Düsseldorf office was completed using poplar wood sourced from a tree felled in the nearby city of Krefeld. The studio preserved the existing wooden and terrazzo flooring.
    The refurbishment of the office, which is the studio’s own, also included the use of biodegradable materials, glueless joinery and cellulose-based cladding.
    Find out more about Urselmann Interior’s office ›
    Photo by Syam SreesylamWendy House, India, by Earthscape Studio
    This vaulted residence in Bangalore, which sits among eight acres of dense forests, was covered with recycled mudga tiles. Its glass walls were framed with recycled rods.
    Earthscape Studio also constructed the building with sithu kal bricks, a traditional technique that is currently not in use. This design revisited the neglected technique to help bring work opportunities to the local community.
    Find out more about the Wendy House ›
    Photo by Stijn BollaertGjG House, Belgium, by BLAF Architecten
    Built without supporting interior walls, this house was constructed with reclaimed bricks and features a curved form and brick bonding.
    BLAF Architecten designed the unusual curvilinear walls in order for the house to fit in between surrounding trees on the site in Ghent.
    Find out more about GjG House ›
    Photo by José Hevia10K House, Spain, by Takk
    In the context of global climate change and the energy crisis, 10K House was built on a material budget of only 10,000 euros and features rooms built inside each other to maximise insulation.
    Spanish Architecture studio Takk used recycled white table legs to lift one of the interior rooms in the Barcelona apartment, creating space for water pipes and electrical fittings without the extra cost of adding wall grooves.
    Find out more about 10K House ›
    Photo by Agnese SanvitoRylett House, UK, Studio 30 Architects
    Studio 30 Architects transformed an old carpenter’s bench into a kitchen island for this London house extension, which includes a living, kitchen and dining area.
    The extension was built on the site of a previous conservatory and overlooks the garden through a timber window decorated with plants.
    Find out more about Rylett House ›
    This is the latest in Dezeen’s lookbooks series, which provides visual inspiration from Dezeen’s archive. For more inspiration see previous lookbooks featuring sunny yellow interiors, beds that have been built into interiors and tiled kitchen worktops.

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