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    Ten home interiors framed by impressive shutters and louvres

    From windows framed by slatted aluminium fins to colourful metal panels that wrap around a building’s facade, our latest lookbook showcases 10 homes with shutters and louvres.

    Made from slats, fins and blades, shutters can be used to control the amount of sunlight that enters a home, provide privacy, open the house up to scenic views and protect against extreme weather conditions such as wind or humidity.
    They can be adjusted electronically or via hand with pulleys and levers to change the amount of light and regulate the airflow that comes into a room.
    In a similar fashion, architects and designers typically add horizontal or vertical louvres to the outside of a building to shade it from the sun or decorate its facades.
    This is the latest in our lookbooks series, which provides visual inspiration from Dezeen’s archive. For more inspiration see previous lookbooks on bedrooms with balconies, decorative ceramics and bathrooms with statement tiles.

    Photo courtesy Nishizawa ArchitectsHouse in Chau Doc, Vietnam, by Nishizawa Architects
    This multi-generational home in the Vietnamese city of Chau Doc is shared by three separate families. Renovated by Ho Chi Min-based studio Nishizawa Architects, the airy structure features moveable corrugated metal panels instead of walls.
    Occupants benefit from unspoiled views of the surrounding rice fields as well as plenty of sunlight, greenery and natural ventilation that filters throughout the three floors.
    Find out more about House in Chau Doc ›
    Photo by Cristiano BauceCasa Ventura, Brazil, by Arquitetura Nacional
    Casa Ventura, a house situated in a gated residential community in Xangri Lá, has reinforced white concrete shutters punctured by cylindrical openings across its facade.
    Brazilian studio Arquitetura Nacional added the panels to shade the upper level of the house, which contains four minimalist bedrooms, a massage room and a sparsely decorated room in neutral shades for watching television.
    Find out more about Casa Ventura ›
    Photo by Gonzalo ViramonteObra Luyaba, Argentina, by Barrionuevo Villanueva Arquitectos
    Córdoba-based studio Barrionuevo Villanueva Arquitectos paired creamy floor tiles with warm wooden furniture, shelves and battens in the living space of this property in a remote spot in Traslasierra Valley.
    A terrace with operable full-height wooden shutters wraps around the project and gives the homeowners unparalleled views of the mountainous surroundings.
    Find out more about Obra Luyaba ›
    Photo courtesy of Bates Masi ArchitectsAmagansett Dunes House, US, by Bates Masi Architects
    Kaleidoscopic patterns of dappled light decorate the interior of Amagansett Dunes House, a four-bedroom home that backs onto a wooded nature preserve in Amagansett, New York.
    The sunlight filters in through the louvres on the building’s western facade. As well as creating intricate patterns, the louvres are designed to allow breezes to pass through which keeps the occupants cool.
    Find out more about Amagansett Dunes House ›
    Photo courtesy of Jinnawat BorihankijananForest House, Thailand, by Shma Company
    Containing 120 trees and 20 different plant species, the aptly named Forest House is situated in a dense, urban spot in the Thai capital of Bangkok.
    Narrow balconies nestled between white steel louvres fringe the house and are populated with a variety of potted plants, trees and evergreens.
    “The house is designed to maximise natural ventilation and sunlight,” Shma Company’s director Prapan Napawongdee told Dezeen. “The interplay between solids and voids, which is present throughout the three storeys, brings the greenery close to every room in the house.”
    Find out more about Forest House ›
    Photo by Amit GeronLE House, Israel, by Bar Orian Architects
    Built for a couple and their three children by Israeli architecture studio Bar Orian Architects, LE House was designed to pay homage to Brutalist architecture.
    On the ground floor, polished concrete flooring is set off against an exposed concrete wall that separates the kitchen, living and dining room from the library and master bedroom.
    The occupants can rotate or slide open the dark red louvres – which are made from strips of aluminium and Corten steel – electronically to adjust the amount of sunlight depending on the time of day.
    Find out more about LE House ›
    Photo courtesy of Smart Design StudioBrougham Place, Australia, by Smart Design Studio
    Travertine stone floors, timber stairs and concrete walls and ceilings create a neutral backdrop throughout Brougham Place, a three-storey home by Sydney architecture studio Smart Design Studio.
    Splashes of colour and strips of daylight punctuate the otherwise muted interior through the multicoloured vertical wooden louvres on the front facade.
    Find out more about Brougham Place ›
    Photo by Federico CairoliWoven House, Colombia, by Santiago Pradilla and Zuloark
    Woven screens made from a natural fibre called Yaré divide this long, cabin-like home designed for the owners of a coffee plantation in Colombia.
    Shutters made from the same material frame the double-height living area, dining and kitchen spaces, allowing the house to be opened up to the outside.
    Woven furniture that matches the shutters and screens is dotted throughout the two-storey home while a fabric hammock hangs from its timber beams.
    Find out more about Woven House ›
    Photo by Amit GeronSea of Galilee House, Israel, by Golany Architects
    Israeli studio Golany Architects wanted to maximise views over the Sea of Galilee in this newly built family home set on the slopes of the Jordan Rift Valley.
    Floor-to-ceiling glass glazing on both the ground and upper level offers panoramic views over the garden, nearby village and the freshwater lake.
    To help keep residents cool during the hot summer months, the studio added rolling linear shutters which filter the sun and double as a privacy screen.
    Find out more about Sea of Galilee House ›
    Photo by Harshan ThomsonKsaraah, Bangalore, by Taliesyn
    Furniture and fittings inside Ksaraah were made from materials and crafts local to Bangalore, with tables made from local stone, bedding made from “khadi” cloth and “kansa” metal crockery.
    Architecture and design studio Taliesyn wanted the 487-square-metre house to create a connection with nature.
    Living spaces are either fully open to the outside or able to be opened up via sliding and folding shutters so that residents can enjoy the tropical surroundings. Some rooms are also elevated to take full advantage of the views.
    Find out more about Ksaraah ›
    This is the latest in our series of lookbooks providing curated visual inspiration from Dezeen’s image archive. For more inspiration see previous lookbooks showcasing residential bathrooms, dining areas anchored by sculptural pendant lights and homes with French doors.

