Markus Andrews

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    Jean Verville Architecte inserts gridded steel lightwell into Montreal home

    Canadian studio Jean Verville Architecte has created a theatrical interior inside a Montreal house by adding a large steel structure capped by a skylight that casts dramatic shadows.For the project, called MSO; Play/Pause, the studio completely reorganised the interior of the building and built a 12-metre-high steel lightwell in the centre of the three-storey house.

    Top image: the steel structure casts dramatic shadows. Above: it runs through the house
    The house belongs to a pair of actors, Sophie Cadieux and Mani Soleymanlou, so Jean Verville Architecte designed them a  home that could double as a performance venue.
    “We subtracted floor sections from the heart of the house to insert the steel structural installation, ” studio founder Jean Verville told Dezeen.
    “The rooms on the outskirts have been kept but redistributed to new versatile functions.”

    Light from the skylight is scattered across the ground-floor kitchen

    The steel installation measures five by five metres. A skylight caps the structure, turning it into a lightwell that casts theatrical shadows in the rooms.
    Its addition breaks up the shapes of the existing rooms, creating an interesting new layout for the owners as they go about their daily lives.

    The steel grids create decorative shadows
    As the structure unfolds over the three floors of the four-bedroom house, it creates what the studio describes as “pauses,” with functional spaces at the bottom of the building followed by living spaces and then bedrooms.
    “We start with the first two scenic pauses on the ground floor with the kitchen and the multifunction room,” Verville said.
    “Then the six scenic pauses of the living spaces and artistic creation to then end with the two scenic pauses of sleeping breaks. Each space has been designed to be versatile and re-modelable with a new function, nothing is permanent!”

    A greige hue was chosen to enhance the shadow play
    Metal grid screens and low walls were also added to the interior to create intriguing divisions between the spaces.
    The studio chose a monochrome greige colour for the interior to underline the shadows and light patterns created by the steel structure, and to work as a background for potential future theatre events in the house.

    Jean Verville Architecte creates “luminous” white triplex in Montreal

    “The great calm of monochrome greige and the changing and dancing light offer as much visual spectacle as inspiring spaces for theatrical rehearsal, and even soon the possibility of performance before a small audience,” Verville said.

    Jean Verville Architecte shot a series of playful images with the owners
    To capture the final result of the renovation, the studio shot a photo series of the MSO; Play/Pause space with photographer Felix Michaud that features the owners in different staged situations inside their home.
    Jean Verville Architecte recently finished another Montreal project, a white triplex adorned with gold windows. Previous projects on Dezeen include an electropop-informed installation created with students in Quebec City.
    Photography is by Studio Jean Verville Architects and Felix Michaud.

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    Beyond Space designs colourful office around reconfigurable grid system

    Beyond Space has created a flexible office interior for a security company in Amsterdam using a colourful grid system that allows the user to change the layout when needed.Informed by an endless repeating grid system, the studio used a structure made from beams and columns to knit together two office floors.

    Top: office interior by Beyond Space. Above: white aluminium beams and columns run throughout the interior
    The rigid grid was constructed from aluminium to create a structural framework that gives the client the freedom to organise and reconfigure the space within it, by dismantling and moving walls as needed.
    “Should the nature or ambitions of the company change, the grid offers flexibility. Walls can easily be dismantled and rebuilt on another point in the grid,” Beyond Space said.

    Yellow-trimmed windows and doors frame private workspaces

    Multicoloured trimmed doors and windows create privacy for workspaces and contrast against the rigid white framework. The studio also hoped the colour would emphasise the flexibility of the space.
    “We wanted to put the emphasis on the fact that these doors and windows are infills in the grid and by making them a contrasting colour, the difference between the grid and the infills becomes clear,” Beyond Space cofounder Stijn de Weerd told Dezeen.

    Plants are encouraged to grow around and up the frame
    Painted concrete serves as a base for the office floor, while zoned areas and infill rooms were made from a wide range of materials including coloured MDF, corrugated sheets and fabrics.
    Carpets in meetings rooms and felt contouring against corrugated-metal walls add texture and softness to the otherwise rigid theme.

