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    Eight airy terraces and balconies that become extensions of the interior

    From a plant-enclosed terrace in Mexico to a large rooftop garden set beneath a metal pergola in Tokyo, Dezeen’s latest lookbook highlights eight interiors with impressive balconies and terraces.

    Each of these balconies and terraces is accessed via glazed walls or floor-to-ceiling glass and provides their homes with not only a physical but also a visual extension of the interior that merges the in- and outdoors.
    This is the latest in our lookbooks series, which provides visual inspiration from Dezeen’s archive. For more inspiration see previous lookbooks featuring cave-like interiors, gallery interiors, and garden swimming pools.
    Photo is by Alex Shoots BuildingsTerrace With a House by the Lake, Poland, by UGO
    This summer holiday home was created by Poznań architecture studio UGO and is located near a lake in Wielkopolska, Poland.

    From the home’s main living area, a large 120-metre-long wooden terrace is accessed via expanses of floor-to-ceiling glass sliding doors and double-height glazed walls. The studio described the terrace as an additional room for the home.
    Find out more about Terrace With a House by the Lake ›
    Photo is by César BéjarHouse in Xalap, Mexico, by Lopez Gonzalez
    House in Xalap is a 528-square-metre residence that was built on a slight slope. The exterior of the home was rendered in cement which was painted black to mimic the look of a rock formation.
    From a dining area, which was clad in black marble and wooden panels, maroon-framed glass doors lead out to a volcanic stone-tiled patio that is walled by lush and tropical planting and geometric sculptures.
    Find out more about House in Xalap ›
    Photo is by Masao NishikawaEspirit House, Japan, Apollo Architects & Associates
    A large roof terrace tops Espirit House in Tokyo, which was designed by Apollo Architects & Associates. The terrace is covered by a metal pergola that transforms the open-air space into an additional room of the home.
    The terrace is accessed on the third floor of the home from behind a fully glazed wall. A sectional sofa, dining table and large planters filled with local shrubbery decorate the terrace.
    Find out more about Espirit House ›
    Photo is by Niveditaa GuptaVilla KD45, India, by Studio Symbiosis
    This concrete home in Dehli was designed by Studio Symbiosis for a large family of eight. As a result of thinly framed floor-to-ceiling windows and the home’s exterior concrete floors carrying through to the interior, the boundaries of the indoors and outdoors are blurred.
    Studio Symbiosis also nestled small terraces between both of the home’s floors. Decorative seating provides residents with relaxing outdoor areas that are shaded from the Indian sun.
    Find out more about Villa KD45 ›
    Photo is by Dapple PhotographyRescobie Pavilion, Scotland, by Kris Grant Architect
    A cantilevered balcony wraps around the exterior of the two-storey Rescobie Pavilion in rural Scotland. The structure was created as a free-standing extension of a nearby home so that its residents could immerse themselves in the landscape.
    The structure was topped with a mono-pitched roof that orients the interior to the landscape, and is enveloped in expanses of glass that provide the pavilion with unobstructed panoramic views of the hamlet.
    Find out more about Rescobie Pavilion ›
    Photo is by Rory Gardiner835 High Street, Australia, by Carr
    At 835 High Street, a residential apartment block in Melbourne, Australian architecture studio Carr looked to play with feelings of openness within the interior.
    It added large wrap-around floor-to-ceiling windows that lead out to covered balconies, which aim to complement and juxtapose the relationship between the interior and exterior. The interiors feature a paired-back scheme and were decorated with designer furniture, including a Mario Bellini Camaleonda sofa.
    Find out more about 835 High Street ›
    Photo is by Pedro VannucchiMoenda House, Brazil, by Felipe Rodrigues
    This split-level home in southeastern Brazil was designed by Brazilian architect Felipe Rodrigues and has undisrupted views of the Mantiqueria mountains.
    The ground floor of the home contains shared living spaces, which have an open-plan design. The open-plan kitchen, living and dining room are surrounded by a cantilevered wrap-around balcony that is covered in grey tiles similar to those used throughout the interior.
    Find out more about Moenda House ›
    Photo is by Jonathan LeijonhufvudYing’nFlo, Hong Kong, by Linehouse
    An angular balcony protrudes from the interior of the Ying’nFlo guesthouse in Wan Chai, Hong Kong. The guesthouse was designed by Chinese interior design studio Linehouse, which looked to create the feeling of an inviting home.
    One of the rooms at the guesthouse features a neutral palette and incorporates hand-rendered walls, timber panelling and linen cabinetry. From here, glass sliding doors lead out to a beige tiled balcony that was fitted with a built-in bench and an olive tree at its centre.
    Find out more about Ying’nFlo ›
    This is the latest in our lookbooks series, which provides visual inspiration from Dezeen’s archive. For more inspiration see previous lookbooks featuring cave-like interiors, gallery interiors, and garden swimming pools.