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    Artist Anouska Samms crafts “dysfunctional” pots from human hair

    Artist Anouska Samms created pots from clay and donated human hair to playfully explore her family’s matrilineal relationship, which were recently on show as part of an exhibition in London.

    Called This Myth We Make, the exhibition by Samms included a collection of pots displayed on rugged wood and plaster plinths as well as an accompanying film and a large hanging tapestry.
    Samms created lopsided pots with human hairThe various pots are formed from lopsided shapes made out of coloured clay but are defined by the many strands of human hair that decorate them.
    Samms received the hair from a range of strangers from around the world including Mexico, Australia and Japan after inviting volunteers to offer up their hair through a call-out on her Instagram.
    She sourced the hair from strangers on InstagramThis was achieved during national lockdowns when people were cutting their hair at home as they could not access salons, according to the artist.

    “The combination of hair and clay and the different varieties of each that are used merge in an unusual way,” she told Dezeen.
    “This subverts the more traditional pots – particularly the hand-thrown ones – into what I think of as unstable vessels or dysfunctional containers. Using hair is also just a bit cheeky at times,” she added.
    The pots were presented as part of a London exhibitionAs well as hair from strangers, Samms used hair donated by her mother and grandmother, which she explained links to the meaning behind her work.
    This Myth We Make intends to playfully explore the matrilineal relationship between five generations of women in Samms’ family who all dyed their hair red as an intimate family tradition.

    10 designs made from the human body that will make you squirm

    As a natural redhead herself, the artist described how she poetically continues the tradition without needing to dye her hair.
    “This body of work reflects a deeper unconscious – I would even call it an obsessive illustration of matrilineal connection – and the familial ‘myths’ we consciously or unconsciously adopt to communicate our love for others,” said Samms.
    This Myth We Make explored a hair-dyeing tradition in the artist’s familyIn line with this theme, the artist bleached and dyed the donated hair different shades of auburn, which was also used to form Big Mother – a large tapestry presented in the exhibition.
    Her design process involved tying the hair into bunches before it was coloured, after which she washed it in her own bathtub and eventually sewed or shaped it onto pots or into the tapestry.
    “Sometimes just preparing the hair alone took a couple of days,” reflected Samms.
    A tapestry and an accompanying film were also included in the showWhile the artist chose to incorporate hair into her pots in reference to her family’s unique tradition, she explained how she crafted the vessels from clay due to the material’s similar malleability and organicness.
    “There is also potential for disgust and bodily horror in the use of disembodied human hair – another humorous nod at the purity and absurdity of mother and daughter exchange,” concluded Samms.
    Clay was used for its malleabilityThe exhibition was curated by the V&A museum’s curator of digital design Natalie Kane while the show’s technical producer Greg Bradlaugh created the plinths from abandoned wood that he found and covered in white plaster.
    Other designs that are made from human hair include a textile by research studio Pareid that was created to measure urban pollution and a biodegradable stool by Oksana Bondar called Wiggly.
    The photography is by Benjamin Swanson.
    This Myth We Make took place at SET Studios in Lewisham, London, from 20 May to 1 June 2022. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world.
    Project credits:
    Artist: Anouska SammsCurator: Natalie KaneTechnical Producer: Greg Bradlaugh

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    Projekt Praga incorporates mid-century references into Polish dumpling restaurant

    Polish architecture firm Projekt Praga has blended modern and mid-century features inside the Syrena Irena bistro in Warsaw, which serves traditional pierogi dumplings.

