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    Plantea Estudio creates “frank and efficient German ambience” inside Acid Berlin bakery

    Spanish practice Plantea Estudio has completed the interior of Acid bakery in Berlin, which features a palette of austere and functional materials chosen to echo its urban context.

    Acid Berlin is located on a corner lot in the city’s central Mitte district, with large ground-floor windows looking out onto Rosenthaler Strasse and Auguststrasse.
    Plantea Estudio has designed the interior of the latest Acid bakery in BerlinHaving previously designed the bakery’s original outlet in Madrid, Plantea Estudio opted for a similar pared-back style with nods to Mitte’s gritty urban character.
    The main materials used throughout the public areas include chestnut wall panelling and red Ferrés tiles, which contrast with the more austere sections finished in stainless steel and grey paint.
    The interior is reflective of Mitte’s gritty urban character”The aim was to achieve a frank and efficient German ambience and at the same time a temperate refuge, a Mediterranean ‘nativity scene’ in the harsh urban territory of Berlin’s city centre,” said the designers.

    The premises are located on the ground floor of a residential building, with large wood-framed windows providing a visual connection to the streets outside.
    Orange resin flooring reflects on the surfaces of stainless-steel machineryThe L-shaped internal plan is organised with the workshop area on the longer side towards Auguststrasse and the cafe space facing Rosenthaler Strasse.
    Ovens, fermenters, mixers and office equipment are arranged along the bakery’s back wall in front of stainless-steel panels that produce gentle reflections of the goings-on.
    Tables for kneading and rolling are positioned in the centre of the room facing the windows, so passers-by can observe the bakers at work.
    The cafe counter is clad entirely in stainless steelThis space also features a robust orange resin floor that complements the tonality of the tiled public areas and is reflected on the surfaces of the stainless-steel machinery.
    The cafe area is organised around a six-metre-long counter containing a glass display case for pastries and space for coffee-making equipment.
    The counter is clad entirely in stainless steel, giving it a utilitarian aesthetic that ties in with the materiality of the bakery.

    Studio Wok designs Milan bakery Pan as contemporary take on Japanese culture

    Behind the counter is a steel worktop and shelving system where bread is displayed in front of semi-opaque panels with a subtle orange-white gradient that allows a partial view through to the work area.
    Tables, benches and stools by Copenhagen brand Frama are arranged along the facades and back walls so customers feel immersed in the cityscape.
    Semi-opaque panels allow a partial view through to the work area at the backPlantea Estudio drew directly from the restrained forms, materials and tonality of the urban surroundings to design a space that feels raw yet refined.
    “It is simple and austere, practical and functional, like the city but in no small measure warm and welcoming, bold and spontaneous like its inhabitants,” said the studio.
    Tables, benches and stools are arranged along the facades and back wallsWoodwork, ceiling panels and bare brick walls are painted a unifying shade of light grey that echoes the simplicity and functionality of the adjacent mid-rise apartment buildings.
    The panelled walls and red-clay tiles used for the flooring and built-in bench seating introduce warmer tones and bring an expressive touch of handmade quality to the space.
    The tables feature white polyethylene tops set on chrome bases that add a further reflective element, while the birch stools provide another natural detail alongside the grain of the chestnut panelling.
    Simple lighting fixtures includes wall sconces from Santa & ColeSimple lighting including wall sconces from Spanish brand Santa & Cole and a classic Japanese-style paper lantern provide gentle illumination.
    Ceramic works by female artists Raquel Riola, Wendy Taylor and Saeam Kwon were chosen to add textural highlights that complement the character of the interior.
    Decorative ceramic works add textural highlights that complement the interiorPlantea Estudio was founded by brothers Lorenzo and Luis Gil in 2012, with Carla Morán joining in 2017. Much of the studio’s work focuses on smaller projects including hotels, family homes, restaurants, cafes, shops and offices.
    The studio’s output is characterised by a careful consideration of materials and fabrication, with previous examples including a store for footwear brand Veja featuring raw finishes and brutalist details, and a minimalist restaurant that uses plywood and chipboard to create a light and warm ambiance.
    The photography is by Marina Denisova.