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    Studio North adds plywood barrel vaults to Business & Pleasure bar in Calgary

    A barrel-vaulted ceiling covers this cosy cocktail bar in Calgary, Alberta which locally based Studio North designed as a contemporary take on a speakeasy.

    Business & Pleasure is tucked away between historic brick buildings on a back lane in the Canadian city’s Inglewood neighbourhood, just a few blocks from Studio North’s office space.
    A vaulted plywood ceiling contrasts with the black interior of the bar”The location and scale of the Business & Pleasure bar space immediately reference visions of the iconically intimate and secluded speakeasy from last century,” said lead designers Damon Hayes Couture and Hayden Pattullo.
    “However, this transformation sought to recreate the speakeasy’s quaint and classic qualities using contemporary methods of parametric design, digital fabrication, and material experimentation.”
    The fir plywood is CNC cut to allow it to bendHidden at the back of a cafe, Studio North’s take on prohibition-era drinking establishments features a dark interior, with many of the furniture pieces and surfaces in black.

    In contrast, fir plywood is shaped into barrel vaults of different widths that run the length of the narrow 350-square-foot (32.5-square-metre) space.
    Vaults of different widths run the length the ceilingThe material is kerfed to allow it to bend, forming a cut-out pattern that adds a translucent quality to the wood.
    “Like clouds, the geometry and pattern vary slightly throughout the room to create unique areas and experiences of moving through it,” said Studio North.
    Paper lanterns hang from the wood vaults, which are suspended from steel ribsThe vaults are suspended from a series of steel ribs, and some panels are held in place with magnets – a system that Studio North prototyped at 1:1 scale and built in-house.
    Parametric modelling and computer numerically controlled (CNC) cutting were used to produce the desired effect.

    Frank Architecture recalls 1960s glamour at Major Tom bar in Calgary

    “The pattern of the ceiling kerfing changes using a parametric image map to add and subtract bridge tabs, creating more grid interruption around the seated areas,” the designers said.
    In places, the plywood extends down from the ceiling onto the walls, forming panels that touch the tabletops and shelving in recesses.
    A custom black barn door separates the bar from a cafe at the frontThe same material forms a custom barn door separating the cafe from the bar, which is painted black and allows guests a peek at the back space through the thin vertical gaps.
    Globe-shaped paper lanterns hand from the ceiling to bathe the space in a warm, ambient glow.
    The bar is designed to evoke speakeasies from a century agoArtworks and a selection of vintage items are displayed on the walls and shelves, connecting the contemporary interior to the heyday of speakeasies.
    Studio North is a design-build studio that more commonly works on residential projects, such as a laneway house in Calgary that the team outfitted with a dog nook and a fireman’s pole.
    The photography is by Hayden Pattullo and Damon Hayes Couture.

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    Ten bathrooms where marble lines the walls

    Our latest lookbook shines a light on homes where marble and similar natural stones have been used as the primary material in the bathrooms.

    Marble can be a great solution for bathrooms, as it is durable enough to withstand a wet environment better than alternative materials such as wood or concrete.
    Many homeowners opt to use the same material across all surfaces, creating a uniform aesthetic that extends from the sink and shower areas across the walls.
    Read on to see 10 different examples, featuring a range of marbles that include Carrera and Verde Aver, as well as similar natural stones such as travertine and quartzite.
    This is the latest in our lookbooks series, which provides visual inspiration from Dezeen’s archive. Other recent editions showcase Scandinavian kitchens, outdoor showers and eclectic interiors.

