Markus Andrews

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    Theatrical curtains drape around Dame bar by Bergman & Co

    A “rather fabulous” fictitious muse influenced the design of this richly decorated bar and restaurant in Melbourne by local interiors studio Bergman & Co.

    Dame recently opened in the IM Pei-designed Collins Place, a mixed-use complex in the East End of the city.
    Dame is located in IM Pei’s Collins Place complexThe concrete development was completed in 1981, so Bergman & Co looked to this decade for inspiration when devising a concept for the bar’s interior.
    “The narrative of Dame is centred around a fictitious 1980s muse; a powerful, well connected and rather fabulous woman,” said the team, led by director Wendy Bergman.
    A curvaceous pink marble bar counter sits in the centre of the spaceThe fictional character’s power and femininity are reflected in elements like the curved bar counter, made from blush-toned marble.

    Her portrait, painted by local Melbourne artist Stacey Rees, hangs behind the bar to tie the concept together.
    Blush curtains provide a backdrop for communal diningPale pink curtains divide the space from the building lobby and are draped dramatically to create an entryway.
    Diners are presented with multiple seating options around the restaurant’s glazed periphery.
    Glass block table legs nod to the building’s gridded architectureCommunal tables feature dark wooden tops and glass block supports, nodding to the gridded architecture of the setting.
    Above, pendant lights created in collaboration with Melbourne design studio Please Please Please are delicately suspended like pieces of jewellery.

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    Banquette seating wrapped in dark textured fabric creates cosy booths, while more casual round tables are paired with wicker-backed chairs.
    “A sumptuous banquette setting finished in rich, earthen tones creates a subtle sense of nostalgia, warming the building’s otherwise restrained palette of architectural finishes,” said Bergman & Co.
    Upholstery for banquettes was chosen to create a “sense of nostalgia””Quilted upholstery and 1980s-inspired furniture complete the aesthetic tableau, offering an elevated, all-day dining space,” the studio added.
    Glossy red table lamps and pendants are also scattered through the space, uniting a palette that feels rich and warm against the building’s grey terrazzo flooring.
    Pink marble tables are accompanied by wicker-backed chairsPink marble is similarly used at Melbourne’s Pentolina restaurant, designed by Biasol.
    Other dining and drinking establishments with notable interiors around Australia’s second-largest city include Studio Esteta’s Via Porta and Three Blue Ducks by Pattern.
    The photography is by Eve Wilson.

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    Valentino Architects transforms Malta art studio into modern home

    Valentino Architects has converted the studio and home of late post-war painter Frank Portelli in Malta into a contemporary residence for his granddaughter.

    The home, named La Serenissima, is located in the village of Attard in the centre of the Mediterranean island.
    La Serenissima now features an open-air sun terracePortelli, who is known for his cubist artworks and murals, originally designed the house in 1995 and incorporated numerous windows and skylights throughout the building so that it could serve as the ideal place to paint and live.
    Local practice Valentino Architects was tasked with transforming the existing structure into a home for the artist’s granddaughter, starting with adding a raised sun deck to the southernmost point of the house.
    Adjacent to the terrace is a modern kitchen with black cabinetryThis was achieved by removing the glazing from a number of the angled skylights and adding timber decking, creating a kind of open-air terrace that is separated from the interior using sliding glass doors.

    A short flight of wooden steps doubles up as seats and leads down into the kitchen, which features jet-black cabinetry and a large open-fronted island for storing tableware.
    The study is finished with petroleum green wallsJust across from the kitchen is a dining area. Here, Valentino Architects preserved one of Portelli’s original plywood mood boards, with some of his hand-written annotations and markings still intact.
    On the east-west axis of the home lies a small indoor courtyard and a blue-painted study surrounded by pointed archways.
    Geometric tiles nod to Portelli’s cubist paintingsMost of the mid-century furnishings and light fixtures featured in this space were Portelli’s own, before being carefully restored by Valentino Architects.
    The floor was also inlaid with geometric tiles in reference to the cubic shapes that frequently appear throughout the artist’s paintings.
    The bedroom and bathroom are tucked behind sliding doorsOn the northern end of the home is a huge gridded window that extends outwards from the building and then tapers to a point. To one side of the window lies a bedroom and to the other a white-tiled bathroom.
    Both spaces are closed off by sliding doors, punctuated with cut-out handles that nod to La Serenissima’s diamond-shaped window.
    At the northern end of the home is a huge pointed windowValentino Architects was established in 2015 and is based in Malta’s capital Valletta.
    Other striking homes on the tiny Mediterranean island include Casa B with its glass-bottomed rooftop pool and The Coach House by AP Valletta, which features a “woven” stone facade.
    The photography is by Ramon Portelli.