    Syrena Irena is located in an early 1950s building in the centre of the city that originally functioned as a hotel cafe.
    Syrena Irena is a pierogi restaurant in WarsawAside from handmade boiled pierogi, the restaurant’s “cheerful and honest” menu contains classic Polish dishes from the 50s and 60s such as sour rye soup and herring in flax and hemp oil, which have been updated for modern tastes.
    To add to the homely and casual atmosphere, Projekt Praga created an interior with a self-service set-up that uses mid-century design references to pay homage to both the building’s architecture and the bistro’s nostalgic menu.
    Wooden stools by Buck Studio surround the restaurant’s tablesThese include terrazzo-style tabletops, mosaic tiles, neon signs, milky glass sconces from Polish lighting brand Aqform and wooden stools with triangular seats by Wroclaw-based Buck Studio.

    In particular, Projekt Praga said it chose details, shapes and materials associated with the “prudent design” of Poland’s communist era.
    Spherical glass sconces by Aqform decorate the wallsThe terrazzo-style tabletops with their simple black bases were custom made, as were most of the metal elements in the space.
    Bar counters were powder-coated in bold colours to complement the building’s original 1950s wall mouldings and arches.
    The interior’s colour scheme mixes blue and coral tonesA large window at the front of the restaurant allows passersby to observe the chefs at work – kneading, stuffing and folding the pierogi.
    In the afternoon, sun shines through the windows and illuminates the dining room, while neon lights bring the space to life in the evening.

    Mateusz Baumiller converts warehouse into homely offices for Clay.Warsaw

    The colour scheme mixes aquatic blue with pink, peach and coral tones in line with the restaurant’s mermaid-themed branding, which was developed by Polish graphic design agency Mamastudio and illustrator Ola Sadownik.
    Both this and the restaurant’s name, Syrena Irena, are a nod to Syrenka Warszawska – the mermaid that acts as a symbol for the city of Warsaw and can be found in its coat of arms, as well as on monuments and buildings throughout the capital.
    Black tables with terrazzo-style tops were custom made for the space”The alternating personality of Syrena Irena gave us a chance to use geometrical forms and colours,” explained Projekt Praga.
    “The classical aesthetic of the existing space was balanced by less profound features like wall drawings, railings imitating a mermaid scale pattern and distinctive neon signs,” the studio added.
    “Despite this duality in the bistro’s persona, varied details like neon signs, lettering and murals all come together harmoniously.”
    A monochrome rendition of a Herbert James Draper painting decorates the wallsAt Mamastudio’s suggestion, Projekt Praga used a monochrome print of Ulysses and the Sirens – an oil painting created by English artist Herbert James Draper in 1909 – to cover two of the walls.
    The restaurant’s illuminated signeage was designed in collaboration with local artisan Jacek Hanak, who is responsible for reviving many of the city’s old neon lights.
    Neon signs were made in collaboration with Jacek Hanak. Photo is by Zuza Kozerska”We were influenced by the aesthetics of the jazzy Warsaw of the 1960s when this part of town was a vibrant destination for night owls and barflies,” said Mamastudio of the restaurant’s branding.
    “There were bright neon signs, music was everywhere, colourful artsy types and thrilling energy. With that, we decided that the mermaid logo should bear resemblance to a retro cut-out. The typography is expressive and slightly clumsy on purpose.”
    Other dumpling restaurants featured on Dezeen include a bao restaurant in Valencia that was designed to resemble a sunset and a small Chinese eatery in New York, where stainless steel, brass and polycarbonate are combined to create a futuristic interior.
    The photography is by PION studio unless otherwise stated.

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    IKEA designs “safe spaces” for children and at-risk refugees fleeing Ukraine

    Furniture company IKEA has donated its products and design services to create a series of refugee support centres in Eastern Europe, set up by the United Nations to offer aid and sanctuary to the most vulnerable groups displaced by Russia’s invasion of Ukraine.