    Habitat 100, Sweden, by Note Design Studio
    Note Design Studio used two types of marble in its renovation of this 1920s Stockholm apartment, echoing the tones of an Italian marble floor in the hallway.
    For the main bathroom, the designers opted for a pale Swedish marble known as Ekeberg. Some slabs were polished, while others were milled in different directions to create a subtle chequered pattern.
    Elsewhere in the home, green-toned Brännlyckan marble offers a striking counterpoint.
    Find out more about Habitat 100 ›

    Eastern Columbia Loft, USA, by Sheft Farrace
    Tasked with redesigning an apartment in Los Angeles’ Eastern Columbia building, a block with an iconic turquoise art-deco facade, architecture studio Sheft Farrace decided to work with the same palette in the main bathroom.
    The architects did this with a statement wall of Verde Aver marble, an Italian stone with a similar green hue.
    The marble forms a counter that spans the width of the room, integrating two basins, and also forms a splashback that extends all the way up to the ceiling.
    Find out more about Eastern Columbia Loft ›

    Botaniczna Apartment, Poland, by Agnieszka Owsiany Studio
    A warm-toned travertine features in the bathroom of this apartment in Poznań, which was renovated by Agnieszka Owsiany Studio for a professional couple.
    While travertine is a limestone, so not technically a marble, it has a similarly patterned finish.
    The stone wraps the walls and the bath, and also forms a cuboidal washbasin. The same stone also features in the home’s kitchen, where it was used to create an island counter.
    Find out more about Botaniczna Apartment ›

    The Village, Germany, by Gisbert Pöppler
    Wood and marble are combined throughout this apartment renovation by Berlin designer Gisbert Pöppler, in the city’s Mitte district, but the juxtaposition is particularly striking in the bathroom.
    The room features a bathtub set within a niche that is lined with highly variegated South American marble.
    The warm tones of the stone are echoed by the wooden flooring, as well as by a basin unit that combines dark oak with white-glazed lava stone.
    Find out more about The Village ›

    Flat #6, Brazil, by Studio MK27
    Studio MK27 chose highly textured materials for this renovation of a four-bedroom flat in São Paulo, home to a couple and their three teenage sons.
    For the washrooms, the designers selected grey Armani, a Mediterranean marble that combines dark tones with white accents.
    The stone has been carefully arranged to ensure the white streaks run through niches set into the walls, which provide space for storing soap and shampoo.
    Find out more about Flat #6 ›

    D2 Townhouse, UK, by Jake Moulson
    Multi-coloured stone offered a good fit for the eclectic interiors of this renovated townhouse in Dublin, designed by architect Jake Moulson.
    The most striking example can be found in an under-stairs toilet, where a Brazilian quartzite called Azul Imperial combines shades of purple, blue and gold.
    Find out more about D2 Townhouse ›

    ER Apartment, Brazil, by Pascali Semerdjian Arquitetos
    This family home in São Paulo, designed by Pascali Semerdjian Arquitetos, features different types of Brazilian stone.
    In the bathroom, white Parana marble forms the walls and floor, and also provides surfaces within a trough-shaped bronze sink that was custom-made to echo the curves of a mirror above.
    Elsewhere in the home, panels of jade-coloured onyx serve as surfaces and also conceal an in-wall light fixture.
    Find out more about ER Apartment ›

    Twentieth, USA, by Woods + Dangaran
    A marble known as Bronze Vena, or “bronze vein”, is the focal point of the en-suite in the main bedroom of this Santa Monica home by Los Angeles-based Woods +Dangaran.
    Large-format slabs of this stone cover the walls, floor and ceiling of the bath area, toilet and walk-in shower.
    The slabs were cleverly book-matched at the centre of the room for a symmetrical effect. Slabs effectively mirror each other, creating zigzags within the vein patterns.
    Find out more about Twentieth ›

    West 76th Street, USA, by Messana O’Rorke
    This apartment on Manhattan’s Upper West Side is home to the founders of the skincare brand Malin + Goetz, so special attention was naturally paid to the bathrooms.
    New York-based studio Messana O’Rorke combined brass fittings with Carrera marble – the hugely popular Italian stone – with the ambition of creating a “spa-like” feeling.
    One bathroom features a marble recess with an integrated sink and mirror, while the other boasts a shower that is illuminated by a hidden pocket in the ceiling.
    Find out more about West 76th Street ›

    Villa Waalre, Netherlands, by Russell Jones
    To match the minimal aesthetic of this woodland home in Waalre, near Eindhoven, bathrooms are finished in Statuario, a white marble quarried in Italy.
    The effect works particularly well in the main bedroom, where a free-standing partition wall divides off part of the space for an en-suite. This volume incorporates a marble basin, as well as timber-fronted drawers.
    Find out more about Villa Waalre ›
    This is the latest in our lookbooks series, which provides visual inspiration from Dezeen’s archive. Other recent editions showcase Scandinavian kitchens, outdoor showers and eclectic interiors.