    Note Design Studio creates colourful interiors to “break the grid” of 1930s office building

    “The corrugated metal, coloured MDF, felt, solid surface and carpet were chosen to create a diverse palette of different colours and rich textures which don’t remind you of a typical office,” said de Weerd.
    Plants have been spread out throughout the space and add an organic feel to the aluminium grid.

    Glass partitions divide the spaces within the white frame
    A white perforated spiral staircase centres the space and links the two levels of the office.
    Pastel-hued furnishings provide a contrast against the white grid and fixtures, as the studio said it was important to maintain a balanced feel.
    “We wanted to combine the apparently opposite: strict but playful, cosy as well as radical,” said de Weerd.

    Colourful furnishings contrast with the starkness of the fixtures
    Beyond Space was launched in 2020 by Remi Versteeg and de Weerd, who had previously founded Space Encounters, and works across art, architecture and product design.
    Among the architects’ projects at Space Encounters are a tile-clad office building on stilts above a brick warehouse and also and office interior which uses soft partitions to divide space.
    Photography is by Lorenzo Zandri.
    Project credits:
    Project team: Remi Versteeg, Stijn de Weerd, Arnoud Stavenuiter, Menno Brouwer, Matilde ScaliContractor: Verwol, OpmeerPlants: Het Groenlab, AmsterdamContract furniture: Lensvelt Contract Furniture, BredaConsultant fire safety: DGMRStructural engineer: De Ingenieursgroep, Amsterdam

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    Over 40 per cent of BAME interior designers have faced racial discrimination, survey finds

    Two out of five BAME interior designers have faced discrimination at work due to their ethnicity, according to a diversity survey by the British Institute of Interior Design.Conducted last year, BIID claims its Diversity in Interior Design survey is “the UK’s first-ever survey of diversity in interior design”.
    Forty-two per cent of the 109 respondents who identified as Asian, black, mixed or other said they had been a victim of discrimination in their profession or workplace because of their race or ethnicity.
    Just over 60 per cent also believe that their race or ethnicity has hindered their advancement in the industry.
    “It is clear that racism has been a factor that has held back the career progression of ethnic minority designers,” BIID chief operating office Katherine Elworthy told Dezeen.
    White designers disproportionately represented in senior positions
    The results found that 46 per cent of black, Asian and minority ethnic (BAME) interior designers are the only person of colour in their workplace.
    White designers, on the other hand, are disproportionally represented in leadership roles.
    Although they made up only 69 per cent of all 363 survey respondents, white designers accounted for 78 per cent of those in high-level positions.

    Fifteen per cent of all respondents have faced discrimination based on their ethnicity. This number increases to 42 per cent if only including responses from people who identify as Asian, black, mixed or other

    A total of 363 interior designers responded to the diversity survey. Overall, 37 per cent of respondents believed that they had been the victim of discrimination.
    Along with discrimination based on ethnicity the survey also identified that 18 per cent of designers believe they had been discriminated against because of their gender.
    The vast majority of these were women with 63 out of the 298 female respondents saying they had experienced discrimination.
    The survey also revealed that 10 per cent of respondents had been discriminated against because of their age.
    Issues start at university
    In addition to the survey, BIID analysed data from the Higher Education Statistics Agency (HESA) on how different minority groups were represented among interior design students and recent graduates over the last five years.
    This showed that while interior design students are more likely to be from BAME backgrounds than the average UK student, a quarter of them end up having to take on low-skilled, non-industry jobs after university compared to 19 per cent of white students.

    Of all survey respondents who were in senior positions, 78 per cent were white
    This is a higher percentage than the average BAME student who studied a different subject, which BIID concluded: “suggests there may be particular difficulties for ethnic minorities who have interior design degrees”.
    “We also know from government statistics there is a correlation between being a member of some ethnic minority groups and being in the bottom income quintiles,” Elworthy explained.
    “If unpaid internships are still one of the routes into the profession then this, of course, may disadvantage designers who come from lower-income households.”
    HESA data further showed that there is an “attainment gap” at university, with only 13 per cent of BAME students receiving a first-class degree compared to 28 per cent of white students.
    Problem requires a “multi-faceted” solution
    “Whilst we are encouraged by high numbers of students choosing to study interior design, we need to explore how we can support the career progression of those students from ethnic minorities who may not be getting the opportunities to progress once qualified,” Elworthy concluded.
    “We feel that a multi-faceted approach is the best way forward. Our recently formed Diversity and Inclusion Committee is looking at how we can help support change within design practices, including recruitment, internships and opportunities for promotion,” she added.