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    Seven conversation pits that bring people and rooms together

    For our latest lookbook, we’ve put together a roundup of contemporary takes on the classic conversation pit, installed into projects ranging from houses to retail spaces to create places for gathering.

    First rising to popularity in the middle of the 20th century, conversation pits are sunken areas lined with seating that often feature small tables or inventive steps that give access to the space.
    This architectural furniture can come in many shapes and sizes, and many studios are taking unique approaches to the mid-century look, choosing material palettes and forms that better suit contemporary spaces.
    From a stark-white conversation pit for a modelling agency to use as a backdrop, to angular variations that fit into limited spaces for urban renovation projects, these seven projects push the limits of the form.
    This is the latest in our lookbooks series, which provides visual inspiration from Dezeen’s archive. For more inspiration, see previous lookbooks featuring member’s clubs, sculptural coffee tables and pull-out furniture.

    Photo by Gilbert McCarragherClay House, UK, by Bureau de Change
    This conversation pit fits the contours of a portion of a house extension in London and features a small set of stairs.
    It has tile floors and a small ledge against the windows with a larger ledge covered in upholstered cushions. The angular pit was designed to reference Victorian boxing rings.
    Find out more about Clay House ›
    Photo by The IngallsMagnum Opus, USA, by Kelly Wearstler and Masastudio
    This rectangular conversation pit was included in the pool house of a sprawling residence in California.
    It sits below a skylight in a black-plaster ceiling and features plush grey cushioning hemmed in by a concrete ledge. Lamps decorate its concrete ledge, while a brass coffee table sits in the middle.
    Find out more about Mangum Opus ›
    Photo by Rory GardinerCasa Alférez, Mexico, by Ludwig Godefroy
    This conversation pit brings a pop of colour to the otherwise stark interior of a brutalist house in a pine forest outside of Mexico City.
    The pit itself is quite shallow and has cushions spread completely around its base, with cylindrical cushions pushed up against the edges.
    Find out more about Casa Alférez ›
    Photo by Sean DavidsonMadhappy, USA, by PlayLab Inc
    Located in a retail space in Los Angeles, this conversation pit sits in front of a display with speakers. Its steps and floor are a continuation of the carpet in the rest of the space.
    Sky-blue couches line the circular space, which has aluminium side tables placed on the inside.
    Find out more about Madhappy ›
    Photo by Sean DavidsonThe Pinky Ring, USA, by Bruno Mars and Yabu Pushelberg
    This cocktail lounge in Las Vegas has a large sunken area in the middle that resembles a massive conversation pit lined with plush green upholstery.
    It creates a separate level from the bar and circulation areas and even has smaller table-and-chair setups spread throughout.
    Find out more about The Pinky Ring ›
    Photo courtesy of Sonn The Plaster House, UK, by Sonn
    Another rear extension to a residence in London, this seating area takes cues from the conversation pit, such as the plush cushions and recessed placement, but has an L-form that wraps around only halfway.
    The primary purpose for the placement was for users of the couch to sit level with the garden and for the windows to let in as much light as possible.
    Find out more about Plaster House ›
    Photo by Salva LópezThe Blow Models office, Spain, by Isern Serra
    This office for a modeling agency in Spain offers not one but two conversation pits, organised on either side of another pit that holds plants.
    The recessed seating has soft, white cushions to match the paint that covers nearly all the interior, and was meant to create interesting landscapes for photoshoots.
    Find out more about the Blow Models office ›
    This is the latest in our lookbooks series, which provides visual inspiration from Dezeen’s archive. For more inspiration, see previous lookbooks featuring member’s clubs, sculptural coffee tables and pull-out furniture.

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    Lebanese street food informs interior of Common Breads bakery by MA Studio

    A traditional Lebanese bread influenced design elements at this bakery in London by local firm MA Studio, where it’s the primary item on the menu.