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    The Offbeat Sari exhibition celebrates “one of today’s most important global fashion stories”

    The first sari to be worn at the Met Gala and sequins made from discarded X-ray film sourced from hospitals feature in the Offbeat Sari exhibition, which showcases around 60 contemporary saris at London’s Design Museum.

    The Offbeat Sari is the first UK exhibition to explore the contemporary sari, according to the Design Museum. The show opens today in a cavernous space within the museum’s subterranean gallery, illuminated by thin neon pendant lights.
    Hailing from India and wider South Asia, a sari is traditionally thought of as an unstitched drape wrapped around the body from shoulder to waist.
    The Offbeat Sari opens today at London’s Design MuseumIn recent years, designers have been reinventing the 5,000-year-old garment to serve young people’s growing interest in the sari, which has led to its revival, according to Design Museum head of curatorial Priya Khanchandani.
    “Women in cities who previously associated the sari with dressing up are transforming it into fresh, radical, everyday clothing that empowers them to express who they are, while designers are experimenting with its materiality by drawing on unbounded creativity,” said the curator.

    The first sari worn to the Met Gala features in the exhibitionSplit into various themes such as identity and resistance, the exhibition presents around 60 contemporary saris created by a range of established and emerging designers.
    Among the garments is the first sari to be worn at New York’s Met Gala in response to the annual ball’s 2022 theme, Gilded Glamour.
    Embellished with semi-precious stones, the tulle Sabyasachi-designed sari worn by Natasha Poonawalla features a statement train and was paired with a gold Schiaparelli bodice with protruding, orbit-shaped elements.
    Fashion brand Abraham & Thakore created sequins from recycled X-ray filmAnother navy blue sari by Abraham & Thakore is characterised by delicate sequins that were made using discarded X-ray film salvaged from hospitals – a design that aims to address the issue of sustainability within the fashion industry.
    Also on display is a purple georgette silk sari embroidered with shimmering acrylics, sequins and crystals. Founder of the #DeGenderFashion movement, author and comedian Alok previously wore the garment to highlight their belief that saris can be worn by anyone, regardless of gender identity.
    Photographs showing different ways of wearing saris are pasted across a blue wallContrasting textiles such as distressed denim and woven stainless steel make up other saris in the exhibition, highlighting the garment’s versatile evolution.
    Within the show’s “movement” section are a number of saris worn by young people while engaging in sports. These include a garment adorned with cherry blossom motifs that was donned during a cricket match as well as a polyester chiffon sari, which is among the outfits worn by a group of women who have begun to skateboard in saris – a growing trend, according to the museum.
    Sari wearers are increasingly wearing the garments to engage in sports, especially skateboardingThere is also an area dedicated to the craftsmanship involved in sari-making that explores how its history has transformed over the 21st century.
    “The sari is experiencing what is conceivably its most rapid reinvention in its history. It makes the sari movement one of today’s most important global fashion stories, yet little is known of its true nature beyond South Asia,” explained Khanchandani.

    “Genuine inclusivity in design is not a fantasy and need not be tokenistic”

    “For me and for so many others, the sari is of personal and cultural significance,” reflected the curator.
    “But it is also a rich, dynamic canvas for innovation, encapsulating the vitality and eclecticism of Indian culture.”
    There is also an area dedicated to materials and craftsmanshipChinese artist Ai Weiwei’s first design-focussed exhibition is another show that is currently on display at the Design Museum until late July. In other recent fashion news, designer Rick Owens has released a collection of wearable helmets that double as fluorescent floor lamps.
    The photography is by Andy Stagg. 
    The Offbeat Sari is on display at London’s Design Museum from 19 May to 17 September 2023. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world.
    Project credits:
    Curator: Priya KhanchandaniAssociate curator: Rashmi Varma3D design: Studio Mutt2D design: Stuthi Ramesh

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    Keiji Ashizawa and Norm Architects design tactile interiors for “hotel in the sky”

    Japanese designer Keiji Ashizawa and Danish studio Norm Architects have unveiled their design for the Bellustar Tokyo hotel, which aims to evoke a sense of nature in the middle of Tokyo’s urban Shinjuku district.

