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    Caro Lundin launches understated co-working space ARC Club in south-east London

    Architect Caro Lundin has opened the second branch of her affordable co-working chain ARC Club in London, which features a pared-back interior accented by colourful fixtures and furnishings.

    Set in the southeastern neighbourhood of Camberwell, the shared workspace was put together in just seven weeks and takes over a 223-square-metre commercial unit that previously sat empty for three years.
    The reception of ARC Club Camberwell doubles as a cafeThe latest ARC Club outpost follows in the footsteps of the company’s first location in Homerton, which opened a few months after the start of the pandemic.
    Much like its forebearer, it aims to provide a low-cost co-working space for hybrid workers, who don’t want to return to the office full-time but struggle to do their jobs effectively while working from home.
    Both spaces feature similarly simple interiors that prioritise functionality over frivolous decor.

    The collaborative work area features large group tablesLundin says this understated approach is key in a time when co-working is “a necessity and not a lifestyle accessory”.
    “Being Swedish, I’m very much in favour of the saying that good design and art should be available to everyone,” she explained. “Just because ARC Club is an affordable alternative doesn’t mean members should have to compromise on quality or design.”
    Furniture and artworks provide bursts of colourThe Camberwell co-working space is loosely divided into three different zones. Near the entrance, there’s a small cafe where members can drop in throughout the day to grab food and drinks.
    To the left is an area for collaborative work, complete with group desks and high counters that can accommodate two to three people and their laptops.
    The right side of the room is designated for more quiet, focused work. It features a plum-red seating banquette and a series of smaller tables for solo workers.

    ARC Club is a London co-working space for people wanting to escape working from home

    The different areas are separated by two boxy birch plywood volumes arranged into a rough T shape, with one containing meeting rooms and storage cupboards while the other houses six private booths where members can make video calls.
    The volume that sits towards the front of the plan delineates the cafe from the rest of the interior and is slightly shorter than the other in order to allow natural light to seep into the work areas at the rear.
    Otherwise, fixed partition walls and doors were omitted so that when office hours are over, ARC Club Camberwell is flexible enough to be used for other events.
    This area is dedicated to quiet workMost surfaces in the shared office are left raw or freshened up with a coat of white paint. But pops of colour are provided by the baby-pink booth doors and the orange-framed armchairs that are positioned around some of the tables.
    Vivid contemporary artworks loaned by local gallery Bosse & Baum help to liven up the walls.
    Baby-pink doors front the private phone boothsSeveral co-working spaces have opened in London in recent months to cater to locals who are opting to carry out their jobs remotely.
    Other examples include Paddington Works with its wellness-focused interiors and Bureau in Greenwich, which is designed to act as a “home for creatives”.
    The photography is by Andrew Meredith.
    Project credits:
    Architect: Caro Lundin of Studio Caro LundinContractor: Berry Interiors

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    Rockwell Group takes maximalist approach to Japanese design at Katsuya NYC restaurant

    Elements of traditional Japanese architecture and design are combined and given a contemporary spin by New York studio Rockwell Group at this sushi restaurant in Manhattan.

    Katsuya is the latest restaurant of its name by chef Katsuya Uechi, following locations in Los Angeles, Miami and the Bahamas all serving sushi with a Californian twist.
    Katsuya serves Californian-influenced Japanese cuisine by chef Katsuya Uechi. This and top photos by Nikolas KoenigFor its interior, Rockwell Group looked to a variety of Japanese aesthetic traditions, and blended them together to create a theatrical experience.
    “The interior dining rooms take a maximalist approach to Japanese aesthetics, an entertaining departure from the contemporary minimalist vogue,” said the team.
    A long red-lacquered communal table occupies the centre of the dining room. Photo by Nikolas KoenigThe restaurant totals 6,890 square feet (640 square metres) and seats up to 305 diners. Guests enter past the sushi bar and lounge, which is set up for casual diners to enjoy light bites in view of the kitchen.