    “Conversations about diversity need to expand to celebrate the work of people of colour”

    “We are also looking at how we can work with partners in the wider industry, such as universities, colleges, trade shows, awards schemes, suppliers and other industry initiatives to make sure our industry is diverse and inclusive.”
    The survey, which received responses both from BIID members and non-members, was conducted anonymously. “This does mean that we were unable to verify the identity of respondents,” BIID said.
    “We must also emphasise that given that this survey was entirely voluntary and based on a small self-selecting sample size, it cannot necessarily be used to extrapolate for the entire UK interior design profession.”
    In a separate effort to increase the diversity of the interior design sector, Sophie Ashby and Alexandria Dauley set up the United in Design initiative earlier this year.
    The project outlines seven concrete steps that interior design studios can take to improve their diversity.

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    Ali Budd Interiors transforms Muskoka log cabin into art-filled cottage

    Toronto studio Ali Budd Interiors has transformed a dated wooden log cabin into a comfortable Canadian holiday home, with a wood-lined sunroom, vintage rugs and art by Andy Warhol.The studio was asked to renovate the cottage in Muskoka, Ontario and turn it into a neutral but comfortable backdrop for its owners’ extensive art collection.
    “As the clients are big art collectors, we wanted to not only design the perfect space for the family to enjoy the surrounding nature, but create the perfect canvas to showcase their artwork,” founder Ali Budd told Dezeen.

    Top: monochrome furniture in the Great Room. Above: a crumpled newspaper artwork by Paul Rousso

    In each of the cottage’s rooms, fabrics designed to withstand an “indoor-outdoor” lifestyle are chosen for their practical but chic appearance.
    Mindful of Ontario’s extreme climate and the many visitors who are invited to enjoy a family’s second home, the studio made sure to choose materials that will endure considerable wear and tear.
    “While maintaining the charm of a cottage, we modernised the space by mixing textures, incorporating custom furniture designed by Ali Budd Interiors, and adding hints of black to give it that contemporary look,” explained Budd.

    Ali Budd Interiors chose materials for their ability to withstand wear and tear
    Ali Budd Interiors’ design choices balance this practical need with its clients’ love of both white interiors and natural wood.

    Mjölk Architekti updates Czech cottage with burnt-wood cladding and revamped interior

    In the cottage’s Great Room, the main living room, these design elements include neutral-coloured armchairs and a sofa by Ali Budd Interiors that have been fabricated by Cooper Brothers.

    Monochrome furniture surrounds a bespoke coffee table
    A pair of plush shearling ottomans from Luxe Pour Maison sits nearby, complemented by a bespoke Ali Budd white oak coffee table topped with a white Corian surface. A newspaper artwork by Paul Rousso adds colour to the room.
    The cottage also has a Muskoka room, a type of screened-in porch that acts as a sunroom. In this instance, it acts as an open-plan living room attached to the property’s dining area.

    Patterned Moroccan poufs add colour to The Muskoka Room
    The dining area is complete with a custom-made white Ali Budd dining table, and an iconic Campbell’s soup artwork by Andy Warhol. Black and white chairs from Restoration Hardware are positioned around the monochrome table.
    The Muskoka room’s panoramic windows give guests the feeling of being outside while they lounge on a custom curved grey sofa that hugs the room’s curved walls.
    “There is so much beauty outside this property, and we wanted to ensure that all of those elements shone through,” said Budd.
    Other interior highlights in the Muskoka room include a central round coffee table by Garcia Group, and vintage rugs and colourful Moroccan pous from Mellah Rugs.

