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    Armourcoat launches Limewash paints for “environmentally conscious” interiors

    Promotion: surfaces brand Armourcoat has launched a range of textured and eco-friendly paints for interiors, designed to celebrate the distinctive look and feel of traditional limewash.

    Named Limewash, the collection by Armourcoat is intended as a surface coating suited to both residential and commercial interiors.
    It has a soft matt appearance in 45 shades of limewash – a mix of lime and water used for coating walls – but has a less chalky and more durable finish than traditional forms.
    Armourcoat has launched a range of textured and eco-friendly paintsArmourcoat Limewash is composed of a mix of carbon dioxide-absorbing slaked lime, clay mineral kaolinite, water, mineral pigments and natural plant additives, ensuring it is free from solvents and Volatile Organic Compounds (VOCs).
    According to Armourcoat, this ensures the paint aligns it with “top-level environmental and health accreditation” in the architecture industry.

    The brand claims it is the only paint of its kind with Environmental Product Declaration (EPD) and Health Product Declaration (HPD) documentation, making it suited to projects striving to obtain the BREEAM and LEED sustainable building certifications.
    It is available in 45 shades”Here at Armourcoat we believe material transparency is fundamental to designing beautiful interiors that have minimal impact on our planet,” said creative director Duncan MacKellar.
    “Our goal as creative manufacturers is to reduce both embodied carbon and environmental toxins, and ultimately drive sustainable innovation within the built environment,” added MacKellar.
    “With our Environmental and Health Product Declarations, architects and designers can be confident that all Armourcoat finishes align with efforts to create environmentally conscious, healthy interiors.”
    It is intended to celebrate traditional limewashBenefiting from the properties of limewash, Armourcoat’s collection has a “naturally high alkalinity owing to its slaked lime”, a critical ingredient which makes it resistant to bacteria and mould. It is also non-combustible.
    Limewash is the latest addition to Armourcoat’s collection of surface finishes developed by the brand to offer “sustainable luxury finishes” to architects and designers around the world.
    To find out more about Limewash and Armourcoat, visit the brand’s website here.
    Partnership content
    This article was written by Dezeen for Armourcoat as part of a partnership. Find out more about Dezeen partnership content here.

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    YSG adds 1970s-style elements to Sydney’s Superfreak cafe

    Australian studio YSG has added carpet-lined seating, cork flooring and high-gloss green paint to the Superfreak cafe in Sydney.

    Located in the city’s Marrickville suburb, the space was converted from an ice cream factory into a pilates studio, which is located at the rear and the Superfreak cafe on the street front.
    YSG has completed interiors with 1970s motifs for the Superfreak cafe in SydneyDrawing on a relaxed 1970s-style aesthetic, YSG opted for a colour palette of pale sandy yellows, avocado greens and deep earthy brown tones.
    Contributing to the retro feel are checked brown and green cafe curtains, as well as vintage furniture pieces including a low, tile-clad wooden table and timber dining chairs sourced from online marketplace 1stDibs.
    A semi-enclosed lounge-like seating area is off to the left of the entranceTo the left of the entrance, a large U-shaped timber banquette made with maple joinery marks out the main seating area It was upholstered in soft brown carpet material often associated with 1970s interiors.

    The deep wrap-around, bench-style seating has inbuilt storage and an integrated plinth containing a record player and vinyl storage cavity.