    In the main dining area, the space is divided into three sections by a pair arched openings and a series of translucent glass screens subtly printed with images of wagasa – Japanese umbrellas.
    Translucent screens divide up the hall-like spaceThe archways, shaped to reference torii and pagoda architecture, are trimmed with red lacquer and inlaid with square wooden tiles.
    Screens are suspended from a black powder-coated metal framework, reminiscent of kumiki wood joinery.
    Secluded banquettes are positioned towards the back. Photo by Emily AndrewsDominated by red, the central space has a long communal table, plus several two-tops and a trio of secluded banquettes towards the back.
    Small to medium-sized parties are accommodated in the section to the right, where the red tones are swapped for warm creams and the wagasa patterns appear again on the wallpaper.
    Several traditional Japanese wagara motifs decorate the wallsMore banquette niches are framed by curved ceilings, and decorated with other traditional wagara motifs and imagery of performers with fans.
    The final indoor dining area includes a variety of table sizes, as well as a robata grill – a specialty that the chef is “renowned for pioneering in the West” according to the team.
    A private dining room seats 10. Photo by Nikolas KoenigConcentric pendant lights by Allied Maker spotlight individual tables and booths throughout the restaurant.
    Meanwhile, the red-lacquered communal table is “illuminated by a custom chandelier with a lazily undulating form that appears like waves rendered in ink”.

    Rockwell Group models Casa Dani restaurant in New York on Andalusian patios

    A private dining room at the end of the hall-like restaurant features red-leather-backed chairs around a circular wooden table, which seats 10.
    In the warmer months, a terrace influenced by autumnal Japanese gardens will provide space for 98 guests outdoors.
    Screens are subtly printed with images of wagasa – Japanese umbrellasKatsuya opened in March 2022 as one of two full-service restaurants inside the Citizens food hall, located within the Manhattan West development between Hudson Yards and Penn Station.
    Rockwell Group was also responsible for the interior design of Citizens, as well as the other fine-dining option Casa Dani, which serves Andalusian cuisine in a setting to match.
    Allied Maker’s Concentric pendant lights are hung throughout the restaurantThe firm was founded by architect and designer David Rockwell in 1984, and is best known for hospitality projects, and production design for theatre and events.
    Its studios have recently collaborated with fellow designers Joyce Wang on the first Equinox Hotel, Yabu Pushelberg for the Moxy Chelsea hotel and Diller Scofidio + Renfro to build 15 Hudson Yards and The Shed – all in New York City.
    The photography is courtesy of Katsuya, unless stated otherwise.

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    Ten self-designed studios by architects and designers

    From a forest cabin to a converted chapel, our latest lookbook features ten workspaces from the Dezeen archive that were created by architects and designers for their own use.

    Highlights include Benjamin Hubert’s design for his studio Layer, the Lisbon practice of Portuguese architects Aires Mateus and a colourful couple’s office for the duo behind interiors firm 2LG Studio.
    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 homes with clever built-in furniture, plant-filled hotel interiors and residences with decorative vaulted ceilings.
    Photo is by Rui CardosoAtelier Cecílio de Sousa, Portugal, by Aires Mateus
    Architecture practice Aires Mateus restored four storeys of an 18th-century building in Lisbon to create its studio, retaining and restoring many original features including the decorative plasterwork and elaborate ceiling murals.

    The converted office contains two model-making areas as well as several work- and meeting spaces. These include the grand Noble Room, where simple wooden chairs and a pared-back workbench made from pale timber contrast with the otherwise elaborate interior.
    Find out more about Atelier Cecílio de Sousa ›
    Photo is by Mikey EstradaYa Vsesvit, Ukraine, by Yakusha Design
    Black brick partitions divide up the monochromatic studio of Ukrainian designer Victoriya Yakusha to create a number of smaller offices, the grandest of which is centred on a chunky desk crafted from a single block of sandstone.
    Most of the furnishings and ornaments in the interior were made by Yakusha’s furniture brand Faina, allowing it to double up as a showroom.
    Find out more about Ya Vsesvit ›
    Photo is by Iwan BaanOffice in the Woods, Spain, by SelgasCano
    Set in a woodland near Madrid, the office of Spanish architecture studio SelgasCano (top and above) is semi-sunken into the forest floor, with a transparent north-facing wall providing views of the tree canopy above.
    Parallel banks of wall-mounted desks are lined up on the other side of the tunnel-like space, where they are shielded from the direct sun.
    Find out more about Office in the Woods ›
    Photo is by Simone BossiAMAA, Italy, by Marcello Galiotto and Alessandra Rampazzo
    Venetian practice AMAA inserted a steel-framed two-storey glass volume into an abandoned plumbing factory in Italy to house its own office, which accommodates not just workspaces but also a small library.
    A sunken level that was once used for pump testing now houses a wood-fronted staff kitchen that can be accessed via a poured concrete staircase, designed to be in keeping with the building’s industrial material palette.
    Find out more about AMAA ›