    The Swedish furniture brand created interiors with a homely, comforting atmosphere inside several recently established Blue Dot centres, which are run by the United Nations Children’s Fund (UNICEF) and the UN Refugee Agency UNHCR to offer specialist support to children, families and other at-risk refugees.
    Top: numerous Blue Dot shelters have been established in Eastern Europe since Russia’s invasion of Ukraine began. Above: IKEA designed the interiors for the sheltersSet alongside major border crossings and transit routes, the centres supply legal aid, mental health support and family reunification services, as well as food and temporary shelter.
    “The work calls for a whole new set of skills because we’re designing spaces that can support people who are experiencing trauma,” said Martyna Pater, who is an interior design specialist for IKEA in Kraków, Poland.
    “We’re using walls made of Kallax shelving units and thick curtains to create a quieter and more comfortable environment, to make it feel more like a home, and we’ve also used decorations and picture frames, to make the space feel as cosy and calm as possible.”

    6.9 million people have fled Ukraine
    Out of the 36 Blue Dot centres that UNICEF and UNHCR have established across seven European countries since the start of the Ukraine war, IKEA has helped to design 10 in Romania and five in Poland.
    Three more are currently in development and plans are in the making for IKEA to help set up of additional outposts in Hungary and Slovakia.
    The initiative forms part of a wider €1 million donation that IKEA has pledged to UNICEF and UNHCR’s emergency relief efforts for the Ukraine war, with an additional €30 million going to other selected organisations.
    The furniture company previously joined a number of brands and studios in pausing its operations in Russia, closing its stores and halting imports and exports from the country.
    The shelters are run by UN agencies UNICEF and UNHCRSince the war started in February, more than 6.9 million people have fled Ukraine – 90 per cent of which are women and children, who UNICEF says are especially at risk of abuse, exploitation and trafficking.
    Blue Dot centres, which were first established in 2016, are designed to provide “safe spaces” for these vulnerable groups, containing playrooms for children, private areas for mental health counselling and safe places to sleep.
    “By far, most of the refugees who have fled unimaginable loss and devastation in Ukraine are women, children and older people or people with disabilities, in need of dedicated support,” said Marin Din Kajdomcaj, Poland’s representative at the UN Refugee Agency.
    “Thanks to our great collaboration with IKEA, we can design comforting Blue Dot spaces where refugees at greater risk can find a moment to rest, feel safe and protected again, access reliable information, counselling and psychological support, all in an effort to have them start healing and recovering from traumatising events.”
    Shelters designed to be convenient, child-friendly and site-specific
    For IKEA’s design teams, this involved creating interiors that are easy to navigate and tailored to both adults and children alike.
    “We’re designing spaces for children that are cosy and playful, but we use low furniture so their parents can see them when they are speaking to advisors,” Pater explained.
    “With thousands of people coming to the hubs, you also have to think about crowd control and creating good signage that helps people move through the space so they can find the right support they need.”
    Since Blue Dot shelters are temporary, they occupy a wide range of settings from tents to repurposed arenas.
    As a result, IKEA’s designers developed tailored interiors schemes that respond to specific sites and scales, rather than coming up with a universal template.
    Martyna Pater is an interior design specialist for IKEA Poland”It’s all about a fast response and providing a comfortable safe space,” said Laurentiu Stefan Serban, a visual merchandiser and shop designer for IKEA in Bucharest, Romania. “The aim is to create an environment where people can recover and find their strengths again.”
    A number of architects have applied their expertise to creating temporary shelters for those displaced by the Ukraine war.
    Kyiv practice Balbek Bureau developed a concept for a modular refugee village, which was picked up by Ukrainian president Volodymyr Zelensky and is now set to be constructed in the country’s Ternopil region.
    Pritzker Prize-winning architect Shigeru Ban focused instead on creating more privacy in existing shelters by making use of his modular Paper Partition System, which can be constructed from cardboard tubes and strips of fabric in around five minutes.
    The images are courtesy of IKEA.

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    Twisting bamboo installation weaves through Barcelona's Casa Loewe

    Spanish fashion brand Loewe has reopened its Barcelona flagship, which it has transformed into a gallery-like space with an undulating bamboo installation that winds across its surfaces.

    Casa Loewe is set inside Casa Lléo Morera, a modernist building created by Catalan architect Lluís Domènech i Montaner off one of the Spanish city’s major shopping streets.
    Loewe has reopened its flagship store in BarcelonaThe flagship was renovated to create a gallery-like space and restored to highlight the 19th-century building’s original features, including gold-leaf detailing that adorns the ceilings.
    Loewe creative director Jonathan Anderson interspersed art collections and curated furniture across the store’s interior, alongside the luxury fashion brand’s ready-to-wear collections, accessories and fragrances.
    Casa Loewe features a bamboo installation by Tanabe Chikuunsai IVAs craft is an integral element of Loewe’s identity, a key goal for Casa Loewe’s interior scheme was to showcase various artists and artwork.

