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    Dezeen and SketchUp are launching Design Workshops with Uchronia and Tola Ojuolape

    Dezeen is teaming up with SketchUp to launch the Design Workshops video series in which leading designers describe how they created especially commissioned interior environments.

    The series will launch in two weeks with the first of two videos hosted by Uchronia founder Julien Sebban, who will explain how he used SketchUp’s design software to create a fantasy bar interior.
    Across two videos, Sebban will describe his practice’s approach to hospitality design projects, and demonstrate how SketchUp’s software allowed him to create and visualise a 70s-themed space characterised by colourful gradients, curves and soft edges.
    Uchronia designed a 1970s themed bar for the Design Workshops video seriesSebban’s first workshop will focus on form, while the second will explore the theme of texture.
    Sebban’s Paris-based practice Uchronia, known for its bold application of shape, colour and reflective surfaces, was named emerging interior designer of the year at last year’s Dezeen Awards.

    Julien Sebban is an interior designer and the founder of UchroniaFollowing Sebban’s workshops, the series will continue with a two-part video workshop delivered by London-based interior designer Tola Ojuolape.
    Ojuolape, who is the founder of eponymous design practice Tola Ojuolape Studio, has designed a library in SketchUp especially for this project.
    She will deliver a two-part video workshop on the design, which is a proposal for Clerkenwell in London, an area known for design and makers.
    Ojuolape was shortlisted at last year’s Dezeen Awards for emerging interior designer of the year. Her practice is characterised by its use of natural materials and an emphasis on narrative.
    Interior designer Tola Ojuolape will also contribute to the Design Workshops seriesSketchUp is 3D design software used to model architectural and interior design projects, product designs, civil and mechanical engineering and more. It is owned by construction technology company Trimble.
    Dezeen collaborated with the brand last year on Climate Salon, a podcast series exploring the role that architects and designers can play in tackling climate change.
    Partnership content
    This video series was produced by Dezeen in partnership with SketchUp. Find out more about Dezeen partnership content here.

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    Gustaf Westman hosts Brooklyn pop-up modeled on “museum experience”

    Swedish designer Gustaf Westman displayed existing and new objects including a colourful “puzzle” shelf during a three-day pop-up event in New York City.

    Named Gustaf Westman in New York, the show was located in an industrial storefront in Williamsburg and displayed the designer’s colourful objects and furniture on a meandering pink and orange pathway.
    Swedish designer Gustaf Westman held a New York City pop-up that gave nod to a museum experienceSmall descriptions were placed on the ground in front of the objects, as “a nod to a museum experience”, while printed pamphlets similar to museum guides were available to visitors.
    “The decision was very organic,” Westman told Dezeen. “When we came here, it was like a gallery space. It’s also a bit ironic, because I’ve only been doing this for four years and I’m not really ready to do a museum.”
    A brightly coloured pathway weaved through the space, which was divided by Westman’s screens and a larger display wall towards the front.

    Gustaf Westman and Swedish Stockings transform nylon tights into “terrazzo-like” tables

    Among the new objects displayed was Puzzle Shelf, a shelving unit made of interlocking, stackable rectangular forms that conclude in puzzle-shaped feet. Westman noted that the shelf is 3D-printed and processed to resemble the material qualities of his other ceramic and metal objects.
    “I have an obsession with trying to test all different materials and trying to make them look the same,” said Westman. “Even if I work with wood or ceramics or glass, I want to keep the same finish, so [3D printing] is the next step.”
    The shelf was made in a host of bright colours such as red, pink, cream, and dark blue.
    Existing and new objects from the designer were displayedThe remaining space was filled with pedestals and shelving outfitted with existing glassware and objects such as a spiralling book stand and flower-shaped mirrors, along with furniture such as a coffee table that pinches wine glasses in place.
    The designer previously used nylon tights to create “terrazzo-like” tables and displayed his objects during Day Two from Stockholm Design Week 2024.
    The photography is by Kate Fatseas unless otherwise stated
    Gustaf Westman in New York was on show at 25 Fillmore Place, Brooklyn from 10-13 October. For more events, exhibitions and talks in architecture and design visit the Dezeen Events Guide.