    Another Studio, Bulgaria, by Andrey Andreev and Petya Nikolova
    In a bid to encourage teamwork, Another Studio removed all of the non-bearing walls in its office in Sofia and replaced them with customised plywood shelving, which maintains sightlines throughout the office while providing crucial storage.
    Translucent white cotton curtains can be used to further divide up the space, while removable boxes integrated into the storage system provide additional seating and side tables when required.
    Find out more about Another Studio ›
    Photo is by Toon GrobetThe Waterdog, Belgium, by Klaarchitectuur
    Klaarchitectuur left the original walls of this heritage-listed chapel in Limburg largely untouched when converting the space into a studio, choosing instead to insert a number of crisp white boxes into the interior.
    This stacked, standalone structure now houses separate offices for the practice’s different departments, alongside monochrome meeting rooms and casual work areas.
    Find out more about The Waterdog ›
    Photo is by Annette KislingSauerbruch Hutton studio, Germany, by Sauerbruch Hutton
    Sauerbruch Hutton renovated a former Prussian military uniform factory in Berlin and added a third floor to its roof to accommodate the practice’s office alongside a studio for conceptual artist Karin Sander.
    Roof lights allow sunshine to filter into the new top floor, which accommodates a reception and conference room, as well as a gallery leading to a library and a series of smaller offices and meeting rooms.
    Find out more about Sauerbruch Hutton’s studio ›
    Photo is by Megan Taylor2LG Studio, UK, by Russell Whitehead and Jordan Cluroe
    Married design duo Russell Whitehead and Jordan Cluroe of London’s 2LG Studio managed to integrate a shared workspace into their four-bedroom home by knocking down the walls around their kitchen.
    The resulting open-plan office area is centred by a pill-shaped jesmonite table that the studio made in collaboration with artist Olivia Aspinall, surrounded by velvet chairs from Danish furniture brand Menu.
    Find out more about 2LG Studio ›

    Layer studio, UK, by Benjamin Hubert
    The converted warehouse that is home to London design studio Layer functions not just as a workspace but also as a gallery, with recent product designs, samples and prototypes on show in colourful display boxes to serve as inspiration for the team.
    All rooms are open-plan save for a translucent black plexiglass cube that functions as a private conference room and is centred on a bright red Ripple table, designed by the studio’s founder Benjamin Hubert for Canadian manufacturer Corelam.
    Find out more about Layer studio ›
    Photo by Sam NoonanTree Top studio, Australia, by Max Pritchard
    Nestled into a tree-covered slope behind his house in Adelaide, Australian architect Max Prichard has built a six-metre-tall cylindrical cabin to house his own mini-studio.
    The structure is clad in sheets of locally sourced hoop pine, while dark hardwood batons laid across the walls and floors mirror the radiating roof beams and line up with the wall of built-in storage.
    Find out more about Tree Top studio ›
    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 sleek co-working spaces, homes with clever built-in furniture, plant-filled hotel interiors and residences with decorative vaulted ceilings.

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    “The irresistible draw of Bridgerton reflects our need for a new aesthetic”

    Netflix TV show Bridgerton’s interiors will lead to a return of the exuberant Regency style to distract us from our troubled times, says Michelle Ogundehin.

    The second series of Bridgerton, which streams tomorrow, will prompt a major new look for interiors. As I wrote in my trends report for 2022: “This sentimental recolouring of history will prompt a Regency revival as we freshly appreciate the uplifting potential of architectural adornment, both inside and out”.
    This statement was about a lot more than the show being a Netflix winner — apparently, 82 million households watched season one in the first 28 days after launch in December 2020.
    This was a historical moment that shares more than a hint of an echo with today
    Bridgerton is indeed escapist, diverse and sexy, just what was needed in the thick of Christmas lockdowns. However, it’s the resonance of the 19th-century British Regency setting that makes it so influential from a style and cultural point of view. This was a historical moment that shares more than a hint of an echo with today.