    Anderson filled the store with installations and objects that the brand explained epitomised innovation and craftsmanship, including sculptures by winners and finalists in the brand’s Craft Prize.
    The store was designed to look like a galleryA centrepiece of the interior is a twisting bamboo installation by Japanese artist Tanabe Chikuunsai IV, which weaves across the store’s ceiling, walls and structural columns.
    The installation, titled Yūgo, was crafted from 6,000 pieces of tiger bamboo woven together to create the winding tubular forms.

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    “It was important for me to express Loewe’s tradition and innovation while creating a work that merges the building and the bamboo installation together,” Chikuunsai IV told Dezeen.
    “[Anderson’s] essence is his passion for materials and creating innovation while maintaining tradition,” he said. “Thus, I wanted to create something that fuses art, fashion, and nature together in order to form a futuristic and creative universe.”
    It incorporates decorative furniture and artwork. Photo is courtesy of LoeweAlongside Chikuunsai IV’s bamboo installation is a macramé structure by Catalan artist Aurèlia Muñoz. It is suspended from the ceiling of the ground floor in front of a blue tile-clad wall, which was created by Ceràmica Cumella.
    Ceràmica Cumella also erected ceramic-clad columns across the store in varying shades of white and blue to reference the Mediterranean Sea.
    Chikuunsai IV’s installation was crafted from 6,000 pieces of bambooIconic furniture pieces are dotted throughout Casa Loewe on top of its concrete floors, including Gerrit Thomas Reitveld’s Utrecht chairs and an oak arts and crafts armchair by William Birch.
    Other recent projects by Loewe include the costume design for an immersive installation at London’s Tate Britain in 2018, developed in collaboration with Anthea Hamilton.
    Tiles in shades of white and blue reference the sea. Photo is courtesy of LoeweCeline creative director Hedi Slimane recently employed a similar interior scheme across his London flagship store for the French fashion house – balancing historic Edwardian features with contemporary art and furniture.
    Other retail spaces recently featured on Dezeen include a Balenciaga store clad in pink faux fur, which is featured in our roundup of ten weird and wonderful shop interiors.
    The photography is by Adrià Cañameras unless stated otherwise.

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    Virginia Commonwealth University spotlights 12 interior design projects

    Dezeen School Shows: a community centre informed by patchwork construction and a rehabilitation space with curved, organic forms are included in Dezeen’s latest school show by students at Virginia Commonwealth University.

    Also included is a library that encourages social interaction and halls of residence designed to make students feel at home.

    School: Department of Interior DesignCourse: Thesis studioTutors: Roberto Ventura, Kristin Carleton and Emily Smith
    School statement:
    “This studio is the culmination of year-long independent design exploration. Students completing their final year in the Department of Interior Design at Virginia Commonwealth University (VCU) are challenged to explore how design can engage an issue or idea that has three tiers of relevance.

    “First, the project must have relevance to the student in order to sustain the passion required for a year-long investigation. Second, the project must engage with an issue or need in the local community in which the project is based.
    “The vast majority of projects are situated in or near Richmond, Virginia, where the university is located. Third, the project should invite interest from the larger interior design community.
    “Students develop research that includes primary works of their own authorship, programming and site documentation in the fall semester. This backbone sets the foundation for the development of a design response to the student inquiries in the spring.
    “Ultimately, these projects demonstrate the values driving the pursuits of these students and the power and potential they have as emerging designers to transform not only interior space but our communities overall.”

    City Co-op by Madison C Donnelly
    “City Co-op was designed to take over an existing brick building located at 101 S Linden St in Richmond Virginia, which had been left unchanged after 130 years. The design idea was to bring the space back to its original use as a public market, which sparked the idea that the space is a boomerang.
    “The design of the first floor is inspired by the building’s column grid. Built off of the vertical columns is a scaffolding system that is home to module walls, light fixtures, conduit and signage.
    “Between any two vertical elements, walls can be hung that allow vendor booths to be customisable. As the design currently stands, the space holds 33 different vendors, such as produce, delis, coffee, bakeries, florists, sandwich shops and more.
    “With every design, I attempt to blur the line between fine art and interior design. Throughout my education, I have pushed the role of interior design in the graphic world through expressive technical drawings and sketches.
    “Exploring the roles of sustainability, form and cohesive systems has defined my design education.”
    Student: Madison C DonnellyCourse: IDES 401: Senior Interior Design Studio IITutor: Emily SmithEmail: madison1231m[at]gmail.com