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    The Malin is designed as a vibrant but homely New York co-working space

    The Malin is a design-led co-working space in Manhattan that blends contemporary colours and textures with original architectural elements that are “quintessential to the iconic Soho loft-style”.

    Located at 32 Mercer Street in New York City, the workspace’s interior design was led by Jordan Trinci-Lyne and Jean Morana, in collaboration with Fettle Design.
    The Malin was designed with homely touchesDescribed as having an “adaptable floor plan”, The Malin is made up of 38 individual desks as well as a library, three office spaces, three conference rooms, four booths reserved for video calls and various other meeting areas, including a barista kitchen.
    According to its designers, the co-working space intends to maintain the building’s traditional elements – such as existing columns, high ceilings and large windows – and combine them with vibrant colour and material palettes that are designed to reflect the creativity of its members.
    Colour and texture are blended with pared-back, original elements”Architecturally, we kept several things intact that are quintessential to the iconic Soho loft-style,” The Malin co-founder Ciaran McGuigan told Dezeen.

    “The space is very open, with tons of natural light that is filtered throughout. We also incorporated custom arched doorways in solid oak and glass, which are a nod to windows that are typical to buildings in the neighbourhood.”
    White walls and hardwood floors form the backdrop of the workspaceFamiliar white walls and hardwood floors form the backdrop of the workspace, which is dressed with more colourful accents such as low-slung bouclé seating arranged in vibrant clusters, as well as touches of Calico Wallpaper.
    McGuigan explained that each of The Malin’s areas was led by “the psychology of colour, designed to inspire our members’ best work”.
    Blue-on-blue tones were chosen for the solitary libraryCalming, blue-on-blue tones were chosen for the library, which was designed as a refuge for silent work, while the remaining areas favour a palette of bright, bold and saturated hues that stand out against their neutral backdrop.
    “Energy equals productivity and that’s a fundamental output we want the design to facilitate,” said McGuigan. “Elevated materials like mohair, leather, and rare marble were included as an aspirational touch to contrast the typical work-from-home experience.”

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    Individual desks framed by Eames Soft Pad office chairs are crafted from solid oak and are subtly separated from each other with recycled crystal dividers.
    Pared-back, diner-style pendant lights are suspended above plump, emerald green booth-like sofas, which make up an informal space for The Malin’s members to gather.
    Individual desks are separated by recycled crystal dividersA curated art collection decorates the walls, while design elements from brands such as Flos and Orior – another of McGuigan’s ventures – also feature in the space. Charging outlets are positioned close to every piece of custom furniture to create an accessible working environment.
    The team explained that The Malin was created to encourage its members to return to a public workplace in the wake of the coronavirus pandemic, balancing quieter areas with those built for socialising within an eclectic interior design.
    “It has all the functionality of an office space, but with the comfort of a home,” said McGuigan.
    Pendant lights are suspended above plump seatingThe Malin opened in October 2021, joining a host of other colourful co-working spaces around the world. These include Note Design Studio’s Douglas House, an office building in London with contrasting bright hues; and Spatial – a Montreal mint green and burgundy co-working space by Ivy Studio that features a zinc reception desk with a rainbow-coloured finish.
    The photography is by Thomas Loof.

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    Inventing Anna interiors “richer” versions of their real New York counterparts

    Production designer Henry Dunn drew on locations across New York to create a set that reflects the different social classes that the protagonist of the Netflix series Inventing Anna traverses.

    The head office of media publication New York Magazine, Rikers Island jail and the 11 Howard hotel in Soho all appear as exaggerated versions on the 11-episode series which was released on February 11 2022.
    “Our thinking all the way through this was the different varieties of wealth and the different types of socio-economic classes that Anna travels through,” Dunn told Dezeen.
    “We’re trying to sort of hit all of these different types of wealth and the disparities as best we could.”
    Henry Dunn created lavish sets for the upper-class charactersThe series is a dramatisation of journalist Jessica Pressler’s quest to write How Anna Delvey Tricked New York’s Party People, an article for the New York Magazine that went viral after exposing the antics of the now-convicted fake heiress Anna Delvey, who’s real name is Anna Sorokin.