    The two studios worked together to design interiors for five penthouse suites as well as hospitality spaces for the top floors of the Bellustar Tokyo, 200 metres above the ground in Shinjuku’s Kabukicho tower.
    Norm Architects and Keiji Ashizawa Design had to take the city views from the building into account when designing the hotel rooms, which are spread over three levels from the 45th to the 47th floor.
    The Tsuki (moon) penthouse suite has calm grey walls”I would say that it is the tallest hotel I have worked on,” Ashizawa told Dezeen, describing it as “a quiet hotel in the sky of Shinjuku”.
    “Since there are no nearby buildings at this elevation, there was no need to be concerned about privacy, and it feels surreal that the views from all the windows are almost always spectacular,” he added.

    “That is why the relationship between views from the windows and the space is indeed very simple.”
    Floor-to-ceiling windows let light into the Tori (bird) suiteBoth studios were involved in the spatial organisation of the five penthouse suites as well as the placement of the hotel’s three restaurants, its top-floor spa and a penthouse lounge designed for guests to enjoy the setting sun.
    Ashizawa and Norm Architects drew on their signature use of natural materials and muted palettes to create the interiors for the five guestrooms.
    The penthouse lounge was designed for guests to view the sunsetThese were informed by the “beauty of the four seasons in Japan” and have names such as Hana (wind) and Tsuki (moon).
    The rooms have been furnished with pieces by the studios’ Karimoku Case Study series for wood furniture company Karimoku and feature a mix of natural materials.
    “The use of organic forms and natural materials like wood and stone can be seen as an antidote to the city that serves as artworks through the grand windows,” the studios said.
    The Hana (flower) penthouse suite features furniture in dark woodAmong the tactile details in the guest rooms are stone-topped bedside tables and wood-panelled headboards.
    “The idea is to create a balance of hardness and softness against the large area of the room that will be covered with textiles,” Ashizawa said.
    A bench creates distance from the view in the Sora (sky) penthouse suiteAs the guestrooms have floor-to-ceiling windows, the bedrooms and living rooms feature benches and curtains that were added “to create a little distance from the view to make the space feel more comfortable,” Ashizawa explained.
    A colour palette of mainly white, ivory and gray was used throughout the Bellustar Tokyo, which is a Pan Pacific hotel, with darker colours creating contrast in some of the spaces.

    Karimoku opens Kyoto showroom informed by traditional houses and temple gardens

    “The color palette is what we and Norm Architects consider to be the colors of nature, and we hope to create a sense of richness by evoking nature in Shinjuku, the most Tokyo-like place in the city,” Ashizawa said.
    “As an antidote to the city, we have tried to listen to nature’s story of artistry, optimism, imperfection, and impermanence, and bring these poignant qualities into the work,” Norm Architects added.
    The Bellustar restaurants have views over TokyoAshizawa also used tiles and handcrafted details to create more tactile walls in some areas of the hotel, including in the main restaurant, which has custom-made tiles from Japan.
    The Bellustar Tokyo features three restaurants: the main restaurant and bar, which was designed solely by Ashizawa, as well as a sushi restaurant and a teppanyaki restaurant.
    Here, the studios worked with material palettes that include wood and brick.
    The restaurant’s sushi restaurant has an intimate design”The sushi and teppanyaki restaurants are designed to feel like small hidden and intimate traditional city restaurants but transformed into contemporary places on the top of Tokyo,” Norm Architects said.
    “Both restaurants have their own unique character and material palette where the sushi restaurant is bright and works with hinoki [cypress wood], the teppanyaki place is dark and dominated by dark bricks in creative patterns.”
    The Kaze (wind) penthouse suite has tactile material detailsThe studios hope that by using natural materials and muted colours, the Bellustar Tokyo will function as a refuge from the busy city.
    “We hope that the guests of the hotel will first experience the vibrant atmosphere of the Shinjuku Kabukicho district of Tokyo, and then enjoy the serenity of the penthouse interior – as if the lively Tokyo scenery were like a Zen temple’s karesansui (dry landscape garden),” Ashizawa said.
    Light falls in through the large windows of the penthouse loungePrevious projects by Keiji Ashizawa Design include the Hiroo Residence overlooking Tokyo’s Arisugawanomiya Memorial Park and the Kyoto showroom for Karimoku.
    Norm Architects recently created a headquarters for children’s brand Liewood and an inside-out greenhouse restaurant in Sweden.
    Project credits:
    Interior architecture: Keiji Ashizawa Design: Keiji Ashizawa, Mariko Irie, Kenji Kawami, Yuichiro Takei. Norm Architects: Jonas Bjerre-Poulsen, Peter Eland, Frederik WernerBellustar penthouse (five penthouses): Keiji Ashizawa Design and Norm ArchitectsBellustar restaurant and bar: Keiji Ashizawa DesignSpa Sunya: Keiji Ashizawa DesignFurniture, fixtures and equipment: Keiji Ashizawa Design and Norm Architects

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    Largest-ever Norman Foster retrospective opens at Centre Pompidou in Paris

    An exhibition dedicated to the work of British architect Norman Foster has opened at the Centre Pompidou in Paris, showcasing drawings and original models produced by the architect over the last six decades.