    Taking Flight: An Independent Living Facility for Emancipated Foster Youth by Kristy McDaniel Leitzel
    “The project envisions foster care centres as ‘nests’.
    “Here, each ‘nest’ has a personality and is made from unique accumulations of varied materials. They are chaotic but maintain predictability. Nests are built to support the young.
    “But nests are temporary and designed for nurture. They provide a hideaway from full exposure to life’s risks and rewards.
    “Nests must be a facilitator for growth until it is time to take flight.”
    Student: Kristy McDaniel LeitzelCourse: IDES 699: Creative Project – ThesisTutor: Roberto Ventura

    Activate RVA by Miriam Gibson
    “Activate RVA in Richmond, Virginia, is a community and social-activation centre that embodies the construction of patchwork, taking scraps of different shapes, sizes, colours and patterns and stitching them together to create something new, unique and needed.
    “Activate RVA will provide spaces that can host an array of different events, from large programs like guest lectures, community gardening workshops, clothing swaps and fundraisers to smaller, more personal interactions such as mentorship sessions, small group discussions, grass-roots organisation meetings and specialised classes.
    “Additionally, collaborative lounge areas provide space where community members can work and meet other members who have a shared interest in social activism.
    “I believe that design follows value as form follows function. I value joy and engagement, so I design spaces that would make users genuinely excited to be in them, using bright colours, vivid murals and patterns and ceiling elements that bring us out of the ordinary boxes we are used to existing in.”
    Student: Miriam GibsonCourse: IDES 401: Senior Interior Design Studio IITutor: Emily Smith

    Humans Alike by Yasmine Ali
    “Humans Alike is a space that seeks to connect immigrants from different backgrounds and cultures, highlighting the significance of humanitarian solidarity and discouraging the constructed perception of immigrants and refugees.
    “Through the exploration of the idea of multicultural design, this project is a reminder that despite our differences and unique backgrounds, we are all alike.  We are all human.
    “As a designer, I recognise the responsibility I have that can tremendously impact society and the environment around it. Because of this, I strive to apply my skills and knowledge in designs that advocate the power of sustainability and social equity.
    “As Victor Papanek said, “Design can and must become a way in which young people can participate in changing society”.
    Student: Yasmine AliCourse: IDES 401: Senior Interior Design Studio IITutor: Kristin Carleton

    Connections Exposed – A Library for the People by Stephanie Wilburn
    “Branch libraries are increasingly tasked with supporting their communities in ways outside of historical norms.
    “This library is designed to act as a community centre that encourages connection and social interaction while also meeting the community’s social infrastructure and knowledge hub needs.”
    Student: Stephanie WilburnCourse: IDES 699: Creative Project – ThesisTutor: Roberto VenturaEmail: slwilburn1[at]gmail.com

    Nurture by Sophie Kozlowski
    “Nurture reimagines rehabilitative spaces through the concept of embrace. Curved forms, organic patterns and vertical layering are three of the primary design elements used to create this interior environment, which is focused on eating disorder recovery.
    “Conveniently located near the student campus, Nurture makes recovery easily accessible to VCU students.
    “Design informs people’s experiences and lives. Through my thesis research, I have discovered that every little detail holds weight, whether it’s colour, materiality, or scale. These components together can lead to positive or negative experiences within built environments.
    “There is a lot of power in these decisions and as designers, I believe we should take that responsibility seriously.”
    Student: Sophie KozlowskiCourse: IDES 401: Senior Interior Design Studio IITutor: Emily SmithEmail: sophiefkozlowski[at]gmail.com

    Corner Kitchen by Izze Stadulis
    “Thoughtful design should be available to all people. I wanted to design primarily for the homeless community in Richmond, Virginia, for people who may not feel welcomed into every shop or restaurant they pass.
    “This project will be a community kitchen, teaching kitchen and donation centre, independent from any other building seen as a safe place.
    “Design has such a huge role within our everyday lives. It affects our mood, mental health and our everyday flow. I believe thoughtful and equal design should be available and speak to all people.”
    Student: Izze StadulisCourse: IDES 401: Senior Interior Design Studio IITutor: Kristin Carleton

    Mindfulness Meditation by Brock Hubbard
    “The project explores how a structure might heal users while simultaneously removing them from society and reconnecting them with their inner selves as a novel strategy to combat mental illness.
    “Since the emergence of the smartphones and social media in 2007 depression rates have risen dramatically, with the greatest impact on my generation and the next. People exercise and meditate less, despite its ability to reduce stress and sadness.
    “In the Richmond area, there is currently no facility dedicated to mental training. Although the concept of training our brains to change our thinking is relatively new, it has proven to be effective. Meditation and yoga in both hot and cold environments could be used to achieve this.
    “The brain is similar to a muscle in that the more you use it, the stronger it becomes. I believe that design can create a welcoming and comfortable environment for all. It’s critical to consider the building’s mission in healing the individual, shifting how they think and changing their mindset.”
    Student: Brock HubbardCourse: IDES 401: Senior Interior Design Studio IITutor: Kristin Carleton