    Created by American television producer Shonda Rhimes, Inventing Anna follows the lead up to Sorokin’s trial, while simultaneously going back in time to illustrate her actions.
    To recreate the main locations Sorokin visited and lived in while galavanting around New York, Dunn decided to make sets both in-situ and from scratch at Steiner Studios in Brooklyn, New York, a feat which Dunn describes as “a balancing act”.
    Expensive furnishings and finishes symbolize wealth”We started at the very beginning of 2019 and we had some big beautiful stages at Steiner Studios but we realised that we didn’t have enough space for all of the things that we needed to build,” Dunn explained.
    “We were very much trying to illustrate that there’s old money and then there’s art money and then there’s real money, which is the tech billionaires.”
    For the wealthiest character, the production team sourced six different wallpapersThe home of one of the wealthiest characters in the series belongs to Nora, a woman who Dunn refers to as “a real art person who’s loaded with dough”. It is one of the most featured sets in the series.
    Using research gathered from people who reside in New York apartments, Dunn built a duplex designed to look like a large townhouse in New York.
    According to the designer, Nora’s status is best symbolised in the furnishings and decor that adorn the set.
    “The way we really nailed her [Nora’s] place on the socio-economic ladder was in the finishes: whether it was the Venetian plaster, the antiques, the wallpaper or even the backsplash in her kitchen which is a tile that isn’t affordable to normal humans,” Dunn explained.
    “Nora’s house had maybe five or six different wallpapers, including the ones up in the up in the guest bedroom, where Anna is living,” he added.
    Some sets were created in buildings in New YorkTo further establish Nora’s status in the upper echelons of society, the designer worked with an art specialist to source paintings by artists such as Michel Basquiat and Yves Klein for the interior decoration.
    “We had a wonderful person working with us for arts clearance and so we were able to get all these artists that would have been untouchable that we had to build,” said Dunn.
    “Obviously, it’s not the real thing but they would send us a high-resolution file and then we would repeat over it so you could see the brushstrokes,” he continued.
    “Having that sense of legitimacy meant that people understood that this well-curated piece of character-dressing is meant to tell you who this woman is.”
    Others were built at Steiner StudiosBy contrast, Dunn wanted the journalist’s home to seem “a little dumpy” to help viewers recognise her lower social status. Her home appears cluttered and ordinary – serving to cement her position in New York society.
    “We built Vivian’s house on stage – it’s not a very big apartment and we were trying to make it as realistic as possible for two people who are expecting a baby,” he said.
    The journalist’s home is designed to contrast the expensive homesCreating sets from scratch gave Dunn the freedom to embellish the sets and to elaborate further than what would have been possible if they filmed everything in its original place.
    For example, he constructed the bedroom and lobby at the 11 Howard on stage, drawing on interior designer Kit Kemp’s chintzy work at the Crosby Street Hotel for inspiration.
    “The 11 Howard, which was the hotel where Anna stayed has a minimalist style that we thought would look pretty threadbare on screen so we went for something that would read as much more rich on stage,” he remembered.
    “We were going for with something that was more tactile and sort of a more layered look to it.