    Common Breads on Buckingham Palace Road, close to Victoria station, celebrates the centuries-old Middle Eastern food staple of kaak.
    Common Breads was designed as a celebration of kaak breadIn Beirut, the bread is crafted from simple ingredients, covered in sesame seeds and moulded into an identifiable “purse” shape with a hole at the top, which allows vendors to hang the roll from a rig attached to their bicycles.
    “Inspired by this quintessential street food, a passionate trio of friends decided to bring the story of kaak to London,” said MA Studio, led by Selma Akkari and Rawan Muqaddas.
    The poured floor is speckled to look like sesame seedsThe studio designed the bakery’s interior to introduce the bread to new audiences in a contemporary setting.

    Formerly an office, the 65-square-metre space at street level was transformed with warm materials and nods to the heritage of the snack it serves.
    Kaak bread is also displayed in a window that looks into the kitchenThe original facade was altered to include two prominent reinforced columns at the entrance, while large windows create a connection between the outdoor patio and the indoor areas.
    “The interior design interprets the vernacular vocabulary of Lebanese architecture through a curated palette of materials,” MA Studio said.
    Caramel-toned wood creates a portal into the main service areaBeyond the glass door is a white-walled space with a speckled floor that mimics the appearance of sesame seeds.
    This room offers seating on built-in window benches, facing a glass panel that allows a glimpse at the preparation process in the kitchen behind and creates an opportunity to display the kaak on metal hooks.

    Rawan Muqaddas designs Sloane Street Deli to be a “classic neighbourhood spot”

    A caramel-toned wooden frame references typical Lebanese architecture and creates a portal into the main service area.
    Here, two perpendicular counters are wrapped in checkerboard tiles that playfully suggest the patterns of backgammon – a popular community pastime in Lebanon.
    A white-painted room has bench seating built under the windowsTo adorn the walls above the two-top tables, Beirut lighting brand Fabraca Studios designed custom metal sconces that resemble kaak, complete with the signature hole at the top.
    “This thoughtful integration of traditional elements creates an immersive cultural experience, inviting customers to step into a space where the essence of Lebanese hospitality and culinary tradition come alive, offering a true taste of Beirut in the heart of London,” said MA Studio.
    Checkered counters provide a nod to backgammon boardsBefore joining forces, Akkari and Muqaddas ran separate studios in New York and London respectively, and collaborated on the interiors of a “minimal but warm” Brooklyn apartment.
    Muqaddas also previously designed the Sloane Street Deli in the UK capital, which features green tiles and bentwood chairs.
    The photography is by Felix Speller.

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    Atelier Échelle reimagines Montreal dental clinic with residential vibe

    Canadian studio Atelier Échelle has overhauled an orthodontic clinic in Montreal to create a “warm and inviting, residential atmosphere” with medical equipment positioned among light wood features.

    Clinique Monkland occupies the parlour level of a century-old building in the Notre-Dame-de-Grâce neighbourhood.
    The reception area at Clinique Monkland is designed to resemble a living roomThe 90-square-metre space was reimagined by local firm Atelier Échelle to make it feel less sterile and more homely.
    “[The project] reimagines the typical orthodontic clinic experience as a warm and inviting domestic environment,” said the studio.
    A compact walnut desk features a ridged front and curved cornersIn the reception area, a compact walnut desk with a ridged front and rounded corners is positioned in front of a white-painted brick fireplace.

    Millwork surrounds the brick, covering the full wall with storage and display space for styling books and artwork.
    Green velvet benches are provided for waiting patientsOn either side of the room are green velvet benches – one straight, and another that angles to fit within a large bay window – for waiting patients.
    “The reception was conceived as a living room by preserving an existing brick fireplace and adding long, custom velvet benches along the side walls,” said Atelier Échelle.
    Fluted glass panels provide privacy for the consultation roomsFluted glass provides privacy for the adjacent consultation room, which is accessed through a doorway that connects to the remaining spaces.
    “A corridor echoes the original layout of the building, distributing the technical apparatus on one side and consultation rooms on the other,” the studio said.
    Pale mint green cabinets and leather chairs add to the contemporary aestheticThe consultation rooms are warmed using white oak flooring and trim, as well as a coffered ceiling that hides electromechanical and dental equipment above.
    “This bespoke design also offers something for the reclined patients to observe as they receive dental care,” said Atelier Échelle.