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    Bindloss Dawes converts 18th-century pub into light-filled Michelin-starred restaurant

    Architecture studio Bindloss Dawes has renovated an 18th-century pub in Somerset, England, to create an “intimate” new home for the Osip farm-to-table restaurant.

    Helmed by chef Merlin Labron-Johnson, Michelin-starred Osip was located on Bruton High Street in Somerset until August of this year, when it was transferred to a nearby Georgian pub built in 1730.
    Bindloss Dawes has created a new home for OsipLocal architecture office Bindloss Dawes stripped the three-storey building back to its original shell by removing a series of recent additions. The studio also stabilised the pub’s existing stone walls and relayed its slate roofs.
    Rewashed in white lime, the textured facade is characterised by limestone door and window frames, which complement the surrounding planted garden that supports Osip’s seasonal menu.
    An open theatre kitchen features floor-to-ceiling glazingOn the interior, Bindloss Dawes sought to illuminate the ground-floor restaurant with natural light while retaining a sense of the pub’s former character.

    Low, beamed ceilings feature across the seating area, which overlooks an open kitchen framed by floor-to-ceiling glazing and crowned by a geometric skylight.
    Earthenware flooring was laid across the seating area”The original Osip had a road-facing window and a small serving hatch, giving diners a limited view of the kitchen,” studio co-founder Oliver Bindloss told Dezeen.
    “In the new restaurant, we have opened up new windows and the garden to create wide views of the surrounding landscape.”
    The kitchen includes chunky bar stoolsBindloss Dawes chose a palette of natural materials when dressing the interior spaces.
    A deep red, locally sourced earthenware floor was laid across the seating area in a nod to the pub’s original charred crimson clinker floors. The breathable material was also selected for its acoustically absorbent properties.
    Artist Max Bainbridge hand-carved a knobbly timber barArtist Max Bainbridge of Somerset studio Forest + Found hand-carved a knobbly central drinks bar out of local timber gathered from the neighbouring woods, while abstract artworks add subtle colour to the otherwise white-washed walls.
    The kitchen is defined by a mixture of stainless steel, timber accents and chunky bar stools upholstered in Somerset textiles. Dimmable lighting was fitted throughout the restaurant to enhance a setting where diners can “focus on the food”, according to Bindloss.

    William Floyd Maclean designs modular timber furniture that “considers a wider picture”

    “The interior design is intimate, filled with natural light and open to the landscape,” said the studio co-founder.
    “Osip’s materials and makers represent the same things as its food – locally sourced and representing the best of Somerset and the south west,” he added.
    Osip includes a garden for growing seasonal produceBindloss Dawes also restored the building’s first and second floors, which extend into the original roof rafters and house four double guestrooms with en-suite bathrooms, furnished to reflect the downstairs restaurant.
    The studio opened its Bruton practice in 2018 and has completed Somerset projects ranging from the renovation of a Grade II-listed house in Pitcombe with a contemporary timber extension to a car barn for a classic Porsche collector.
    The photography is by Dave Watts.

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    Women’s contribution to mid-century modern design is “not challenged as much now” says Pat Kirkham

    Many female designers from the mid-century modern movement are more celebrated now than when they were producing work, says design historian Pat Kirkham in this interview for our mid-century modern series.

    US designer Ray Eames, French designer Charlotte Perriand and architect Lina Bo Bardi are some of the women recognised today for their contributions to the mid-century modern movement, which spanned the mid-1940s to early 1970s.
    Kirkham, a design history professor at Kingston University who has authored books on designers Charles and Ray Eames and 20th-century female designers in the US, argued that a revived interest in mid-century modernism has brought some of these women’s names to the forefront of design again.
    “There are still some architects who don’t see them of value”
    She explained that although they gained commercial success with their designs in the decades after world war two, many of the designers faced adversity in the industry.