    And yet, the Regency was but a brief snapshot in time. When the sitting English monarch, King George III, was deemed unfit to rule his eldest son stepped in as proxy from 1811-1820. He was named the Prince Regent, hence the period moniker The Regency. In theory, he deputised as king until his father passed, at which point he himself was crowned King George IV, ruling for the next ten years. He died in 1830.
    In reality, he had little interest in the responsibilities of governance or the previously admired piety of his father. Instead, he used his new-found influence to indulge his love of architecture to fashion. Such extravagance didn’t come cheap though.
    He incurred a huge amount of debt and was bailed out repeatedly by the taxpayer via Parliament. It was a significant pivot point in English cultural history.

    “Any period of sobriety is generally followed by heady abandonment”

    The Prince Regent, who spoke four languages, propelled extraordinary advances in the arts, design, music and sciences. New decorative styles burst forth inspired by everywhere from Egypt to India.
    The steam-powered printing press was invented. He commissioned the exotically ornate Brighton Pavilion as his personal pleasure palace replete with hand-painted Chinese wallpapers and domed cupolas. He remodelled Buckingham Palace, initiated Regent’s Park as well as the National Portrait Gallery and hosted many a lavish party.
    Romans de clef penned anonymously by aristocrats of the day captured the fervour (and provided much entertainment for the lower classes). For the upper echelons, life was fun, fashionable and frivolous. The antithesis of what had come before.
    And this is the mood that Bridgerton, based on the books of the contemporary American romance novelist Julia Quinn, perfectly captures.
    Ornamentation for the sake of it is everything
    Thus, in this glossy televisual romp, as in the Regent’s time, we witness the pursuit of pure escapism via a highly stratified social scene where only the aristocracy enjoys the newly unleashed decadence. The upper-class ladies of “the Ton” attend balls and take tea, while the men debate the mores of the day safely ensconced in their gentlemen’s clubs, whiskey in hand.
    Layers of pastel-coloured, heavily embellished silken clothing (for men as well as women) are mirrored in rooms adorned from floor to ceiling in delicately hand-painted idyllic verdant scenes, or exotic portrayals of the Orient – the imagined perfection of both near and afar.
    Ornamentation for the sake of it is everything. Fragrant wisteria drips across perfectly symmetrical facades. Trims and tassels finish drapes and upholstery. Extravagant gilt frames surround flattering portraits while elegantly patterned dinnerware and fluted coloured-glass goblets adorn tables laden with food.
    It’s ridiculously pretty, a word that’s not often used in design circles.
    When the world is in extreme turmoil, creativity flowers
    As such, the haute styles of the day epitomise an abject denial of the wider reality. For the backdrop to this flagrant profligacy was great political and economic upheaval following the American and French Revolutions. Not least the ongoing Napoleonic Wars with their legions of conscripted commoner troops battling to prevent France’s invasion of lands from Europe to Russia. Closer to home, poverty was also rife.
    And yet it’s a truism that when the world is in extreme turmoil, creativity flowers. Those possessed of an artistic temperament, such as the Prince Regent, rail against the zeitgeist and drive it somewhere new. This is what happened n the Regency, and it’s ­the period I believe we’re entering now. Thus, the irresistible draw of Bridgerton reflects our need for a new aesthetic.
    But, we see it blossoming already in the pattern and colour-infused parades of zingy flamboyance on the Spring Summer fashion catwalks (hot pink and vivid green seemingly the strongest hues after beige was hailed the “in” shade for 2020). It’s in the return of feathers, frills and flounces on frocks, even shoes, which translates to the home as richly adorned and embellished fabrics for upholstery and accessories

    “Grey alone would be too depressing for 2021’s colour of the year”