    Appareil Architecture designs Montreal dental clinic to feel like “someone’s home”

    Cabinets are coloured pale mint green and the patient chairs are upholstered in brown leather, adding to the contemporary feel throughout the clinic.
    “The nuanced minimalism of the place blends period accents with comforting wood tones and domestic touches, transforming the orthodontic clinic experience through heightened design details,” Atelier Échelle said.
    A coffered ceiling hides mechanical and dental equipment aboveSeveral designers have rethought the experience of visiting a dental clinic by creating interiors more akin to residential or hospitality spaces.
    Also in Montreal, Appareil Architecture took a similar approach at the Maxillo Tandem clinic to help patients and employees feel relaxed, while Studio Author modelled Toronto’s Paste Dental on a hotel lounge.
    The bespoke ceiling provides a view for reclined patients during consultationsClinique Monkland is longlisted in the health and well-being interior category of Dezeen Awards 2024, along with 15 other projects around the world.
    These include a massage parlour in Shanghai, a dermatology clinic in Tokyo, and a spa and hammam in Dubai.
    The photography is by Maxime Brouillet.
    Project credits:
    Architect: Table ArchitectureInterior designer: Atelier ÉchelleMillwork and furniture: Mesure, Arrebeuri, Foutu Tissu

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    Eight living rooms decorated with autumnal hints of red and orange

    As autumn draws near in the northern hemisphere, our latest lookbook showcases different ways to add cosy shades of red and orange to living rooms.

    Lounge chairs, coffee tables, artwork and even window frames are some of the ways the living rooms featured below introduce pops of autumnal colour to the interior.
    Ranging from rich, deep reds to rusty terracottas and burnt oranges, the colours help add a sense of warmth to cosy lounge areas as the temperature in the northern hemisphere cools.
    This is the latest in our lookbooks series, which provides visual inspiration from Dezeen’s archive. For more inspiration, see previous lookbooks featuring living rooms with sculptural coffee tables, luxurious members’ club interiors and homes with pull-out furniture.
    Photo by Alice MesguichCollectors Home, the Netherlands, by DAB Studio

    In this 1920s home in Amsterdam, which was renovated by interiors firm DAB Studio, colour and warmth were injected into the living room with a deep red Gubi chaise lounge placed in front of a marbled mahogany feature wall.
    Set in an otherwise neutral-toned room, the chaise lounge sits across from a sculptural coffee table and a Wassily Chair by Bauhaus designer Marcel Breuer.
    Find out more about Collectors Home ›
    Photo courtesy of Note Design StudioHabitat 100, Sweden, by Note Design Studio
    Habitat 100 is a 1920s flat in Stockholm that was overhauled by local firm Note Design Studio with custom-made furniture and mouldings informed by the eaves of the building.
    A sculptural 1940s coffee table by Swedish designer Erik Johansson, made up of black lacquered spheres wedged between two orange-toned mahogany veneer disks, acts as the centrepiece in the living room.
    Find out more about Habitat 100 ›
    Photo by Michael SinclairHelios 710, UK, by Bella Freud and Maria Speake
    Helios 710 is a London apartment located inside the former BBC Television Centre, designed by architect Piercy & Company with interiors by creative duo Bella Freud and Maria Speake.
    The eclecticism of the 1970s informed the designers, who added glossy black sofas with burnt orange seat cushions to the green-carpeted living room.
    Find out more about Helios 710 ›
    Photo by Jack LovelShadow House, Australia, by Grotto Studio
    A rusty red-toned painting hangs on a double-height wall in the neutral living area at Shadow House, an early 1900s cottage in Perth that was refurbished and extended by Australian practice Grotto Studio.
    The practice created an open-plan living, kitchen and dining room in the extension, with light wood panels lining the walls and angular roof.
    Find out more about Shadow House ›
    Photo by Ivan JonesStock Orchard Street, UK, by Sarah Wigglesworth
    Designed by architect Sarah Wigglesworth in 2001 and retrofitted in 2020, Stock Orchard Street is a home in north London with straw-bale insulation and walls made from sandbags, recycled concrete and railways sleepers.
    Window frames were finished in different colours throughout the home. In the living room, red window frames complement rust-toned seating and cushions.
    Find out more about Stock Orchard Street ›
    Photo courtesy of Färg & BlancheThe Baker’s House, Sweden, by Färg & Blanche
    For its exhibition at Stockholm Design Week in 2019, Swedish design studio Färg & Blanche displayed furniture and lighting in an 1889 home that belonged to the family of its co-founder, Julius Westerdahl.
    In the sitting room of the historic home, bright red side tables were placed next to an existing red-brown velvet sofa.
    Find out more about The Baker’s House ›