    “There were many routes these women took to becoming what they were, and they didn’t come without sacrifices and frustrations – I think they’re very empowering,” Kirkham told Dezeen.
    “The possibility that these women were really good and did some important work is not challenged as much now, but there are still some architects who don’t see them of value, and equally, seeing areas that they hold as women’s work, like interior design, as not as valid as other areas of design.”
    Ray Eames designed furniture with her husband, Charles. Photo courtesy of the Eames OfficeAccording to Kirkham, it was common for women not to be credited for their designs in the mid-twentieth century. These included Ray Eames, who is known for the work she created with her husband Charles Eames.
    The Eameses were prominent figures in the mid-century design movement. They met in 1940 at the Cranbrook Academy of Art in Michigan, where Ray had joined as an abstract painter looking to expand her artistic practice and Charles was an architect on an industrial design fellowship.
    Ray and Charles married in 1941 and established the Eames Office in Los Angeles. Together, they became influential designers in architecture, furniture, graphic design and film, but Ray was often given less credit than her husband.
    Herman Miller furniture sold under Charles Eames’s name
    They designed numerous pieces for furniture brand Herman Miller, including the iconic Eames Lounge Chair in 1956.
    “Undoubtedly, a lot of stuff went out in Charles’s name,” said Kirkham, “Herman Miller furniture was sold for donkey’s years as ‘by Charles Eames’.”
    “Now, Ray seems to almost be as much a household name as Charles Eames used to be.”
    Kirkham also said that Ray, who she interviewed before the designer passed away in 1988, had talents outside of her partnership with Charles. These were often overlooked, but are now being discovered posthumously as mid-century modernism and the Eameses’ work continues to inspire.

    Mid-century modern design “embraced a more human aesthetic while remaining aggressively forward-looking”

    “You get a very different picture if you focus in from the woman’s angle,” said Kirkham. “Just by researching Ray, there is a ton of stuff nobody had bothered with.”
    “Ray’s influence was really strong with interiors – the importance of her to their aesthetic was really crucial.”
    “He was quite an arty type of architect, but he was also hugely interested in the technology,” Kirkham continued. “Ray often said that she felt that one of the things wrong with American education when she was young was women weren’t taught technology – she felt it would have been handy for her.”
    Charlotte Perriand worked with Le Corbusier for 10 years. Photo by Jacques Martin/AChP courtesy of Scheidegger & SpiessPerriand is another designer whose designs have been miscredited. Between 1927 and 1937, she collaborated with architects Le Corbusier and Pierre Jeanneret on furniture designs, including the LC2 Grand Confort chair and Chaise Lounge, but as a woman, she was not given as much recognition as her male counterparts.
    After 10 years working for Le Corbusier, Perriand “stepped out of his shadow into a successful career of her own,” The New York Times said.
    Perriand continued designing into the mid-century and developed a particular interest in creating shelving. One of her most notable designs is the Bibliothèques modular storage system, produced by French architect Jean Prouvé’s eponymous atelier.
    Perriand furniture allegedly falsely credited as co-designed with Prouvé
    She created further iterations of the shelving under the title Nuage, which were produced by Galerie Steph Simon until 1970.
    Perriand’s family later became embroiled in a lengthy legal dispute over the authorship of Nuage, which they allege had been falsely credited in part to Prouvé after his death.
    Although her collaborations with male designers had, in some cases, left her overshadowed and miscredited, Kirkham believes her ties to Le Corbusier mean Perriand is now more easily discovered than other female mid-century modern designers.
    “In the European modern movement, you often have designers not getting due credit,” said Kirkham.
    “With Charlotte Perriand’s designs for Corbusier in the 1930s, she got reclaimed from history because she was working with a really famous architect.”
    Lina Bo Bardi spent most of her career in Brazil. Photo courtesy of Instituto BardiExtra attention should be focused towards discovering more about the female designers who worked in Central and South America, said Kirkham.
    She explained that people’s interest in modernism often leads them to the designs of prolific European and North American men from the movement, but this could be directed elsewhere.
    “The interest in modernism is still often what drives most of the interest in the male designers, so my sense is that there is still a tonne of women to be discovered,” she said.
    “The work from Central and South America needs much more interest, but the modernism interest comes first.”