    The exhibition, which according to the Norman Foster Foundation is the largest-ever retrospective display of Foster’s work, features around 130 of the architect’s projects including the Hong Kong and Shanghai Banking Corporation Headquarters, Hong Kong International Airport and Apple Park.
    The exhibition was designed by Norman FosterDesigns that informed Foster’s work are also exhibited, including works by Chinese artist Ai Weiwei, French painter Fernand Léger, Romanian sculptor Constantin Brancusi and Italian painter Umberto Boccioni, and even cars, which the architect is passionate about.
    The exhibition, simply called Norman Foster, was designed by Foster with his architecture studio Foster + Partners and nonprofit organisation the Norman Foster Foundation.
    On display are sketches, drawings and models of the architect’s buildingsCurated by Centre Pompidou deputy director Frédéric Migayrou, the exhibition aims to showcase examples of Foster’s innovation and technology, his approach to sustainability and his ideas for the future of the built environment.

    “This exhibition traces the themes of sustainability and anticipating the future,” said Foster.
    “Throughout the decades we have sought to challenge conventions, reinvent building types and demonstrate an architecture of light and lightness, inspired by nature, which can be about joy as well as being eco-friendly.”
    Examples of Foster’s work are interspersed with cars that have inspired himThe 2,200-square-metre exhibition begins with a room dedicated to Foster’s sketches and drawings, a practice he uses to communicate ideas and log design inspiration.
    “For me, design starts with a sketch, continuing as a tool of communication through the long process that follows in the studio, factories and finally onto the building site,” said Foster.
    “In 1975 I started the habit of carrying an A4 notebook for sketching and writing – a selection of these are displayed in the central cabinets, surrounded by walls devoted to personal drawings.”
    Visitors begin the exhibition in a room filled with Foster’s sketchesThe exhibition continues in a large space with partition walls that separates it into seven themes: Nature and Urbanity, Skin and Bones, Vertical City, History and Tradition, Planning and Place, Networks and Mobilities, and Future Perspectives.
    The Nature and Urbanity section explores Foster’s approach to preserving nature by building “dense urban clusters, with privacy ensured by design,” the studio said.

    “There are a lot of dangerous myths” about sustainability says Norman Foster

    Referencing a critic’s comment that the external appearance of Foster’s projects could be categorised as having a smooth “skin” facade or expressing its skeletal structure, the Skin and Bones portion of the exhibition showcases projects that illustrate the relationship between structure, services and cladding.
    In the Vertical City section, the studio showcases how it created “breathing” towers by designing open, stacked spaces.
    The exhibition features around 130 Norman Foster projects”We were the first to question the traditional tower, with its central core of mechanical plant, circulation and structure, and instead to create open, stacked spaces, flexible for change and with see-through views,” said Foster.
    “Here, the ancillary services were grouped alongside the working or living spaces, which led to a further evolution with the first ever series of ‘breathing’ towers.”
    It showcases projects spanning Foster’s six-decade-long career”In the quest to reduce energy consumption and create a healthier and more desirable lifestyle, we showed that a system of natural ventilation, moving large volumes of fresh filtered air, could be part of a controlled internal climate,” the architect continued.
    The History and Tradition section aims to provide insight into examples of historic and vernacular architecture that influenced Foster, while the Planning and Places portion explores masterplanning and placemaking in urban spaces.
    The exhibition is on display at the Centre Pompidou in ParisTowards the open exhibition space’s exit, the Networks and Mobility section displays examples of transport and infrastructure and leads to the final room, Future Perspectives, which exhibits concepts for future methods of travel and communication.
    On display are details of autonomous self-driving systems and designs for habitats on Mars and the moon that were developed with NASA and the European Space Agency.
    Foster recently spoke with Dezeen about his views on sustainability in architecture, in which he said “there are lots of dangerous myths”.
    The photography is by Nigel Young from Foster + Partners.
    The Norman Foster exhibition is on display at the Centre Pompidou in Paris, France, from 10 May to 7 August 2023. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world.