    Courtyard House, US, by No Architecture
    A faceted glazed garden punctures this home in Oregon’s Willamette Valley wine country, which was designed by New York firm No Architecture.
    The open-plan kitchen, dining room and lounge was arranged around the courtyard, with a large orange rug providing a contrast to the leafy backdrop.
    Find out more about Courtyard House ›
    Photo by Sean DavidsonWest Village apartment, US, by Olivier Garcé
    Interior designer Olivier Garcé transformed his New York home into a showcase of collectible furniture, experimental ceramics, decorative lighting and original artworks by his friends and colleagues.
    In front of the brick fireplace is a coffee table with a pink-glazed lava stone tabletop, a terracotta-toned upholstered chair and a floor lamp with a fire engine red light shade.
    Find out more about West Village apartment ›
    This is the latest in our lookbooks series, which provides visual inspiration from Dezeen’s archive. For more inspiration, see previous lookbooks featuring living rooms with sculptural coffee tables, luxurious members’ club interiors and homes with pull-out furniture.

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    Trahan Architects restores Superdome to be “microcosm” of New Orleans

    Local studio Trahan Architects has finished an interior renovation of the Caesars Superdome in New Orleans, completing a series of renovations launched after Hurricane Katrina that it claims will extend the stadium’s life by 25 years.

    Trahan Architects’ work on the interior is the latest upgrade since the studio was engaged on the Superdome restoration in 2005, after it was damaged by Hurricane Katrina. The building sheltered as many as 20,000 thousand people fleeing the storm.
    The Superdome was originally completed in 1975 by Curtis and Davis Associated and featured a dome and concave cylindrical facade clad with aluminium panels.
    Trahan Architects has completed the renovation of the Superdome stadium in New OrleansAfter Hurricane Katrina, Trahan Architects implemented an overhaul of the exterior, replacing all the panels with a rainscreen system made from anodized aluminium metal panels.
    The current phase of the renovation, which was completed in time for its first game of the NFL season, included the removal of the ramp circulation system on the concourse.