    An iconic piece by Andy Warhol hangs in the dining room
    Throughout the house, colourful accents such as these poufs add bright texture to an otherwise white and minimal backdrop.
    “As we were working with a monochromatic palette, we were able to layer different finishes and textiles to create something part eclectic and part chic,” continued Budd.

    Porcelain countertops are seen throughout the sleek kitchen
    This monochrome theme is particularly emphasised in the black and white kitchen. Perhaps the most pared-back and modern of the cottage’s rooms, exposed natural beams are the kitchen’s only hint of the former log cabin.
    Durable porcelain forms the room’s countertops, and a Sonneman pendant light is suspended over the sleek kitchen island.

    An original artwork by Douglas Copeland fits between the staircase’s wooden beams
    More exposed beams above the cottage’s wooden staircase perfectly frame an original painting by Douglas Copeland, its bright colours offsetting the plain white walls on which it hangs.

    Derek Jarman’s Prospect Cottage saved by Art Fund campaign

    Upstairs in the main bedroom, a black woven bed from American brand CB2 continues the cottage’s overall monochrome theme, while wiggly Graffito-print cushions by Kelly Wearstler soften the room’s clean lines.

    Graffito-print cushions add pattern to an otherwise minimal bedroom
    A final standout feature is the cottage’s renovated powder room. Originally one of the most dated-looking parts of the property, Ali Budd Interiors redesigned the room with bespoke millwork and an elegant custom-made mirror.
    Ali Budd Interiors is a female-led Toronto-based firm founded in 2010.
    More cosy cottages include this off-grid cabin in upstate New York and another log cabin renovation for a lake house in Quebec.
    Photography is by Ali Budd Interiors.

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    Studio Tamat creates casual interiors for Rome restaurant Tre De Tutto

    Studio Tamat hoped to create the feeling of a casual local bar with its design for Tre De Tutto, a restaurant in the south of Rome.Although the restaurant only recently opened, its interior is designed to feel lived in, with its simple tiled walls, humble furniture and peeling plaster.
    These are contrasted by bold contemporary details that include geometric lighting fixtures, a neon sign and a yellow suspended staircase.

    Details include arched windows, vintage metal chairs and geometric lighting

    Tre De Tutto is located in Garbatella, a neighbourhood with a distinctly 1920s character. The space was previously a bakery, but had been abandoned for some years.
    Studio Tamat’s design follows the concept proposed by restaurant owners, to create a space that takes inspiration from the local neighbourhood traditions and culture.

    Blue majolica tiles are contrasted by coral-coloured mortar
    “Owners Mirko Tommasi and Daniele Notte proposed revisited classics of Roman cuisine, taking inspiration from one of the most authentic neighbourhoods in Rome,” explained studio co-founder Matteo Soddu.
    “In the same way, our goal from the beginning was not to distort the pre-existing space, but to enhance it and at the same time, bond with its clientele,” he said.
    The neon sign offers the same message, reading “Quanto é Bella Garbatella”, which means “How beautiful Garbatella is”.

    A marbled bar counter is made from Liquid Cosmo, a surface by Diesel and IrisCeramica
    The restaurant is divided up into various rooms, with some at ground level and others set half a storey below.
    The triangular upper level consists of three rooms that are usually reserved for breakfast and aperitifs, including a bar and a lounge area. The lower level contains two dining rooms, along with the kitchen and storage areas.

    A coral-coloured “staircase tunnel” leads downstairs
    Both levels have a slightly different design character, with a colour palette designed in collaboration with consultant Sabina Guidotti.

    Spacon & X creates casual diner for Noma’s burger spinoff POPL

    Upstairs rooms have a bold colour palette, with blue majolica tiles set against contrasting mortar, plus a marbled bar counter in vivid shades of orange and purple, and three grand arched windows.

    Dining rooms feature Grid, a graphic wallpaper by Texturae
    A coral-coloured “staircase tunnel” leads downstairs, where rooms feature pale blue walls and wallpaper with cartoon-style graphics.
    The yellow staircase features on this level, connecting one of the dining rooms with the street.