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    Five highlights from Zaha’s Moonsoon: An Interior in Japan

    The Zaha Hadid Foundation has opened an exhibition about Zaha Hadid’s Moonsoon restaurant in Sapporo, Japan. Here, exhibitions officer and curator Johan Deurell selects five highlights from the show.

    Zaha’s Moonsoon: An Interior in Japan is a case study of architect Hadid’s first built project outside of the UK – the Moonsoon Bar and Restaurant in Sapporo, Japan, which was constructed in 1989.
    The exhibition offers a journey from the conception of the venue  – conveyed through a series of archival models, presentation documents and sketches – through to its built form, presented through images and one-to-one recommissioned furniture from the bar’s interior.
    “Our latest exhibition showcases the creative processes behind one of Zaha Hadid’s earliest and less well-known projects,” said Zaha Hadid Foundation director Paul Greenhalgh. “Moonsoon was created at the time of the incredible explosion of the Japanese economy, and the design boom that accompanied it.”
    “Japan provided opportunities for emerging architects to work on experimental projects. For the foundation, it is a chance for us to dive deep into the archives and highlight works rarely seen before.”

    Zaha Hadid’s first building in the Arab World photographed by Julien Lanoo

    Monsoon’s design referenced some of the early 20th-century avant-grade movements that emerged out of Russia, such as the works of Russian abstract artist Kazimir Malevich.
    Angular, twisting and geometric shapes were translated into functional architectural volumes and layers. Additional design references include the works of sculptor Alexander Calder, French liquor commercials from the 1950s and imagery of orange peel and pasta.
    Zaha’s Moonsoon: An Interior in Japan takes place at the Zaha Hadid Foundation headquarters in Clerkenwell, London, which functioned as Hadid’s headquarters from 1985 until her death in 2016.
    Read on for Deurell’s five highlights:

    Presentation case, acrylic and aluminium by Zaha Hadid Architects, 1989-90
    “The idea of our exhibition came about with the discovery of a Perspex briefcase in the archive. This briefcase was made by Daniel Chadwick as a container for the Moonsoon design concept.
    “It carried elements of model as well as 14 paintings, six perspective drawings and 13 collages shown in this exhibition. The case would be taken to the clients as a form of presentation strategy, where the works on paper would be laid out and the model assembled.”

    Presentation model, acrylic by Zaha Hadid Architects, 1989-90
    “This model, made by Daniel Chadwick, was created to illustrate a concept, rather than as a replica of the restaurant’s final form. Here an ‘orange peel’ shape swirls through the two floors, and the colourful shards represent the furniture and interior elements. At the time it was made, the interior and furniture designs had yet to be finalised.
    “Zaha Hadid Architects embraced the transparency of acrylic to make the relationship between interior and spatial elements in the model easier to view. In the future, digital models would provide the transparent layering effects that Hadid sought to achieve through the early use of acrylic.”