    This allowed for concessions to be pushed to the outside of the structure, as well as for the installation of atriums in the entry programs and for lounges to be installed.
    In total, the renovation opened up more than 100,000 square feet (9,290 square metres), according to the studio.
    It is the latest in a series of renovations undertaken after the stadium was damaged by Hurricane Katrina in 2005The removal of the ramps allowed for more shared spaces and circulation, according to the studio, which modelled the concessions and circulation on the community-oriented streetscapes of New Orleans.
    “With this interior overhaul, we wanted the building to feel like a microcosm of our city,” Trahan Architects founding principal Trey Trahan told Dezeen.
    “We thought of the design as a series of stacked neighborhoods or ‘faubourgs’ as we call them, all connected by generous circulation spaces that served them – aka ‘the street’.”
    Also important to the renovation was bringing the materiality used for the original facade inside.
    Both Trahan and studio partner Brad McWhirter told Dezeen that the original innovativeness of Superdome, structurally and materially, was important throughout the redesign process.
    Anodized aluminium similar to that found on the exterior was used to clad the atriums”The rich material language they worked with, having the exterior skin of anodized aluminum which ages beautifully over time, along with its elegant form, made us see it as a sculpture that needed to be expressed both inside and out,” said McWhirter.
    “Before, you never got to experience the shape of the building from the interior – they were treated as two completely separate elements.”
    This move is most obvious in the atriums placed at three corners of the structure, which are the most visually apparent interventions.
    Here, express elevators move up through the voids. The voids have walls clad with anodized aluminium rods and are crossed by thick metal-clad beams that reveal the structure.
    Trahan Architects removed the circulation ramps and added additional seating and concessionsPlanning for resiliency and bringing the structure to compliance with codes around ventilation and accessibility were also important in the redesign process.
    Trahan Architects worked with engineering firm Thornton Tomasetti to ensure the building could stand up to high winds – it was during this 3D modelling process that the voids covered by the circulation ramps were discovered, which led to their removal.

    Intuit Dome basketball stadium set to open its doors in Los Angeles

    “You would walk up the ramps from floor to floor with an eight-foot (2.4 metre) ceiling height, to small, cramped concourses until you finally got to your seat for some relief,” said Trahan.
    “With the model, we could see the full breadth of the voids and wasted space that could be more useful for the public, building operations, and for incorporating new mechanical systems.”
    These processes all happened while keeping the stadium in use for the American football season. The studio also had to install accessible decks for movement-impaired people, all while making sure that new mechanical systems did not interfere too much with the aesthetic of the exterior.
    “This, and from a design standpoint, implementing universal accessibility within a 50-year-old building was very difficult.  We had to make up for a lot of lost time to bring the building up to today’s standards and go the extra mile to prepare for the future,” added Trahan.
    Escalators and elevators now provide the primary circulation to the upper levelsThese future-looking improvements included the aforementioned facade replacement and the inclusion of new emergency generators, as the loss of power during Hurricane Katrina created harsh conditions for those sheltering inside.
    The architects also lauded some of the original features of the structure, which were maintained.
    Accessibility decks were also added as part of the renovation”For instance, the ‘gutter tubs’ of the roof, hidden behind the lip of the facade at the top, manage stormwater such that draining a 10-acre roof doesn’t overload the city’s system,” said McWhirter.
    “This continues to work very well to this day – even with the incredible amount of development that’s occurred since the building first opened.”
    According to the studio, the total of the renovations since 2005 will drastically extend the lifespan of the stadium.
    “This comprehensive renovation is expected to extend the building’s lifespan by 25 years, allowing future generations to enjoy the same sense of community and excitement the New Orleans landmark has fostered for nearly half a century,” it said.
    Other restorations of iconic buildings include Foster + Partners’ interior overhaul of the Transamerica Pyramid skyscraper in San Francisco.
    Meanwhile, natural disasters worsened by climate change continue to be an impetus to design buildings better. In light of that, Dezeen launched a series last year called Designing for Disaster to highlight the different problems and solutions architects and designers face in the face of extreme weather events.
    The photography is by Tim Hursley.

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    Iosa Ghini Associati clads Fiandre office in “decorative skin” of ceramic surfaces

    Promotion: architecture practice Iosa Ghini Associati has renovated the 1980s headquarters of Italian surfacing manufacturer Fiandre in Castellarano, using ceramic to cover almost the entire interior from the walls and floors to the custom furnishings.