    A suspended yellow staircase provides access to the street
    Humble finishes and timeless elements feature throughout, including a resin-topped concrete floor, vintage metal chairs, leather-like upholstered benches and large pot plants.
    “We left the rough walls, with the original layers of plaster, to dialogue with the contemporary design of the architectural elements that characterise the space, from the clean-cut counter that dominates the bar, to the exquisitely pop staircase of the restaurant,” said Soddu.

    Tre De Tutto is located in Garbatella, in the south of Rome
    Tre De Tutto’s menu matches its design, with a selection of drinks inspired by local history and “unpretentious” dishes that include pasta, panini and antipasti.
    Photography is by Seven H Zhang.

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    Snøhetta designs Tokyo restaurant with all-black interior and stage-like kitchen

    Architecture firm Snøhetta has worked with Bronx-based cooking collective Ghetto Gastro to create a jet-black eatery in Tokyo that will house immersive dining experiences.Set above a convenience store in the city’s Harajuku neighbourhood, Burnside is a casual restaurant by day and a bar and lounge by night.

    Top image: floral sculptures by Makoto Azuma hang in the dining area. Above: the room is oriented around a central kitchen
    The space was designed with flexibility in mind, as it will host a rotating roster of chefs and be used for a wide variety of pop-ups and events. It comprises a 30-person dining room with an open kitchen, all decorated using a dark material palette with amber-coloured accents.
    The eatery, which marks Snøhetta’s first project opening in Tokyo, was designed for art and design collective En One Tokyo, with help from local construction partner Kooo Architects and Ghetto Gastro – an ensemble of chefs that specialises in immersive dining experiences.

    The kitchen is open to the eyes of the public

    “Using food to empower communities, Ghetto Gastro celebrates the Bronx as an inspiration and catalyst of global culture,” explained the practice. “Burnside builds upon this creative energy where the Bronx and Tokyo meet.”
    Black was chosen as the predominant colour, referencing the dark atmosphere of Tokyo’s izakaya bars and the characteristic finish of Shou Sugi Ban charred wood. At the same time, it represents Ghetto Gastro’s culinary style, which it describes as “Black Power Kitchen.”

    Steps lead up to the kitchen as if it were a stage
    Together, the team wanted to build a dining experience that combines the intimacy of a bar with the easy informality of convenience stores, whether New York’s bodegas or Japanese conbinis.
    Sound designer Devon Turnbull, who goes by Ojas, designed a bespoke sound system for the space while local flower artist Makoto Azuma created a series of floral sculptures that are displayed behind glass in the dining area.
    Guests arrive at the eatery via a staircase that takes them from the street to the second floor. Once inside, the eye is drawn towards the open kitchen by a curved amber-coloured light strip that runs along the ceiling.

    A long, black sharing table anchors the space
    The space is divided by two intersecting arches, delineating the dining area and kitchen while still allowing views across both spaces.
    A set of steps lead up into the open kitchen as if it were a stage, framed by curved walls that suggest the proscenium arch of a theatre. A central table in the kitchen is the focal point of the entire room, transforming the food preparation into a performance.

    The walls next to the kitchen are curved to suggest a proscenium arch
    A flexible kitchen layout was designed to adapt to the needs of a rotating roster of chefs. It can also be used as a space to dine and eat, or closed off to become a temporary gallery with the help of a curved, sliding partition hidden within the proscenium arch.

    New York bodegas inform interiors of Genuine Liquorette bar in London

    “The transition between day and night, cafe and lounge, is a driving theme for the interior design,” explained Snøhetta. “A dark material palette features amber-coloured accents that reflect the changing light throughout the day while highlighting more ornate design elements such as the floral sculptures designed by Makoto Azuma.”
    Custom-designed, family-style tables maximise the limited floor space and can be joined together or folded away to allow for a variety of layouts including a dance floor for late-night events.

    A curved, sliding partition can be used to divide the space
    Other dark restaurant interiors include central London’s Lucky Cat restaurant, where design studio AfroditiKrassa hoped to create a space that looks better in person than in pictures, and Shenzhen’s Voisin Organique restaurant, which Various Associates designed to resemble a gloomy valley.