    Interior concepts, acrylic paint on black cartridge paper by Zaha Hadid Architects, 1989-90
    “This painting belongs to a suite of 14 paintings originally stored in the Perspex briefcase. Moonsoon’s concept was partially inspired by fire (for the first-floor bar) and ice (for the ground-floor restaurant), which is illustrated through the reds and blues in this painting. A swirling ‘orange peel’ shape represents the central furnace penetrating through the two floors, whereas splintered ‘ice shards’ symbolise tables.
    “Zaha Hadid Architects used paintings to explore concepts that could not be shown through conventional perspective drawings. Various team members contributed to the paintings. The works were derived from sketches, which had been transferred to tracing paper and then onto cartridge paper, and subsequently coloured in, often by Hadid herself. Their warped shapes and layering anticipated the possibilities later offered by CAD software.”
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    Zaha’s Moonsoon, by Marwan Kaabour, 2023
    “Not everything in the show came from that briefcase. There were boxes upon boxes of archival material too. During the research phase, colleagues at Zaha Hadid Architects told me: ‘go find the little doodle’. That turned out to be a sheet of Arabic letterforms spelling out Zaha and Moonsoon, and the recurring swirly shape, which you see in the model and paintings.
    “With some help from Marwan Kaabour, who designed the graphic identity for the exhibition, I learnt that the swirl is a stylised version of the letter H in Zaha. Marwan has done some amazing work for Phaidon and V&A before and runs the Instagram account Takweer on queer narratives in the SWANA region. I asked him to make a video based upon the archival material we had found.
    “This snippet is taken from that video. It charts the development of Moonsoon’s ‘orange peel’ structure, from the brief to its final built form. Beginning with sketches of the words مونسون [Moonsoon] and زها [Zaha] based on Arabic letterforms, through references to orange peel, pasta, and the works of Alexander Calder, it concludes with their eventual translation into the technical drawings informing the construction, as well as images of the construction and built.”
    Photo by Paul WarcholSofa and tray table by Zaha Hadid Architects, 1989-90 (remade in 2014)
    “Finally, the exhibition includes a boomerang-shaped sofa from the bar. The furniture for Moonsoon employed intersecting curves and diagonal planes to create an interior landscape. Designed by Michael Wolfson, the differently sized sofas have interchangeable plug-in backrests and tray tables, which came in different colours and finishes.
    “Waiters could set the tables on their stands when delivering the drinks to guests. I am not sure how well this waiting method worked in practice, but it is interesting to think about this furniture as part of a design historical tradition of flexible seating landscapes. We know that Zaha was a fan of Verner Panton’s work, for example.”
    Zaha’s Moonsoon: An Interior in Japan is on show at the Zaha Hadid Foundation in London from 20 April until 22 July 2023. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world.

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    And And And Studio brings 1970s elements to Century City Law Office

    And And And Studio has overhauled the offices for one of LA’s top entertainment law firms, opting for a look that’s “more akin to a hotel lobby”.

    The firm, which represents several Hollywood actors, tasked And And And Studio founders Annie Ritz and Daniel Rabin with designing interiors for its offices in Century City, a commercial district south of Beverly Hills.
    Visitors to the law offices in Century City are greeted by a desk wrapped in glossy oxblood-coloured tilesThe design studio convinced the clients to stay in their current building rather than move – a decision that required a complete redesign of the 22,000-square-foot (2,044-square-metre) space and the gutting of the interiors to make room for a brand-new layout.
    The clients required over 30 private offices within the floor plan, so it had to compromise on the size of the rooms to leave enough area for lounges and other communal facilities.
    The wood-panelled reception area sets the tone for the rest of the interiors”The goal was for Ritz and Rabin to make the space feel airy, open and more akin to a hotel lobby than an office,” said the studio.

    “[The lawyers] traded slightly smaller private offices in order to provide the entire office with inviting and functional communal spaces.”
    And And And Studio drew references from a variety of design styles, most noticeably the 1970sVisitors arriving at the wood-panelled reception area are met by a counter wrapped in glossy oxblood Rombini tiles from Mutina, which also surround curved columns in meeting spaces.
    Bassam Fellows sling lounge chairs and an Angelo M Marble Table from Alinea Design Objects were also placed in reception, setting the tone for the rest of the interiors.
    In the kitchen, green marble forms countertops, backsplash and shelvesFurnishings found throughout pull references from a variety of design styles, including art deco and 1970s, as seen in the Brasilia chairs by Menu, sofas by Arflex, and a Phillipe Malouin sofa for SCP.
    Brown and yellow velvet upholstery in the lounge spaces also nods to the 1970s, while in the kitchen, green marble forms the countertop, backsplash and open shelving.

    Studio Arthur Casas uses books to brighten “austere” law office in Brazil

    “The 1970s-inspired design transcends through warm wood tones, and bold-hued gold and green fabrics,” said And And And Studio.
    Designing and executed during the Covid-19 pandemic, the team was met with various hurdles during the project, which resulted in multiple last-minute changes.
    The red tiles from the reception area are repeated in conference rooms”[Our] approach to the re-design of this office embraces the goals and ethos of this law firm, giving a unique design to the space that is distinct,” And And And Studio said.
    “This goal was met with several challenges due to the pandemic, creating delays and changes, specing and re-specing products, all while balancing a tight timeline.”
    The interior is designed to look more like a hotel lobby than an officeRitz and Rabin’s studio has offices in both Los Angeles and Toronto.
    Other law office designs include one created by Studio Arthur Casas for a firm in São Paulo with a chocolate-coloured space that’s brightened by hundreds of books, while Vladimir Radutny Architects used minimal white partitions to divide a lawyers’ office in Chicago.
    The photography is by Chris Mottalini.

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