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    Another technique Dunn implemented was to mix high-end furnishings and homeware items with cheaper replicas that still gave the illusion of wealth.
    Placing something from a high street brand next to a luxury designer can make the scene feel and look expensive on television while in comparison to reality, said the designer.
    “A magic trick is if you put something in the right setting on television, you can get something like glasses at H&M or Target that will look incredibly deluxe while actually not being practical at all,” he explained.
    “Place them next to plates from Van Cleef & Arpels and they look perfect.”
    The Manhattan Magazine headquarters is based on the New York Magazine officesDue to legal reasons, the series had to create a fictional version of the New York Magazine, but Dunn wanted the made up magazine’s office to look similar to the real magazine’s headquarters.
    Again, he took the opportunity to create an exaggerated “expanded and blown up” version of the real workplace, this time adding a bright red wall to the backdrop.
    “We got to tour our location manager got us in there to walk around and see how the journalists lived,” said Dunn. “And so we researched it closely and then we really tried carefully create those offices as closely as possible.”
    “We’re trying to do something a little more, a little extra – there is a big red wall that says New York Magazine that you see when you come in and we took that and we sort of expanded it and blew it up,” he continued.
    Half of the prison scenes were shot in a real prisonThe main challenge for Dunn came as a result of the coronavirus pandemic. Halfway through filming the series, restrictions meant that the team had to change locations and delay some filming, meaning that many scenes had to be shot in two places.
    “We began shooting at the prison here in the city called Rikers Island jail and when the pandemic came, we still had 50 per cent of our scenes to shoot,” he recalled.
    “I don’t think anybody at home has any idea but the waiting room and the room where Anna and Jessica meet were in completely different spots,” he mused.
    Other Netflix series with elaborate sets include the playful arenas by art director Hwang Dong-Hyuk for the popular series Squid Games and production designer Grant Major’s set for the award-winning film The Power of the Dog which featured a prominent house.
    The images are courtesy of Netflix.

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    Pastel colours and textured concrete decorate Stockholm hair salon

    Westblom Krasse Arkitektkontor has designed the interior for a minimalist hair salon that was informed by architect Carlo Scarpa’s geometric designs and the muted colours of 1920s swimming baths.

    Called Little Faktory, the salon was designed and renovated by the local architecture studio for hairdresser Sofia Geideby and is located in a former office in Stockholm, Sweden.
    Circle and square shapes define Little FaktoryWestblom Krasse Arkitektkontor overhauled the 220-square-metre basement space, which is over one hundred years old, to reveal its original textured concrete walls and exposed steel structure.
    As the salon is located underground, the studio explained that it also had to be “very careful working with artificial light”.
    Round mirrors hang above black chairsIts design for Little Faktory was intended to be minimalist and streamlined.

    “Our aim was to declutter the former office and create one big open space, making its four pillars the heroes of the main room again,” studio co-founder Jesper Westblom told Dezeen. “The challenge was to reduce, rather than to add things.”
    The salon features four original pillarsIn line with this pared-back approach, the firm painted the salon’s walls in a delicate, light yellow hue that intends to brighten its basement setting and maintain but soften the space’s industrial feel.
    Circles and squares are dotted throughout the salon in the form of mirrors and furniture. According to Westblom, they were informed by the geometric shapes seen in the late Italian architect Scarpa’s designs.
    The studio also drew on Scarpa’s use of contrasting colours.
    A washing station is located behind a perforated metal screenFreestanding haircutting stations are arranged in the centre of the salon’s main studio. These feature thick side tables shaped like plus-signs, as well as round mirrors mounted on powder-coated steel tubes.
    On one side of the main space, black leather chairs sit opposite a floating table that lines the concrete wall, above which embellished circular mirrors and square-shaped display shelves are positioned.
    Gustaf Westman recreated one of his mirrors in a bespoke colour for the projectA washing station can be found on the other side of the room, which is subtly separated from the rest of the area by a cloverleaf perforated metal screen that echoes the plus-shape used elsewhere.
    “The customer and the hairstylist represent one square each, on both sides, resulting in the plus shape,” Westblom explained.

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    A colour lab, VIP area and private office space are located behind bespoke, glazed double doors, while the entrance stairwell is illuminated with spidery neon lights by designer Josefin Eklund.
    Also among the salon’s bespoke elements is a rectilinear mirror with a bulbous blue frame by Gustaf Westman, a design that the Swedish artist recreated in a custom colour specifically for the project.
    LED lights illuminate the stairwell in neonAll of Little Faktory’s interiors are created in a muted combination of the primary colours of red, yellow and blue, which Westblom explained is an ode to the salon’s slogan, “the colourful kind”.
    “We looked at some early, inspirational images that set the tone of the project,” he said.
    “One image, in particular, was of 1920s public baths with beautiful cream-coloured tiles, orange and red details and, of course, a blue swimming pool. This ended up forming our main colour scheme.”
    Mirrors shaped like paint splashes liven up the customer toiletThe project’s emphasis on colour is repeated in the customer toilet, where playful mirrors shaped like paint splashes are arranged opposite each other in an attempt to create an infinity effect.
    Little Faktory’s material palette includes rubber flooring, reeded glass and dyed fibreboard, which intend to complement the salon’s existing elements and provide functional solutions to its customers’ needs.
    Little Faktory is a basement hair salonJesper Westblom and Robin Krasse founded their eponymous Stockholm-based architecture firm in January 2021.
    Other recent hair salon designs that have colour and texture at their core include Danielle Brustman’s Mitch Studio – a Melbourne salon that features yellow accents and glass partitions – and Mood, a hair studio by Casa Antillón in Madrid with bold mint-green ceilings sprayed with insulation foam.
    The photography is by Mikael Olsson.