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    “Our clients wanted a space where locals felt like they could hang out,” YSG director Yasmine Saleh Ghoniem told Dezeen. “Also, they wanted to welcome pilates students to stretch out comfortably post-class.”
    “A key component was to build sunken lounge-like seating via banquettes that created a cosy enclosure,” she continued.
    Banquette-style seating with maple timber joinery is upholstered in a plush brown carpet materialReplacing the previously all-white decoration, YSG used glossy green paint for the walls and ceiling surrounding the timber service counter.  A statement lamp crafted by American artist Autumn Casey sits on top of the wooden counter.
    “Possessing a child-like expression of a classic Tiffany lamp, we granted it pride of place by the entrance beside the coffee machine,” said Ghoneim.
    Elsewhere, the cafe is illuminated by an array of rice paper lanterns and vintage sconces paired with an angular wall lamp by Olivia Bossy.
    The ceiling and walls surrounding the service counter are painted in a high-gloss greenThe same brown carpet material used for the lounge seating was also added to the exterior of an open kitchen counter and the tops of its high stool seats.
    Above the counter, the ceiling and suspended storage shelves were painted in a high-gloss green.
    Brown carpet material also lines the top of the bar stoolsA mural of a leafy green garden scene by Creative Finish was painted across concealed storage and refrigeration space behind the bar, with a gold-toned corner mirror feature off to the side.
    While the clients initially intended to continue the brown carpet for the floor, YSG opted for cork flooring instead due to the nature of the space as a hospitality setting.
    “Prioritising tonal and textural interest, we laid spongey caramel-hued sealed cork underfoot, also aiding the acoustics,” said Ghoneim.
    The facade of the building was also painted greenTaking cues from the interior concept, the building’s facade was painted green with a street-side coffee hatch cutout incorporated for takeaway orders.
    Other projects by YSG recently featured on Dezeen include a seaside home renovation in Byron Bay and a suburban home in Sydney finished with sumptuous materials intended to evoke a boutique hotel feel.
    Photography is by Phillip Huynh.

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    Wax Atelier showcases objects made from tree-based waxes, resins and dyes

    A design studio that specialises in beeswax has curated a London Design Festival exhibition revealing how living trees can provide materials for design objects.

    Wax Atelier is behind The Abney Effect, a treasure trove of objects and material experiments made using bio-based waxes, resins, oils, fibres and dyes, all sourced from unfelled trees.
    The Abney Effect showcases waxes, resins, oils, fibres and dyes made from treesThe exhibition is on show at Wax Atelier’s new workshop space on the edge of Abney Park, a historic London cemetery that doubles as a woodland nature reserve.
    Highlights include lamps made from pine resin, wood-derived wax crayons and a series of scented waxes created from different parts of orange trees.
    The show includes objects, textiles, scents and material experimentsDesigner and Wax Atelier co-founder Lola Lely said the setting was the starting point for the show.

    Located in Stoke Newington, Abney Park first opened in 1840 as an arboretum. It once contained 2,500 species of tree – more than even Kew Gardens has today – including a rosarium with over 1,000 varieties of rose.
    “That was the inspiration,” Lely told Dezeen during a tour of the show.
    “Besides oxygen, paper and wood, loads of things are derived from trees. We wanted to create a retrospective of those things.”
    Wax Atelier is exhibiting aromatic wax made from different parts of an orange treeThe show includes experiments from Lely’s own design studio and products that she and Wax Atelier co-founder Yesenia Thibault-Picazo have produced together.
    But it also spotlights other designers and studios working with tree-based materials, in an attempt to foster collaboration.

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    “We all have a synergy in terms of craft, experimentation and innovation, but often we work in our own bubbles,” said Lely.
    “We wanted to create opportunities for dialogue. If people are working with the same materials, maybe it can unlock something.”
    Wax Atelier collaborated with Jacob Marks to produce pine-resin lampsWax Atelier is exhibiting aromatic wax collections made from the orange tree’s flower, leaves, fruit and bark. The studio has also created a new version of its wax linen flowers, based on roses.
    A collaboration with designer Jacob Marks resulted in the pine-resin lamps, while CQ Studio is showing how it turns bio-resin into sequins.
    Playfool’s Forest Crayons are made from different varieties of waste woodThe Forest Crayons were developed by design studio Playfool using waste lumber. Different varieties of wood produce different colours, revealing the spectrum of shades that exist in nature.
    A wall cabinet reveals experiments by Dutch potter Arjan Van Dal, investigating how wood ash can be used to create a glass-effect glaze for porcelain.
    Arjan Van Dal has created porcelain glazes from wood ashVietnamese fashion brand Kilomet 109 is showcasing a range of materials it uses in its garments, including padding material derived from Sharon fruit and buttons made from coconuts.
    Other eye-catching exhibits include Jamie Quade’s Grown Sundial, crafted from a fallen tree, and Lely’s Kabuto Lights, folded pendant lamps made from naturally dyed Japanese mulberry paper.
    CQ Studio creates sequins from bio-resinFounded in 2017, Wax Atelier has its main studio in nearby Walthamstow.
    The Abney Effect is the first exhibition that the studio has hosted in its new workshop space, Labs, which was gifted by Hackney Council and the custodians of Abney Park as a space for research and community engagement.
    Lely’s Kabuto Lights hang above exhibits from Vietnamese fashion brand Kilomet 109The exhibition is part of the Dalston to Stokey Design District, one of several districts in London Design Festival.
    The show programme includes a series of interactive events, including a sundial-making workshop and a tour of Abney Park’s trees with a local ecologist.
    Jamie Quade’s Grown Sundial stands outside the exhibition”The showcase’s setting in Abney Park creates a sense of curiosity, connecting objects and materials with their natural surroundings in a way that we hope feels both new and familiar or unfamiliar,” said Lely.
    “By including ecological walks and preserving natural elements, the showcase ties design to environmental awareness, emphasising the importance of harmonising design with nature and fostering a deeper appreciation for sustainability.”
    Other London Design Festival events include the Craft x Tech exhibition at the V&A showing designers, including Sabine Marcelis, who have collaborated with Japanese master artisans.
    The exhibition photography is by Sara Hibbert.
    The Abney Effect runs from 16 to 22 September as part of London Design Festival. Visit Dezeen Events Guide for a guide to the festival and other architecture and design events taking place around the world.