    Connected: Exploring Automation to Activate Ageing in Place Success by Hallie Walker Gillespie
    “Birds are visible signs of invisible forces. The design of this project references the unique characteristics of a peacock’s inherent aesthetic beauty, optimised feather structure and golden ratio proportions.
    “A ‘Smart Inn’ of managed AirBnB apartments was designed for short and long-term rentals, with live-in showrooms for smart home devices to alleviate the hesitation of adopting smart technologies.
    “Combined with adaptable, efficient design solutions, guests will be invited to re-imagine their later years, leaving with new confidence to integrate customised automation into their own homes.
    “These spaces demonstrate how artificial intelligence, environmental sensors, and related technologies can optimise daily activities and elevate the quality of life for seniors and their caregivers.
    “A coordinating neighbourhood cafe, shared community patios, and fitness spaces were designed on-site to further illustrate the benefits of physical activity interventions, third places, and time in nature.”
    Student: Hallie Walker GillespieCourse: IDES 699: Creative Project – ThesisTutor: Roberto VenturaEmail: hallie.walker[at]gmail.com

    Reimagining Residential Life and Housing by Jenna Bramblet
    “First-year housing on campus is no longer adequate. The intent of this project was to design a residence hall that positively impacts students’ academics, involvement, and overall well-being. To create a welcoming place that helps students find themselves and their place here at college.
    “I am passionate about creating magic amongst what is considered the mundane. I aim to make every day a day that is filled with excitement, art and a little bit of imagination. Discovering the places that give you that unmistakable sense of atmosphere is what I go out in search of daily.
    “Experiencing the feeling of wanting to be nowhere else but the present. These are the feelings I attempt to convey in my art and designs.”
    Student: Jenna BrambletCourse: IDES 401: Senior Interior Design Studio IITutor: Emily SmithEmail: jennabramblet[at]gmail.com

    Relief Revival Reincarnation by Lt Moon PhD
    “This project seeks to improve the livability of the interior environment in public housing residential units by emphasising the design elements of light, dimensionality, circulatory liberation, relief and spatial adaptability in critical living areas.
    “This is achieved while preserving the historical context of the community such that a renewed sense of choice, autonomy, ownership and connectivity is facilitated.
    “The concept is influenced by Herman Hertzberger’s theory of polyvalence, which is the capacity to design living spaces that are adaptable to occupant preferences without adjusting exterior building construction.
    “Principles of polyvalence contradict the principles of determinism, which prescribes how spaces are intended to be used.”
    Student: Lt Moon PhDCourse: IDES 699: Creative Project – ThesisTutor: Roberto VenturaEmail: aderoltd[at]gmail.com

    Armstead Lofts by Kyle Johnston
    “This project is a boutique micro-apartment building and community space. It creates a place for residents to gather and build a tight community, as well as making sure there is no compromise to the amenity spaces.
    “Using a bright colour palette and taking inspiration from 60s pop art, which was a time of progression in the civil rights movements and pushing the boundaries of art, I aimed to create a space of acceptance for college and postgraduate residents.”
    Student: Kyle JohnstonCourse: IDES 401: Senior Interior Design Studio IITutor: Kristin CarletonEmail: kylejohnstonr[at]gmail.com
    Partnership content
    This school show is a partnership between Dezeen and Virginia Commonwealth University. Find out more about Dezeen partnership content here.

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    Flack Studio designs Ace Hotel Sydney as a “deep homage” to Australia

    References to the landscape and industrial heritage of Australia are woven into the Ace Hotel’s new outpost in Sydney, with interiors designed by local practice Flack Studio.

    Situated in the city’s historic Tyne House factory in Surry Hills, the 257-room Ace Hotel Sydney marks the American hotel group’s first location in the southern hemisphere.
    Ace Hotel Sydney houses a lobby, bar and lounge on the ground floorOn the ground floor, public spaces include a lobby, bar and lounge, a neighbourhood restaurant and a day-to-night cafe, while the building’s top floor is occupied by a rooftop restaurant designed by Australian interiors studio Fiona Lynch Office.
    Describing the project as a “deep homage” to Australia, Flack Studio said the interior draws on the warm neutural tones of the country’s desert landscapes and the paintings of Aboriginal artist Albert Namatjira.
    The sunken lounge features brown leather sofasThe hotel has sandstone feature walls on the ground floor, a red marble staircase that stretches from the lobby to the first floor and terracotta-coloured tiles in the guest bathrooms.