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    Lore Group opens “grown-up” One Hundred Shoreditch hotel

    Hospitality chain Lore Group has completed the One Hundred Shoreditch hotel in the building that formerly housed Ace Hotel’s London outpost.

    The rebranded hotel recently opened following a thorough refurbishment, which included the addition of new oriel windows on the building’s facade.
    New oriel windows were added to the building’s exteriorThe hotel was designed by Lore Group creative director Jacu Strauss, who aimed to build on the foundation of the Ace Hotel London Shoreditch.
    Designed by London-based Universal Design Studio, the Ace Hotel opened in 2013, but was shuttered in 2020 amid the coronavirus pandemic and never reopened.
    Wooden totems in the lobby were crafted by Jan Hedzel Studio”People were sentimental about what it was before and while we never wanted to drastically change that, we wanted to reflect the new, more grown-up Shoreditch,” Strauss told Dezeen.

    “And we hope that the energy that people loved in the former property is even more present now.”
    The lobby table from the Ace Hotel was kept and refinishedOne Hundred Shoreditch has 258 rooms as well as three bars, a coffee shop and a restaurant named Goddard & Gibbs, which has a giant yellow rock sculpture as its centrepiece.
    In the revamped lobby area, timber totem sculptures designed by Strauss and crafted by London-based Jan Hedzel Studio have been put in place, as well as a giant mirror.
    A large red paper sculpture is behind the lobby barIn the interest of reducing waste, Lore Group said it tried to keep materials from the old hotel where possible.
    The wooden floor in the entrance area remains the same, while a long wooden table has been refinished to give it a lighter tone, with the corners sanded into curves.

    Ace Hotel Shoreditch by Universal Design Studio

    Cork wall panelling has been dotted throughout, while the existing cork ceiling was replaced with an acoustically insulated combination of timber strips backed by black felt to soften the disco music prescribed by Strauss.
    An arrangement of giant scarlet paper flowers behind the counter distinguishes the lobby bar.
    What was previously a nightclub has been replaced with a lounge-style cocktail barOn the basement level, what was previously a nightclub has been replaced by a lounge-style cocktail bar named Seed Library.
    The bar’s design was informed by the films of director Stanley Kubrick with table lamps reminiscent of 1960s science fiction, juxtaposed with playful flourishes such as wooden wall panels fixed using metal racks taken from an office shelving unit.
    Pink tiles and terrazzo tabletops characterise the rooftop barIn the rooftop bar, powdery pink tiles matched with vivid pink terrazzo tabletops are intended to catch the sunlight, while green plants hang down from the ceiling in a concealed planter.
    Also on the top level is a multipurpose events space where a colourful second-hand parachute has been attached to the wall.
    A vintage parachute is fastened to the wall of the top floor events spaceStrauss sought to add intrigue to other communal spaces with artworks, including pieces painted in-situ personally by him inside the lifts and tapestries in the corridors.
    The rooms were designed to have a more laid back atmosphere with a mainly neutral palette.
    “When you enter the bedrooms you need to shift your energy,” explained Strauss. “The room should be a sanctuary – this is the place where you need calm.”
    The vivid hues of the rest of the hotel give way to a more neutral palette inside the roomsIn the bedrooms Berber carpets have been combined with a bed designed by Strauss with a shrunken base to create the illusion of floating.
    Large artworks adorn the walls to provide colour, with playful slinky-like vases are filled with eucalyptus to scent the rooms.
    Each oriel window has a unique furniture arrangementLore Group also operates Sea Containers, a hotel on London’s Southbank, as well as the Pulitzer in Amsterdam and the Riggs and Lyle hotels, both in Washington DC.
    Strauss led on the interiors for Sea Containers while a senior director at Tom Dixon’s Design Research Studio.
    The images are courtesy of Lore Group.