    Lina Bo Bardi wins Venice Architecture Biennale’s Special Golden Lion award

    Bo Bardi is one of the better-known South American designers of the mid-century. Born in Italy, she moved to Brazil with her husband after a trip to Rio de Janeiro in 1946.
    Based in São Paolo, Bo Bardi became a Brazilian citizen in 1951. In the same year, she completed her first built architecture project with her own home, Glass House, and designed the iconic Bardi’s Bowl Chair.
    Kirkham named Cuban-born Clara Porset as another designer of particular interest. Porset spent time studying in Paris and the US and although she returned to Cuba, she was forced to leave the country in 1935 because of her involvement in the Cuban general strike.
    Clara Porset was the only woman to work with Mexico’s most established modernist architects. Photo by Archivo Clara Porset Dumas via Wikimedia CommonsFinding refuge in Mexico, the country’s culture and vernacular furniture influenced many of her designs, including the wood and woven wicker Butaque chair.
    The Museum of Modern Art (MoMA) described Porset as a “design trailblazer” and claimed she was the only woman known to have worked with the most high-profile Mexican modernist architects, including Luis Barragán, Max Cetto, Juan Sordo Madaleno and Mario Pani.
    “New names are being uncovered every day”
    Kirkham believes it is important to correct the errors of the past that allowed some women’s mid-century modern designs to be overlooked.
    With widespread interest in mid-century modernism today, she explained that some people are revisiting old documents and discovering more female designers from the movement.
    “One of the interesting things is that mid-century modern was not popular in the 1980s,” said Kirkham. “There is a huge revival of interest at the moment.”
    “It’s an important legacy, and new names are being uncovered every day,” she continued. “They’re very empowering, and I think they’re very empowering among young design students.”
    The top photo of Kirkham is by Casey Kelbaugh courtesy of the Bard Graduate Center.
    Illustration by Jack BedfordMid-century modern
    This article is part of Dezeen’s mid-century modern design series, which looks at the enduring presence of mid-century modern design, profiles its most iconic architects and designers, and explores how the style is developing in the 21st century.
    This series was created in partnership with Made – a UK furniture retailer that aims to bring aspirational design at affordable prices, with a goal to make every home as original as the people inside it. Elevate the everyday with collections that are made to last, available to shop now at made.com.

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    Diandra Maselli Architect renovates historic red-brick home in Montreal

    Montreal architect Diandra Maselli has overhauled a century-old house in the city for herself and her family, modernising the residence while retaining some historic character.

    The founder of Diandra Maselli Architect acquired the property a week before the Covid-19 pandemic caused global lockdowns, and faced an uphill battle during the renovation of the historic structure.
    The 100-year-old home was fully modernised inside, including a new kitchen”The house had its fair share of obstacles – including structural decay, carpenter ants, mice, water infiltration, foundation holes, and asbestos abatement,” said Maselli.
    “However, amidst these challenges, there was a silver lining – the extensive demolition and incorporation of a steel structure paved the way for a tailor-made renovation, envisioned to meet modern needs and newly unfolding realities.”
    Architect Diandra Maselli played with boundaries and thresholds throughout the homeWith the structural work on the 3,512-square-foot (326 square metres) building complete, the architect was able to tailor the interiors to her family’s needs.

    For example, they needed two home offices – one on each floor – that could also transition into family areas during evenings and weekends.
    A variety of custom doors were added, including a glass and steel design between the living area and home officeThe old building’s compartmentalised layout was restrictive, so Maselli explored playing with the public and private boundaries.
    She did this by introducing a variety of custom doors, using different designs and materials so that “each threshold assumes a distinctive purpose”.
    Although contemporary furniture was inserted, details like the fireplace mantles and bay windows were restoredA glass and steel door separates the ground-floor home office from the kitchen and living area, allowing light and views to pass between the two spaces.
    To conceal the laundry room from the kitchen, a nine-foot-tall (2.7 metres), flush-mounted door was installed, while a large sliding partition was added to open the kitchen to an outdoor patio.
    “By bestowing unique characteristics upon these transitions, the house’s dynamics shift responsively,” Maselli said.
    Built-in furniture made from white oak is found throughout the houseUniting the majority of the spaces is the use of white oak for millwork, built-in furniture and other details, providing visual consistency throughout the home.
    The most expansive application of the material is in the kitchen, forming a front for the cabinetry, a central island and a coffee station opposite.