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    Ten calming green kitchens that bring natural tones into the home

    For our latest lookbook, we’ve rounded up ten fresh and airy kitchens that use shades of green to give a hint of the natural world.From soft sage to bright emerald, green is this year’s kitchen colour trend, often paired with natural local materials.
    Perhaps inspired by our craving for nature during the pandemic, calming sea greens, grassy hues and mossy tones are popular choices for kitchen cabinetry, walls or tiles.
    This is the latest roundup in our Dezeen Lookbook series providing visual inspiration for the home. Previous articles in the series showcased living rooms with statement shelving, peaceful bedrooms and designer bathrooms.

    Belgium Apartment, Belgium, by Carmine Van Der Linden and Thomas Geldof
    Local architects Carmine Van Der Linden and Thomas Geldof designed this duplex for a coastal location surrounded by sand dunes on the Belgian coast.
    To contrast the marble-topped counters, the architects choose to colour the splashback, shelving and panelled birch-wood cabinets in a shade of green that recalls seaweed and beach grasses.
    “The colour choice of the wood subtly brings in the seaweed colour from the adjacent sea and the marram grasses in the surrounding dunes,” the architects explained.
    Find out more about Belgium Apartment ›

    The Mantelpiece Loft, Stockholm, Sweden, by Note Design Studio
    Note Design Studio painted furniture in green and pink throughout The Mantelpiece Loft to stand out against its white walls.
    Sage green was used for one of the staircases and a bedroom, as well as the kitchen cabinets that were paired with contrasting countertops of terrazzo flecked with orange stone.
    Find out more about The Mantelpiece Loft ›

    Apartment XVII, Lyon, France, by Studio Razavi
    Studio Razavi combined pale-grey plaster, a light wooden floor and sea-green cabinets in this renovation of an apartment in a Renaissance-era building in the historic Vieux Lyon neighbourhood of Lyon in France.
    The green kitchen cabinetry has a matching splashback with a stepped silhouette.
    Find out more about Apartment XVII ›

    Casa Mille apartment, Turin, Italy, by Fabio Fantolino
    Italian architect Fabio Fantolino used pops of green and petrol blue throughout the interior of this apartment in Turin that he designed for himself.
    In the herringbone-floored kitchen, sea-green cabinetry is paired with copper handles.
    Find out more about Casa Mille ›

    House extension, Sheffield, UK, by From Works
    The bespoke kitchen of this house in Sheffield was designed to incorporate the materials and colours of moss-covered rocks found in the nearby Peak District.
    It combines green-stained plywood with grey fossil limestone worktops and splashback sourced from a Derbyshire quarry.
    Find out more about Sheffield house extension ›

    Waterfront Nikis Apartment, Thessaloniki, Greece, by Stamatios Giannikis
    Architect Stamatios Giannikis used colour-blocked walls painted in flamingo pink, azure blue and pastel green to define the different rooms in this seaside apartment in Greece.
    The green chosen for the kitchen cabinets and walls was designed to be in sharp contrast with the apartment’s original geometric red and black cement-tile flooring.
    Find out more about Waterfront Nikis Apartment ›

    Apartment on a Mint Floor, Porto, Portugal, Fala Atelier
    As the name suggests, Fala Atelier created a mint-green floor from epoxy resin throughout this two-bedroom apartment in Porto, Portugal.
    To complement the floor, the apartment’s kitchen unit doors were coloured two subtly different shades of turquoise.
    Find out more about Apartment on a Mint Floor ›

    Parisian apartment, Paris, France, by Atelier Sagitta
    French practice Atelier Sagitta added an almost entirely green kitchen to this previously characterless apartment in Paris.
    The emerald-green walls and cabinets, combined with grooved oak cupboards made by a local cabinet maker, make the kitchen the focal point of the apartment.
    Find out more about Paris Apartment ›