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    Ten installations by Kriskadecor that use chain curtains to dramatic effect

    Promotion: from space dividers to ceiling features, Kriskadecor creates bespoke hanging installations from colourful aluminium chains. Here, we’ve rounded up ten of the Spanish brand’s most prominent projects.

    Each of Kriskadecor’s chain-link fixtures can be customised with different colours, shapes and sizes that can be tailored to different environments, whether interior or exterior.
    Since it was founded in 1926, the brand has refined its production process, integrating 20 per cent recycled content and anodising the metal for durability and colourfastness.
    “We have developed a unique manufacturing process which has been fine-tuned over the years by relying on an essential cornerstone, the human component,” said Kriskadecor.
    “The chain links spring from a perfect balance between an industrial process and the oversight of our technicians, whose expert hands check each project in detail.”

    Read on for ten of the brand’s seminal installations.
    Photo is by Jon NissenbaumMiQ office, USA, by Sydness Architects, Design Republic and Emma Louise Ingham
    A gradient curtain of sunset-coloured chains offers a contrast against the neutral interiors of this office in New York by marketing company MiQ.
    The divider is designed to help separate the space into a series of open, spacious work areas to encourage collaboration without blocking natural light from streaming into the interior.
    Photo is by Tiberio SorvilloLinder Cycling Hotel, Italy, by Perathoner Architects
    High up in the Dolomite Alps, guests of this bike-friendly hotel can unwind in a dedicated spa where privacy is provided courtesy of the Nieva de Noche curtains by Barcelona-based designer Claire Davies.
    Chainlinks of various colours including deep blue, black and pale silver create intricate patterns that resemble raindrops while blending in with the moody palette of the surrounding interior.

    Nando’s Altrincham, UK, by Stac Architecture
    Instead of being anodised to create different colours, the aluminium links used in this particular installation are lacquered in a saturated yellow hue from Kriskadecor’s new Luxe Edition palette, which provides a more matte finish while improving durability.
    While this version was custom made to suit a restaurant interior by English practice Stac Architecture, the collection also includes an extensive range of other Pantone and RAL colours from Capri Blue to Raspberry Red.
    Photo is by Philip DurrantAldgate Tower, UK, by Basha Franklin
    Suspended in an east London office tower, this feature helps to close the distance between the atrium’s floor and its towering ceilings in a bid to make the room feel more welcoming.
    Here, the chains are arranged into three cylindrical segments of different sizes and ombre colours that complement the seating nooks below.
    Photo is by Joni IsrealiWestfield Mall of the Netherlands by MVSA Architects
    More than 230 kilometres worth of chains in shades of gold and brown hang from the ceiling in the cafeteria of Holland’s largest shopping centre.
    Organised into 30 curved panels, the installation meanders its way through the interior, imitating the organic flow of air while helping to create a sense of intimacy within the vast commercial space.

    Kohakinho restaurant, Switzerland, by Bruno Huber Architetti
    In this sushi restaurant in Lugano, the decor is matched to the menu with a sculptural fish-shaped lamp dangling from the ceiling while a Kriskadecor feature wall creates the impression of being underwater.
    The installation’s colour gradient starts on the ceiling with shades of orange, brown and gold that tie into the rest of the interior, before going on to incorporate various hues of blue towards the bottom.
    Photo is by Palkó GyörgyKI20 Business Centre, Hungary, by MadiLancos Studio
    Lengths of aluminium in a delicate champagne colour run along the length of three entire floors in the interior courtyard of this renovated Neo-Renaissance-style office in Budapest.
    Beyond adding a sense of understated elegance, they also help to conceal the building’s unsightly plumbing and electrics.
    Photo is by Marcela GrassiArchiproducts Milano, Italy, by Serena Confalonieri
    Thanks to the natural durability of the anodised aluminium, Kriskadecor’s wall hangings can also be applied to the exterior of a building like cladding, as seen on the Archiproducts shop in Milan.
    Here, the custom installation is mounted using a special fixing system, customised to fit the shape of the facade and imbued with a vibrant geometric pattern.
    Photo is by Denis VasilievCafe Karavaevi, Russia, by Marina Bagrova
    Winding strips of apricot-coloured aluminium are arranged around the overhead lamps in this Moscow cafe in order to diffuse their cold, functional light.
    With their gentle shape and colouring, the dangling fixtures help to bring a sense of softness to an otherwise industrial space.
    Photo is by Niels KramerIPG Mediabrands, Netherlands, by Tétris
    Instead of walls, this rest area in the Dutch office of IPG Mediabrands is bounded by transparent aluminium-chain curtains on two sides in order to allow light to permeate into the rest of the interior.
    An undulating frame creates a doorway on one side, which can be customised in any number of organic and geometric shapes.
    Partnership content
    This article was written by Dezeen for Kriskadecor as part of a partnership. Find out more about Dezeen partnership content here.