    Atelier L’Abri renovates trio of apartments for a family in Montreal

    White oak also wraps walls and closets in the primary bedroom, where it is detailed with rounded corners and almost invisible door pulls.
    A half-height partition divides the sleeping and dressing areas, providing a view through mirrored double swing doors to the second-floor office.
    Upstairs, the primary bedroom separated from a dressing area by a half-height partitionThe renovation also provided the opportunity to modernise the home’s heating, ventilation and electrical systems.
    This included repurposing the original cast-iron radiators to support a dual-energy heating system.
    White oak millwork is used for the closets and features rounded cornersAll of the window shades, lighting and under-floor heating are automated to sync with the family’s daily routines.
    “The essence of the project is to blend the legacy of a century-old house with the needs of today, ensuring that its historic charm is retained while seamlessly integrating modern functionalities that respond to our new unfolding realities,” said the architect.
    The red-brick home in Montreal also received a full exterior restorationMaselli founded her eponymous studio in 2020 and has since also completed a single-family house in Lasalle, Quebec.
    Other recently renovated Montreal homes include a mid-century dwelling overhauled by Atelier Chardonnat and Salem Architecture, and a triplex residence reimagined by Atelier L’Abri.
    The photography is by Maxime Brouillet.

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    Eight eclectic pizzerias that take the slice-shop to the next level

    For our latest lookbook, we look at the interiors of contemporary pizzerias across the globe, including a pink vegan restaurant in London and a Mexico City space informed by a neighbouring church.

    From New York City to Italy, its country of origin, pizza is a beloved delicacy across the world. As a result, the humble pizzeria is trafficked by many, with some visitors whisking away a two-dollar slice and others packed into a booth to convene around a shared pie.
    The pizzerias below showcase a wide variety of styles, each boasting unique and eclectic features that display a careful consideration for a space often held in high regard by its customers.
    This is the latest in our lookbooks series, which provides visual inspiration from Dezeen’s archive. For more inspiration see previous lookbooks featuring soothing cabin interiors, versatile futons and daybeds and stylish shower curtains.

    Humble Pizza, UK, by Child Studio

    Pink tables and furniture contrasted with a dark green hue fill the interior of this vegan restaurant in London’s Chelsea neighbourhood.
    Local practice Child Studio designed the space to resemble the city’s workmen’s cafes of the 1950s, which typically featured pastel-coloured Formica surfaces and no-frills food and drink.
    Find out more about Humble Pizza ›
    The photo is by David DworkindVesta, Canada, by Ménard Dworkind
    Located in Montreal’s Villeray neighbourhood, the wood-panelled walls and marble table tops of Vesta take cues from New York pizzerias of the 1970s.
    “In its own contemporary way the design of Vesta evokes the spirit of Italian family restaurants common in North America during the 1970s,” Ménard Dworkind said.
    Find out more about Vesta ›
    The photo is by Nicholas VeneziaLala’s Brooklyn Apizza, USA, by Bench Architects
    Lala’s Brooklyn Apizza by Bench Architects is located in Brooklyn’s East Williamsburg neighbourhood, atop a brewery that was formally an industrial space.
    Lightwood picnic benches were used on the interior and attached terrace, while bright, solid-coloured tiles and magenta curtains line the space.
    Find out more about Grimm
    The photo is by Patrick SchüttlerDough Pizza, Australia, by Ohlo Studio
    The “rustic sophistication” of Italy was evoked with red-toned tiles and light woods for Dough Pizza in Perth, which sits in a shopping centre.
    “It needed to evoke a distinct atmosphere and personality reinforcing the cultural heritage behind the food,” said Ohlo Studio.
    Find out more about Dough Pizza ›
    The photo is by Simone BossiMyrto, Italy, by Studio Wok
    Studio Wok created this pizzeria on Sardinia to reflect the island’s natural surroundings, such as its earthy tones and granite rocks.
    The winds of the area erode and carve out the granite rocks, which the studio reflected in the walls covered in pink plaster, a concrete floor and arched openings.
    Find out more about Myrto ›