    Large scale murals as wall coverings have been bubbling up for a while as homeowners tried to replicate green spaces within urban environments, but now they’ve hit the mainstream. And the look of hand-painted Chinoiserie gets a high-street outlet as British interiors brand Harlequin debuts a very timely first wallpaper and fabric collection from the British artist Diane Hill.
    Traditional techniques like marquetry for furniture are seeing a resurgence too, following the growing trend for parquet floors. The ceramic mosaic tile market is predicted to rise by 8.3 per cent and DIY panelling as a means to add intrigue to walls is clocking 100,000 searches a month on Google.
    The birth of a Neo Regency is simply a reaction to life being so relentlessly draining for such a long time
    Tablescaping, the art of laying a decadent table, which came from tastemakers looking for ever more inventive ways to express themselves within the confines of their homes, is now a widely understood concept. Accordingly, sales of table linens and placemats are soaring, while vintage crocks inspire nostalgia and granny’s “best sets” are brought out for everyday usage.
    As I wrote in my trends report, denial begets indulgence. Like the Roaring 20s after the horror of world war one.
    On a wider scale, the birth of a Neo Regency is simply a reaction to life being so relentlessly draining for such a long time, the everyday battered first by hidden foes and now more painfully visible ones. Such a move, with its inherent decadence and delicacy, is a rebellion. A lurch from lockdown to levity, come what may. A forceful jettisoning of gloom and doom.
    Except this time around, it’s not about ignoring tragedies happening “elsewhere” than fervently wishing to celebrate small moments of joy and unexpected luxury in any way we can, wherever we can. To decorate our nests is a primal instinct. It’s how we mark our territory, signalling that we have a personalised place of retreat to return to. It’s why losing your home, or homeland, is so incredibly traumatic.
    The Neo Regency then is less a single prescribed look, or colour, than a dive into the “extra”. Or to put it another way, the previously deemed unnecessary.
    Essentially, it’s do pretty, as you damn well please. No justification required
    It’s outfitting a luxe laundry room or papering the kitchen ceiling in something fabulous, maybe respraying the units lemon yellow and painting the downstairs loo turquoise. According to Pinterest, searches for Rage Rooms have increased by 150 per cent, while on the other end of the emotional scale, home massage room searches have increased by 190 per cent.
    Architecturally we’ll see a corresponding embrace of ornamentation. A revival of pergolas, porticos and decorative brickwork alongside the classical tropes seen on original Regency buildings in Britain’s heritage cities like Bath and Brighton.
    Essentially, it’s do pretty, as you damn well please. No justification required. But without pastiche. This is Neo Regency, not faux Regency.
    Michelle Ogundehin is a thought-leader on interiors, trends, style and wellbeing. Originally trained as an architect and the former editor-in-chief of ELLE Decoration UK, she is the head judge on the BBC’s Interior Design Masters, and the author of Happy Inside: How to Harness the Power of Home for Health and Happiness, a guide to living well. She is also a regular contributor to many prestigious publications worldwide including Vogue Living, FT How to Spend It magazine and Dezeen.
    The photography is courtesy of Netflix.

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    Revival Projects' Zero Footprint Repurposing hub saves construction waste from landfill

    Australian building company Revival Projects has turned a warehouse that is set for redevelopment into a hub for repurposing construction and demolition waste, which is open to the public during Melbourne Design Week.

    Melbourne Design Week describes the Zero Footprint Repurposing hub as one of the world’s first free hubs dedicated to the storage and reuse of demolished material.
    Revival Projects aims to save these materials from landfill by making them more accessible to architects, designers, builders and manufacturers.
    The Zero Waste Repurposing hub is located in Collingwood, Melbourne on the site of a future developmentThe Zero Footprint Repurposing hub stores materials from projects around Melbourne, with Revival Projects facilitating large-scale repurposing initiatives from various sites.
    “For repurposing of existing materials to be a fundamental element of new design, storage of a large amount of demolished materials is necessary, often for many months or several years, while the project comes to life,” Revival Projects founder Robbie Neville told Dezeen.