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    Jeanne Schultz designs Passeig de Grácia apartment around period features

    Ornamental details including a stone fireplace and a gilded mirror take centre stage in this minimal revamp of a Barcelona apartment overseen by Jeanne Schultz Design Studio.

    Located on Passeig de Grácia, the two-bedroom flat boasts a range of period features including a Catalan vault ceiling, wooden parquet flooring and an antique chandelier.
    Period details in the flat include a stone fireplace and wood panellingThese ornamental details command attention, yet Barcelona-based Schultz and her team have managed to make the interior feel bright and spacious by adding new furniture sparingly and adopting a sensitive colour strategy that enhances what’s already there.
    “We maintained almost all elements of the flat,” Schultz told Dezeen. “Architectural interventions were all in the interest of preserving the home and refinishing it.”
    Furniture was added sparingly to offer a minimalist feelPasseig de Grácia 97 is owned by a young entrepreneur who recently relocated from Paris. As he is often travelling, he wanted his home to feel both functional and peaceful.

    Schultz felt it was important to retain as many of the apartment’s existing features as possible, but to make them feel fresh by pairing them with characterful modern pieces.
    “The client wanted just the essentials, so the space is carefully curated,” she explained. “Each object plays with our core ideas of earthiness, handcrafted, local and comfortable.”
    Green tiles within the fireplace influenced the colour schemeThe starting point for her design was the living room, where a pink stone fireplace with chequered green tiles is set against a wall of wood panelling and shelves.
    “One the things that struck me most about the flat was the living room with its charm: all the existing wood shelving and millwork, the crown moulding and antique details,” said Schultz.
    Old patio doors were sanded and repaired, then repainted greenTo complement these elements, a green tone was added to doors, window frames and ceiling mouldings, to announce this room as the centre of the home.
    The same green features in the velvet dining chairs, which surround a wooden table at one end of the room.
    Other key details in this room include a curvy white armchair, a bulky black side table and a bulbous leather floor lamp.
    Walls are painted in subtly different shades of white, to enhance light contrastsFor the rest of the home, Schultz was keen to maintain the vistas through the floor plan.
    The flat has an unusual layout that contains no corridors. The lobby, kitchen, living room and dining space are laid out in sequence, connected by arched doorways, while two bedrooms and bathrooms are set alongside.

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    “There is a linear focal point starting from the entry leading to the terrace, which allows for this amazing procession through the spaces,” said Schultz. “The sunlight hits all the way from the terrace to the entry.”
    To highlight the lighting contrasts, the walls in different rooms are painted in subtly different shades of white.
    Rooms in the apartment are arranged in sequence, connected by arched doorwaysThe gilded mirror was found in the apartment, but was deemed too large to be hung from a wall. Instead it is propped up in the corner of the main bedroom, offering cloudy grey reflections of the room.
    To balance the visual of this element and emphasise the high ceiling, Schultz chose a low, platform-style bed.
    A gilded mirror is the focal point in the main bedroomThe biggest challenge for the designer was the project timeline; she was given just five weeks to complete, which provided challenging when many existing elements – the patios, for instance – needed to be repaired.
    To ensure she completed on time, Schultz sourced all of the furniture from retailers with shops in Barcelona, including Dareels, Kave Home and Oliver.
    Other examples of refurbished apartments in Barcelona include a geometric design for a flat in Ricardo Bofill’s Walden 7 and a yellow scheme for a home in Sarrià-Sant Gervasi.
    Photography is by Adrià Goula.

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