    Set across three floors and 2,400 square metres, the office was originally designed by architect Quintilio Prodi in 1989 and is described by Fiandre as “vaguely post-modern”.
    Iosa Ghini Associati has renovated the Fiandre officeIosa Ghini Associati has revamped and reorganised the interiors by designer Carlo Cattani to prioritise the wellbeing of employees and encourage their return to the office post-pandemic.
    With this aim, the architectural studio, with offices in Milan and Bologna, introduced novelties including a hangout area in the basement complete with a football table, a “take one, leave one” bookshelf and rocking chairs overlooking the garden.
    The basement houses hangout areas including a football table, and a space with music and books to be sharedOffice space and meeting rooms are spread across all three floors of the building, separated by glass partitions that allow daylight to filter into the core of the building while still providing acoustic privacy.

    Different areas are also distinguished by their use of different Fiandre ceramics, which architect Massimo Iosa Ghini used across almost all available surfaces.
    Ceramic surfaces define different areas”Ceramic surfaces were applied like a changing, decorative skin to floors and walls, at times adorned with precious triangular and herringbone cuts to embellish the spaces without ever overdoing it,” Fiandre said.
    Fiandre’s ceramic surfacing was used to cover floors across all three storeys, as well as various walls, washbasins and custom desks, meeting tables, bar counters and coffee tables designed bespoke for the office.
    The ceramics can resemble marbleTo improve indoor air quality and hygiene, Fiandre chose Active Surfaces – ceramic slabs developed by Fiandre’s parent organisation Iris Ceramica Group. The photocatalytic properties of these “eco-active ceramic surfaces use light energy to trigger chemical reactions that eliminate bacteria, viruses and pollutants, converting them into harmless substances”, the company said.
    In total, the building uses 5,058 square metres of ceramic slabs, which together with the LED lights help to purify over 10,000 cubic metres of air from odours and volatile organic compounds per day, according to calculations from researchers at the University of Milan.
    In the lobby, the floor is finished in a herringbone pattern formed from alternating matte and glossy slabs of the marbled Premium White Maximum porcelain.
    The reception desk is flanked by two waiting areas, underscored in Pietra Grey Maxium and enveloped by two curving walls clad in fluted ceramic slabs made using the 4D Ceramics technology pioneered by Fiandre’s parent company Iris Ceramica Group and distributed by Sapiestone brand.
    Pietra Grey also features in the basement, combined with terrazzo-like Seminato Beige.
    Meeting rooms feature touch panels integrated directly into the stone tabletopsThe executive offices on the first floor feature walls adorned in striking blue Amazonite Maximum, while the 70-square-metre CEO office is equipped with a mini-bar and a private bathroom that features Fiandre’s highly polished Glint finish, which reflects light around the room.
    The first floor also features a huge 18-by-3-metre mural by digital artist Becha, printed on ceramic slabs using the company’s Design Your Slabs (DYS) technology and reused from Iris Ceramica Group’s exhibition space at international ceramics fair Cersaie in Bologna in 2023.
    Ridged table bases are created using 4D Ceramic technologyMeeting rooms scattered around the rest of the building can accommodate between eight and 20 people and feature tables with ridged and fluted bases made using the 4D Ceramic technology.
    The lighting and polarised windows in the meeting rooms can be controlled with touch ceramic surfaces integrated directly into the stone surface, eliminating the need for unsightly external cover plates and switches.
    Marsala Red decorates the meeting roomsAnd walls are decorated in Marsala Red with a tessellated pattern cut into the surface to provide subtle decoration.
    “The colour of the furnishings and finishes adds personality, making the spaces feel more creative and more like home, while adding a sense of timeless elegance,” the architect specifies,” Iosa Ghini said.
    Fiandre is part of Iris Ceramica Group. For more information on Fiandre, visit the company’s website.
    Partnership content
    This article was written by Dezeen for Fiandre as part of a partnership. Find out more about Dezeen partnership content here.

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    Claves evokes classic Parisian bistro interiors at cafe Le Cornichon

    French design studio Claves has transformed the interior of a Paris cafe, introducing bespoke retro-style decor that mirrors the architecture of local bars and tobacconists from the 1930s to the present day.