    “The idea of this costly storage is often a prohibitive issue, so we have offered the industry free storage of materials in our Collingwood space, if they are going to repurpose those materials back into their project.”
    The hub provides free materials storage space for architects and developers working on sites around Melbourne”We present this dramatic commercial offer with zero obligation to engage us for any of our services – which include structural engineering, commercial and domestic building, and joinery and furniture making – so we are effectively removing that prohibitive issue of space, with no strings attached,” he continued.
    The Zero Footprint Repurposing hub is located in Collingwood, in a 100-year-old, 1,500-square-metre warehouse that Revival Projects will occupy until its slated demolition in 2024.
    Revival Projects is working with the architects of the future development, Grimshaw, to repurpose the existing materials from the warehouse into the new buildings.
    The space is decorated with murals and artworks that communicate the company’s missionThe hub also currently stores material from architects and developers including FJMT, Edition Office, BAR Studio, Hip V. Hype, Kerstin Thompson Architects, ANPlus Developments and Bayley Ward Architects.
    The interior of the space is decorated with murals, art, quotes, installations and materials that communicate the project’s vision.

    Construction industry “doesn’t know where it stands when it comes to carbon emissions”

    “Our mission here is to revolutionise the way our industry approaches existing materials,” said Revival Projects founder Robbie Neville. “We are disrupting centuries of traditions based on reckless consumption of natural resources.”
    According to RMIT, 20.4 million tons of waste were generated from construction and demolition in Australia in 2017, including through works such as road and rail maintenance and land excavation, and about one-third of this ended up in landfill.
    The construction and demolition waste at the hub comes from sites around MelbourneThe waste from these activities include bricks, concrete, metal, timber, plasterboard, asphalt, rock and soil.
    A registered builder, Neville founded Revival Projects in 2016, after four years of running his own salvage missions but becoming frustrated that the construction industry was not geared for reuse.
    The company has since channelled salvaged waste into interiors and architecture projects such as RM Williams stores around Australia and the Industry Beans cafe in Fitzroy, Melbourne.
    Architects and developers are able to store materials from demolition at the hub free of chargeThe practice also worked with Hip V. Hype on a 2020 demolition and salvage for a block of 22 apartments the property developer is building in South Melbourne. For that project, Revival Projects established an earlier iteration of the Zero Footprint Repurposing hub beside that site.
    Additionally, the practice runs workshops out of its hubs, focusing on different sectors of the community that are underrepresented in the construction industry, such as women.
    The current Zero Footprint Repurposing hub at Islington Street, Collingwood is part of the programme at Melbourne Design Week, with an open day happening on Friday 25 March and a panel discussion at 5pm.
    Revival Projects also runs workshops out of the hubThe hub was awarded the 2022 Melbourne Design Week Award, with National Gallery of Victoria director Tony Ellwood calling it “a project of ambitious scale with global importance”.
    The construction industry accounts for 38 per cent of global greenhouse gas emissions, partly because of the cost of creating new materials.
    According to a 2021 report published by the World Business Council for Sustainable Development, buildings equivalent to a city the size of Paris are being built every week, but less than one per cent of them are even assessed to determine their carbon footprint.
    The photography is by Sean Fennessy.
    Melbourne Design Week is on from 17 to 27 March 2022. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world.

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    Takk founders build all-white “igloo” bedroom for their young daughter

    Furry white fabric lines the interior of this winter-themed kid’s bedroom, which Mireia Luzárraga and Alejandro Muiño of Spanish studio Takk have constructed inside their home in Barcelona.

    Affectionately titled Winter Bedroom (for a Big Grrl), the self-contained structure was designed as a hideaway for the couple’s young daughter.
    It takes the shape of a 3.5-metre-high dome that tapers off into a narrow entrance on one side, resembling an igloo.
    Takk’s founders have built an igloo-shaped bedroom for their daughterThe project forms part of Takk’s ongoing and continuous renovation of the warehouse space where its founders both live and build their large-scale architectural works.
    “The house-workshop is a 400-square-metre space that can host the installations that we design and produce,” Luzárraga told Dezeen.

    “At the same time, the space is being colonised by some domestic spaces that condition it for living. It’s continuously changing depending on the work that we are developing. Some of the pieces stay forever, and some of them are temporary.”
    The interior is covered almost entirely in a fluffy white carpetMost of the materials used to form the Winter Bedroom are repurposed from Takk’s previous projects, including the steel-chain curtain that covers the entrance in lieu of a door and the three layers of foam that line the dome’s ceiling and its entire exterior.
    Set on top of a wooden structure of vertical and horizontal ribs, the foam sheets serve seral purposes. For one, they maintain the all-white palette of the sleeping quarters and provide extra warmth in the industrial warehouse, which has plenty of space and light but little insulation.