    Esperinos guesthouse, Athens, Greece, by Stamos Michael
    The kitchen of this guesthouse in Athens was painted a plum-purple hue to contrast with the rest of the largely moss-green interiors.
    Green was also introduced in the kitchen where dark emerald cabinetry was matched with black, industrial-style shelves that display crockery.
    Find out more about Esperinos guesthouse ›

    Apartment #149, Lviv, Ukraine, by Roman Shpelyk
    Interior designer Roman Shpelyk designed this apartment in the Ukrainian city of Lviv to have largely simple white interiors.
    Colour was added with a plant-filled shelving unit and the forest-green laminated-plywood cabinetry in the kitchen.
    Find out more about Apartment #149 ›
    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 peaceful bedrooms, calm living rooms and colourful kitchens.

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    MUT Design clads modular Valencia Pavilion in thousands of wooden scales

    Valencia studio MUT Design has designed five modular pavilions clad in scales made from leftover wood for a travelling exhibition in Spain.The pavilions will showcase work by 50 designers in five different sections to celebrate Valencia’s title of World Design Capital for 2022.
    Each section – design and art, the circular economy, industry and craftsmanship, technology and the transformative economy – is housed within its own mini pavilion formed from two semi-cylinders.

    Top image: the exhibition is broken down into five mini-pavilions. Above: each is formed from two semi-cylinders

    These consist of four metre-high curved walls, which can be placed separately or together to create a labyrinth of winding corridors and secluded alcoves.
    Inside, the units’ pinewood frame and construction are laid bare, while the convex exterior is clad in hundreds of small, overlapping wooden fins, adding up to around 220,000 across all five pavilions.

    The units are arranged to form a labyrinth of corridors and alcoves
    The wood was originally meant to be turned into the parade floats that are ceremonially burned as part of Valencia’s historic Fallas festival every March, but the event was cancelled due to the coronavirus outbreak.
    Instead, the wood was used for this installation, which is on view as part of the Madrid Design Festival until 14 March before becoming a travelling exhibition.

    The pinewood frame is left exposed inside the pavilions
    “Here in Valencia, we have a lot of traditional wood ateliers that create works for the Fallas festival,” MUT Design co-founder Alberto Sánchez told Dezeen.
    “But it was cancelled due to the pandemic and a lot of materials were left on the shelf. So we decided to collaborate with one of the ateliers to give a new life to the wood and create some work for the builders.”

    The pavilions are clad in wooden scales
    Each scale was handmade by local woodworker Manolo García and trimmed to three standard sizes of 14, 16 and 18 centimetres. These were then lined up and alternated to create a textured surface not dissimilar to tree bark.
    “We wanted to bring together tradition and the avant-garde while recovering something that is really ours – deeply rooted in our city,” Sánchez explained.
    In particular, the studio drew on natural textures found in the Albufera National Park just south of Valencia, as well as on the thatched roofs of traditional houses known as barracas.

    Kengo Kuma designs tessellated Botanical Pavilion as “tridimensional puzzle”

    Breaking each pavilion down into two semi-cylinders allows the individual units to be combined into “infinite compositions” that can be adapted to different spaces for the travelling exhibition.
    “Because it is a travelling exhibition, we want to create one-of-a-kind experiences in each of the several places it will be visiting,” Sánchez added.
    The units were also designed to be taken apart into separate pieces, which can be stacked for ease of transport.

    Each scale was handmade by Manolo García
    Contributors to the exhibition include designer Jaime Hayon, brands Andreu World and Expormim, and a number of emerging studios showing projects including self-ventilating graphene facades and homeware made from olive pits.
    “We wanted to bring to Madrid a different selection of projects that are leading a silent transformation of society,” explained Xavi Calvo, director of World Design Capital Valencia 2022.

    Displays are fixed to the inside of the pavilions
    MUT Design has previously collaborated with Expormim to create a chair modelled on the shape of a flower petal and an outdoor rug made from braided ropes, which were exhibited at the products fair of Dezeen’s Virtual Design Festival.
    Photography is by Ernesto Sampons.
    Valencia Pavilion – The Future is Design is on view at the Fernán Gómez Cultural Centre as part of the Madrid Design Festival until 14 March 2021. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world.

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