    The photo is by Blaine DavisSIMÒ Pizza, USA, by Büro Koray Duman
    Located in the Greenwich Village neighbourhood of New York City, SIMÒ Pizza is lined with shelving made of Italian volcanic stone and wallpaper printed with a flour graphic.
    Its pizza ovens sit in a centre block, which is lined in patterned wood and a green tiled countertop.
    Find out more about SIMÒ Pizza ›
    The photo is by Arturo ArrietaPizzeria Della Madonna, Mexico, by Sofía Betancur
    The pizza oven of Pizzeria Della Madonna sits in full view, surrounded by tiled and plaster walls and wood flooring.
    Architect Sofía Betancur took cues from the Parroquia de la Sagrada Familia church, which sits next door, for the space.
    Find out more about Pizzeria Della Madonna ›
    The photo is by Mikko RyhänenPopolo, Finland, by Studio Joanna Laajisto
    Studio Joanna Laajisto designed Popolo to be a cosy retreat on the slopes of Pyhä Ski Resort in northern Finland.
    Leather benches, wooden tables, copper lamps and candleholders were used to evoke a sense of warmth and were paired with slate flooring and dark wood panelling.
    Find out more about Popolo ›

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    Bernadotte & Kylberg unveils own-label furniture in nature-inspired Arken hotel

    The design duo of Prince Carl Philip of Sweden and Oscar Kylberg have designed landscape-like interiors for a hotel in a Swedish nature reserve, featuring their first own-label furniture collection.

    The Bernadotte & Kylberg founders have created three unique suites at Arken, part of the Eriksberg Hotel and Nature Reserve in Blekinge, southern Sweden, which is Scandinavia’s largest safari park.
    The three suites include the grey-toned Urberg, which refers to mountain landscapesThe scheme includes custom-designed furniture pieces that the duo have now released under their own lifestyle brand, also named Bernadotte & Kylberg.
    The Eriksberg furniture collection features a bar cabinet, a writing desk and a chair, produced from solid oak wood, diabase stone and polished brass.
    Bernadotte & Kylberg designed furniture, lighting and carpets for all three suitesThe three Arken suites take cues from different parts of the Eriksberg reserve, a 925-hectare park that is home to mouflon sheep, minks, wild boars and various species of deer.

    The grey-toned Urberg suite refers to mountain landscapes, while the green-hued Skog suite is named after the Swedish word for forest. The third suite, the pale-blue Himmel, references the sky.
    The green-hued Skog suite is named after the Swedish word for forestBernadotte & Kylberg also set out the design palette for the other 23 rooms of the hotel, which feature matching colours and textiles to the suites.
    “Eriksberg is a unique and beautiful place in Blekinge. It is an experience totally on nature’s own terms,” said Carl Philip Bernadotte.
    “It is precisely this encounter with nature that we want to capture by blurring the boundaries between indoors and outdoors,” continued the prince.
    Martin Bergström designed wallpaper for each suiteBernadotte & Kylberg designed many of the details in the three suites, including the textural, multi-tonal carpets that dictate the three different colour schemes.
    The furniture, including beds, coffee tables and armchairs, was custom-produced by Älmhult-based manufacturer Specab. Bespoke lighting pieces were meanwhile developed with glass artists Simon Klenell and Rasmus Nossbring.
    The pale-blue Himmel suite references the skyThe duo also commissioned print designer Martin Bergström to design wallpaper for each suite, which he based on plants and other elements he collected on walks through the reserve.
    Other standout details include the floor-to-ceiling tree-trunk columns in the Skog suite and the large boulders in the Urberg suite.

    “Everything we do is going to be looked at more” says Prince Carl Philip as studio launches own brand