    Takk perches communal bedroom on stilts in Madrid apartment renovation

    Unlike traditional cladding or wall panelling, the foam also moulds easily to the dome’s rounded form.
    “The flexible condition of the material easily adapts to the igloo shape,” explained Muiño, who founded Takk together with Luzárraga shortly after the couple met in 2008.
    Spherical lights are fitted to the domed ceilingInside the bedroom, a snowy carpet covers not just the floor but also the walls and the raised platform that holds up the bed.
    “The interior space has a floor at a height of 90 centimetres where the mattress lies, all covered in a white furry carpet ready to be enjoyed barefoot,” Muiño said. “Below this big bed, there is a space for storing, playing or hiding.”
    Spherical lights integrated into the ceiling form what the studio describes as “a sky of bulbs”, designed to create the impression of looking up at the stars.
    The self-contained bedroom is set in a converted warehouseTakk recently constructed another self-contained bedroom as part of an apartment renovation in Madrid, where the communal sleeping quarters are perched on stilts.
    For more creative kids’ bedrooms, see our lookbook of ten contemporary children’s bedrooms.

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    Studio Melina Romano gets creative with fibreboard at Casa Alma in São Paulo

    Mossy gardens and curved elements made of medium-density fibreboard feature in an apartment-style exhibition space in São Paulo designed by Studio Melina Romano.

    Casa Alma was designed for the 2021 edition of Casacor, São Paulo’s annual festival of architecture and interior design. Studio Melina Romano, which is locally based, created the space in partnership with Brazilian brand Duratex, which is a top producer of medium-density fibreboard (MDF).
    Casa Alma is an apartment-style exhibition spaceThe exhibition was located in an event space that is part of the Allianz Parque soccer stadium.
    The goal for the 160-square-metre unit was to create a place where people could reconnect with their senses.
    Studio Melina Romano designed the project in three distinct zones”It brings as a concept the investigation of different perceptions and feelings of the visitors at each setting, from the smallest details to the atmosphere and experience provided by each space,” the team said.

    Rectangular in plan, the dwelling is composed of three distinct zones, each with its own “sensorial atmosphere”.
    The kitchen features an MDF cabinetry unit in a peachy colourSpaces are divided up by gauzy curtains, along with slatted partitions made of MDF.
    “I wanted to remove the rigid aspect of the surface and bring fluidity to the material so that the shapes would accompany the sense of the setting,” said designer Melina Romano.
    Spaces are divided up by gauzy curtainsThe unit also features landscaping along the edges that was created by Brazilian designer Aline Matsumoto. The gardens tie the three zones together and promote a light and relaxed atmosphere, the team said.
    The first of the three zones, titled Slowness, is the living room, where comfy furniture invites visitors to relax and contemplate.
    Slowness includes a rounded sofa by Guilherme WentzThe space has a rounded sofa by Guilherme Wentz, a swoopy lounge chair by Martin Aisler and an olive green arm chair by Zanine Caldas. There also is a collection of tables – in resin and plaster – designed by Romano in collaboration with Bravio Studios.
    Just off the living room, behind a white curtain, is a small home office. A scent was developed for space, which was envisioned as a mini atelier for a perfume maker.
    The home office was envisioned as a mini atelier for a perfume makerThe office is fitted with a custom curved desk designed by Romano and fabricated using MDF. The chair was also designed by Romano.
    Beyond the Slowness area, the visitor encounters a gourmet kitchen and dining room.