    Claves founders Laure Gravier and Soizic Fougeront were assigned to craft a space fuelled by nostalgia and French tradition for the reopening of Le Cornichon, a contemporary neighbourhood cafe, bar and restaurant owned by Bertrand Chauveau and Paul Henri.
    Claves has redesigned a contemporary neighbourhood cafe to evoke Parisian bistros”As the owners’ aim was to create a place where people from all backgrounds could come and go from morning to night, every day of the week, the decor had to lend itself to all kinds of scenes”, the design studio told Dezeen.
    “The morning coffee while reading the paper, the business lunch, the aperitif with friends, the romantic dinner, the evening out.”
    The interior of Le Cornichon incorporates nostalgic chrome fittings and laminate detailsLe Cornichon is positioned on a corner site, its facade and architecture designed to be indistinguishable from that of a local Parisian bar or tobacconist.

    “These are highly identifiable but timeless places, which don’t refer to any particular period, or rather which cross the eras by adjusting as they go along”, said Claves.
    Touches of different period styles are reflected in the cafe’s decor. Its interior was completely redone from floor to ceiling, and Claves also redesigned the bay windows and blinds for its facade.
    A glossy lacquered wave ceiling is highlighted by painted walls with textured plasterClaves designed the cafe’s speckled mosaic flooring to reflect the typical architecture of the 1930s, while the creation of a glossy lacquered wave ceiling was a nod to 1950s Italy.
    Textured plaster was applied to painted walls to create contrast and highlight the ceiling.
    “We used the classic palette of Parisian bistros, including Bordeaux red, bottle green, cream and chrome details”, said the design studio.

    El Fant Café and Bar celebrates both traditional and contemporary Finnish design

    The counter and waiter station of the bar are covered in laminate travertine effect panels in matt red, with walnut effect worktops in gloss black.
    Le Cornichon’s bar was clad in laminate fittings reminiscent of Formica, a material invented at the beginning of the 20th century and used in many post-war bars and tobacconists.
    Neon green bar lights pay homage to the space-age design style of the 1960s”We wanted customers to feel comfortable and at home very quickly, that there would be ‘regulars’,” said Claves. “That’s why we’ve taken the codes that everyone knows and built a space that’s rhythmic, harmonious and punctuated with amusing details.”
    1980s-style mirrors and chrome rod strips, inside and on the facade, add shine and give rhythm to the space. The studio also added neon-green lights to evoke the space-age design style of the 1960s and lend a party atmosphere to the cafe.
    A decorative ‘smoke’ frieze aligns the velvet-padded banquette seating area”We also wanted to create a very cinematic space, like in Cédric Klapisch’s film Un air de famille,” explained the design studio. “This is reflected in strong markers such as the painted ‘smoke’ frieze and the fresco in the toilets.”
    The decorative frieze, which evokes wisps of smoke, was created by decorative painter Mauro Ferreira.
    Le Cornichon’s toilet displays a fresco mural paintingAccompanying laminate tables are green banquettes padded in thick velvet, which were custom-designed and produced by a Parisian workshop in the style of typical comfortable cafe bench seating.
    Wave-shaped backrests echo the ceiling design and the wisps of smoke in the frieze. Chromed steel and black artificial-leather chairs were also custom-designed and made by another local workshop.
    Numerous items were hunted down by the design studio to add a patina element to the interior, including the washbasin, mirror and bar lights.
    “The pinball machine was hired from a vintage arcade game enthusiast and the postcard holder was bought from a specialist website,” said Claves.
    Before founding Claves in 2022, Gravier and Fougeront gained experience working together over several years for French interior designer Pierre Yovanovitch.
    Other retro cafe, bar and restaurant interiors that have recently been featured in Dezeen include the Fika restaurant in Almaty, Kazakhstan, by NAAW Studio and the Sant Ambroeus Coffee Bar Aspen in Aspen, Colorado, by Giampiero Tagliaferri Studio.
    The photography is by Matteo Verzini.

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