    “We were tasked with creating and realising a total interior design vision,” said Kylberg, describing the ambition to reflect “the soul and natural diversity of Eriksberg”.
    “We hope and believe that guests will enjoy the suites as much as we enjoyed creating them,” he added.
    Bathrooms feature floor-to-ceiling windowsFor the Eriksberg collection, Bernadotte & Kylberg have developed new colourways for the furniture pieces. The designs come in bold red or green finishes, as well as natural oak.
    The diabase used for these designs was sourced from the Kullaro Stone quarry in nearby Skåne.
    “The diabase stone quarried at Biskopsgården, in the northeastern part of the Swedish region Skåne, is truly unique, impressing not only with its rarity but also with its exceptional character and composition,” Kylberg said.
    The Eriksberg furniture collection includes the writing desk and chair designed for Arken suitesPrince Carl Philip is the only son of King Carl XVI Gustaf, and fourth in line to the Swedish throne.
    He and Kylberg founded their Stockholm-based studio in 2012. They initially focused on product design, but started moving into interiors after being commissioned to create a suite at Sweden’s famous Icehotel.
    They launched the Bernadotte & Kylberg design label in 2023, with a launch collection of scarves and blankets embellished with the B&K logo.
    The collection also includes a bar cabinet with a polished brass interiorIn an exclusive interview with Dezeen to mark the launch, the duo said that public scrutiny has kept them on their toes.
    “We know that everything we do is going to be looked at more,” said Bernadotte. “In the first years, it took a lot of energy from us, but today it’s something that is just there,” added Kylberg.
    As well as the Eriksberg furniture, Bernadotte & Kylberg have added a brass tealight holder called The Tulip to their own-label collection.
    The photography is courtesy of the Eriksberg Hotel and Nature Reserve.

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    Office of Tangible Space redesigns Brooklyn Museum Cafe

    New York studio Office of Tangible Space has refreshed the interiors of the cafe at the Brooklyn Museum, ahead of the institution’s 200th anniversary next year.

    The Brooklyn Museum Cafe is located in the building’s light-filled entry pavilion, which was added to the original beaux-arts building in 2004 by Polshek Partnership Architects (now Ennead Architects).
    Furniture at the redesigned Brooklyn Museum Cafe is laid out like “islands and streams”Serving a menu by local restaurateur and sommelier André Hueston Mack, who runs the neighborhood restaurant & Sons, the redesigned cafe is intended for locals and museum-goers to enjoy light bites and drinks.
    “Playing off the mission of the museum, [we] envisioned the cafe as a Brooklyn stoop where all are invited,” said Office of Tangible Space. “The space embodies the playfulness, creativity, craft, and expression that make Brooklyn and Brooklynites so unique.”
    The cafe occupies a portion of the building’s light-filled entry pavilionThe locally based studio created a fluid layout that allows visitors to meander through the space.

    Furniture is arranged in “islands and streams” that can accommodate diners in varied group sizes, as well as those stopping for a casual coffee.
    Periwinkle-hued tables with angled sides form snaking shapes through the space”The space is anchored by large islands of seating and undulating streams of custom tables indicating the walking paths,” said Office of Tangible Space.
    Aluminium chairs with seats and backs perforated with large holes accompany tables, including circular wooden designs for up to six guests and dark green two-tops.
    Dark green two-top tables are accompanied by aluminium chairs perforated with large holesOther tables made from folded sheets of thin periwinkle-hued metal have angled sides, allowing them to form snaking shapes when lined up in a row.
    Round cushioned poufs upholstered in pale blue and green are placed around the perimeter, which is demarcated by a set of freestanding wooden dividers and potted plants.

    OEO Studio uses materials in a “playful way” for Designmuseum Denmark cafe and shop

    “The incorporation of bold color and material add to playfulness and tactility of the space,” the studio said.
    For the new space, the museum and Office of Tangible Space commissioned 10 local artists to design one-off stools that are peppered through the cafe.
    Large round poufs are provided for more casual seatingThe handcrafted wooden seats, manufactured by Sundays, have been customised by Minjae Kim, Chen Chen and Kai Williams, Ellen Pong, Kim Mupangilaï and more.
    “These handcrafted pieces not only complement the cafe’s design but also echo the philosophy that food, like art, is an immersive experience – engaging the senses, sparking conversation, and creating a connection between the creator and the audience,” said Office of Tangible Space.
    The cafe was redesigned ahead of the Brooklyn Museum’s 200th anniversaryThe Brooklyn Museum’s building, designed by McKim, Mead & White and completed in 1895, will host a variety of exhibitions and events planned to celebrate its bicentenary.
    These include Breaking the Mold: Brooklyn Museum at 200, a showcase celebrating the institution’s collection and legacy that opens in February 2025.
    Founded by Michael Yarinsky and Kelley Perumbeti, Office of Tangible Space was longlisted in the emerging interior designer of the year category of Dezeen Awards 2020.
    The photography is by Matthew Gordon.

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