    A sunken lounge on the ground floor is rendered in shades of caramel and burnt orange – reminiscent of the easygoing design favoured in Australia’s suburbs in the 1970s – while abundant planting throughout the hotel recalls the country’s lush rainforests.
    A red marble staircase leads up to the first floorFlack Studio also took cues from the work of Australian architect Robin Boyd, who proposed a functionalist and regionally grounded approach to architecture using simple forms and local materials.
    In the Ace Hotel Sydney, this can be seen in the off-form concrete walls, locally sourced timber and aged brass that reflect the utilitarian history of the building and the neighbourhood.
    Guest rooms are designed to feel cosy and residentialThe hotel’s 18-storey brick building was originally erected in 1916 to house the factory and distribution centre of chemist chain Washington H. Soul Pattinson.
    It also sits on the site where one of Australia’s oldest ceramic kilns was discovered, used by potter Jonathan Leak to produce domestic pottery as early as the 1820s.

    Luchetti Krelle creates eclectic bar Jane inside former butcher shop

    Ace Hotel Sydney’s wayfinding and signage were created by graphic design practice Studio Ongarato, incorporating elements of 70s modular design alongside bold geometric forms and textured materials.
    A sense of craftsmanship is conveyed through glazed ceramic room signage and hand-painted details on the entry signs.
    They feature custom lighting, furniture and fixturesThe hotel’s guest rooms feature custom lighting, furniture and fixtures and are designed to feel cosy and residential. Each room features a Rega turntable and a vinyl collection put together by Melbourne-based record label Efficient Space.
    Other highlights include an art collection curated by Flack Studio that showcases the works of contemporary Australian artists and a minibar stocked with goods from local producers.
    In the coming months, the hotel is also set to launch a residency programme spotlighting First Nations artists.
    Terracotta-coloured tiles line the walls in the guest bathroomsAce Hotel was founded in Seattle in 1999 and now has locations in cities including Los Angeles, New Orleans and Kyoto.
    Last August, the hotel chain opened its Brooklyn outpost, which features art in every room and a public gallery in its lobby that houses rotating exhibitions. Ace Hotel’s next location in Toronto is due to open in 2022.
    The photography is by Anson Smart and Nikki To.

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    Dimore Studio gives historical Milan palazzo “celestial” makeover

    Over the course of Milan design week, architecture and design studio Dimore Studio transformed its gallery into “a dreamlike space” filled with lighting, furniture and textiles shrouded in plumes of smoke.

    Dimore Studio founders Britt Moran and Emiliano Salci wanted the interiors to help visitors forget the difficult years of the coronavirus pandemic and instead evoke “hope and joy”.
    Dimore Studio has transformed its gallery space into an installationTucked away in a cobbled courtyard in the city’s Brera district, the hazy space was also informed by its name: oublié translates from French to “to forget” in English.
    Upon entering the second floor of a nineteenth-century apartment turned gallery, visitors are met with classical music playing softly.
    Visitors journey through eight rooms inside the historical buildingAs they walk through the eight interconnected rooms, smoke is blown throughout, making the interior hazy and dusty.

    “This year, the name of our exhibition Oublié is a clear message for our visitors: forget the past two years and embrace our poetic vision of hope and joy through the installation,” Moran told Dezeen.
    “Visitors will find themselves in a dreamlike space where time stands still, where rays of light are cast through half-closed shutters and a soft haze accompanies the movement.”
    Every room is kitted out with Dimore Studio furniture and soft furnishingsThe studio chose a neutral colour palette of muted beiges, browns and ivory white for the space, which the studio used for a previous installation at Milan design week 2017. Splashes of gold can be found in the lighting while the doors are painted silver.
    “The space has undergone a radical change following its transformation: the warm-toned, enveloping walls have become pure, immaculate and almost celestial,” explained Salci.

    Design eras converge in Dimore Studio’s moodily coloured Milan exhibitions

    To add to the dreamlike atmosphere, Dimore Studio played with light. Opting to avoid technical lights, the space is instead lit by lamps such as the Belle de Jour table lamp and the Abatjour lamp. Meanwhile, natural light pours through the open windows.
    “We decided to avoid the technical lights in order to have a more natural and cosy atmosphere with ambience light.”
    “We closed our shutters in order to reduce the natural summer light that in addition to the smokey atmosphere, create this oublié – forgotten environment.”
    Light pours through several shuttersOublié captures the studio’s signature aesthetic which it describes as “nostalgic” yet contemporary through an eclectic mix of the brand’s permanent collection and new pieces such as a chair and a floor lamp.
    Previously the studio has applied its distinctively opulent aesthetic to a London art gallery and a shop in Paris that features textiles in three-dimensional patterns draped across the storefront.
    The photography is by Paolo Abate.

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