    Studio VDGA lines office in India with curving walls of honeycomb cardboard

    The space, called Soulful, features earthy materials and decor, such as a live-edge wooden table and bench from Arboreal and chairs from the +55 Brazilian Design Store. Overhead, an organic-shaped skylight brings in soft illumination.
    In the kitchen, the team created a MDF cabinetry unit in a peachy colour inspired by chestnuts and seeds.
    Curved elements define the spaceThe third zone is the Well-Being space, which holds a bedroom and bathroom. Its design was informed by the importance of good daily habits for mental and physical health.
    “The suite was created in this space, aiming for the reconnection of the resident with his self-knowledge, self-esteem and self-care,” the team said.
    An MDF armoire in the bedroom continues the project’s material themeThe bedroom features a queen bed with a Casa Pronta frame, a nightstand by Loja Theo and Novo Ambeinte, and another nightstand from Estar Móveis. Similar to other millwork in the apartment, the armoire was designed by Romano and made using MDF.
    The bathroom is fitted with a Romano-designed tub that was fabricated using waterproofed masonry – the same material used for the floor, walls and ceiling.
    The bathroom includes mossy elementsThe garden in this area makes itself more apparent, the team said, noting that it consists of moss, blackberry branches, garlic and other elements.
    Similar to the kitchen, a rounded skylight brings in soft light and contributes to the earthy atmosphere.
    Founded in 2007, Studio Melina Romano has completed a number of residential projects, including a São Paulo apartment featuring creamy brick walls, terracotta tiles and tropical plants.
    The photography is by Denilson Machado of MCA Estudio.

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    Batek Architekten renovates historic cinema in pastel and earth-coloured hues

    German studio Batek Architekten has refurbished Yorck Kino Passage, one of the oldest cinemas in Berlin, adding a foyer bar with pistachio-coloured arches and covering its screening rooms in saturated colours.

    The local studio wanted the renovation to pay respect to the original neoclassical style of the 1908 cinema, while still giving it a contemporary feel.
    Decorative arches nod to the arched windows in the building’s facadeThe basic structure of the foyer in the 325-square-metre cinema, which has decorative stucco elements, is the original, as are the staircases and large cinema hall. Other rooms had been renovated and refurbished over the years.
    Batek Architekten drew on the building’s large arched windows when designing the new foyer bar, which has pistachio-green arches that contrast against the original linoleum floor’s reddish-brown colour.
    A pale pistachio-green hue elegantly contrasts dark wood”The brown floor colour was specified due to monument protection and our resource-conservative approach,” Batek Architekten founder Patrick Batek told Dezeen.

    “This led to the general choice of earthy tones, but we chose the pistachio as a surprising addition.”
    Batek Architekten chose cork cladding for the cupboardsThe studio also added a natural cork covering to the cupboards in the foyer, which has a number of practical advantages.
    “The natural cork wall cladding was installed for acoustic reasons, it conceals the drinks storage and staff room spaces and allows for the hanging of posters and notices,” Batek explained.
    Velvet fabric in green hues decorate the foyerIn addition, existing materials were reused as part of the renovation. Corten-steel cladding from the cinema’s old bar was upcycled and reinstalled as panelling, edging and fitting elements of the new bar.
    The studio also restored Yorck Kino Passage’s brass light fittings and plaster moldings.

    Batek Architekten transforms Berlin arthouse cinema with saturated colours and neon lights

    As well as making interventions in the foyer, which now also features seating covered in forest-green and spring-green velvet fabric, Batek Architekten renovated two of the cinema’s smaller auditoriums.
    Here, the team added intense, deep colours that they felt were suitable for the ambience of the screening rooms, using blue for one and red for the other.
    A dark Prussian blue creates a dramatic auditorium”The auditoriums are in the basement of the building, and we wanted to create a more intimate atmosphere than in the original large lighter-coloured auditorium,” Batek said.
    “That’s why we clad it in dark Prussian blue fabric which contrasts nicely with the warm glow of the yellow-upholstered seating rows.”
    The studio added a deep red colour to the second screening roomA more traditional colour was chosen for the second room.
    “The other screening room is an interpretation of the classic cinema interior with a range of reds from rust to crimson covering walls and seating alike,” Batek explained.
    The studio also installed new podiums in the two auditoriums to create optimal visibility.
    One screening room nods to classic cinema interiorsBatek Architekten has a history of designing cinema interiors – having previously completed the Kino Delphi Lux cinema for the same client and refurbished the historic Blauer Stern cinema in Berlin.
    Among the studio’s other designs in the city is a duplex townhouse comprised of stacked cubes.
    The photography is by Marcus Wend.

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