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    Sabine Marcelis and Ini Archibong among designers to collaborate with Japanese artisans

    A sound-emitting egg sculpture and a samurai chest of drawers feature in a series of objects made by designers in collaboration with master artisans from Japan’s Tohoku region, on show for London Design Festival.

    Designers Sabine Marcelis, Ini Archibong, Studio Swine, Yoichi Ochiai, Michael Young and Hideki Yoshimoto all participated in the Craft x Tech initiative, with the results now on show at the V&A.
    Azusa Murakami and Alexander Groves of Studio Swine created a contemporary Sendai-Tansu chest (main image)Each designer was paired with a different artisan and asked to apply their expertise to a contemporary work.
    “Craft x Tech is more than an exhibition; it’s a celebration of cultural collaboration and innovation,” said designer and engineer Hideki Yoshimoto, who initiated the project.
    Sabine Marcelis produced tables with a high-gloss finish”By showcasing these exceptional works, we hope to inspire new dialogues and creative expressions within the design community and beyond,” said Yoshimoto.

    Marcelis’ contribution saw her work with artisans from Akita, who specialise in the Kawatsura Shikki style of lacquerware, to create high-gloss finishes.
    Marcelis collaborated with a lacquerware artisan from AkitaRenowned for her colourful Candy Cube furniture, the Dutch designer explored a similarly minimal aesthetic. The use of lacquer gives these pieces their distinctly shiny finish.
    Also working with lacquer, American designer Archibong collaborated with Tsugaru-Nuri specialists from Aomori. The result is a sculpture that emits sounds in response to movement.
    Ini Archibong created a sound-emitting egg sculptureAzusa Murakami and Alexander Groves of Studio Swine created a contemporary version of the Sendai-Tansu chest of drawers, specific to the city of Sendai, which traditionally would be crafted for samurai warriors and merchants.
    The British-Japanese duo created a geometric design that takes cues from Japanese block prints and metabolist architecture.

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    Just like with the traditional chests, the drawers are completely airtight, so closing one drawer causes another to open.
    Hong Kong-based designer Michael Young used the ironware techniques of Iwate’s Nambu-Tekki artisans to create tables with intricate legs, decorated with patterns based on cherry blossoms.
    Michael Young created tables using Iwate’s Nambu-Tekki ironware techniquesThe traditional Japanese tea room was the starting point for Japanese artist Yoichi Ochiai, who was invited to work with Oitama Tsumugi silk.
    The textile forms a red see-through cube with tree branches suspended at its centre.
    Yoichi Ochiai used Oitama Tsumugi silk to create a contemporary teahouseThe final addition comes from Yoshimoto himself, who created a floor lamp utilising Tohoku’s oldest pottery traditions.
    The design combines distinctive glazed elements with precisely cut resin and metal.
    Hideki Yoshimoto created a floor lamp utilising Tohoku’s oldest pottery traditionsMaria Cristina Didero curated the exhibition, which was presented in Tokyo and Basel before coming to the UK for London Design Festival.
    “This project is a testament to the limitless possibilities that arise when traditional craftsmanship meets modern technology,” said Didero.
    Craft x Tech is on show at the V&A from 14 September to 13 October 2024 as part of London Design Festival. Visit Dezeen Events Guide for a guide to the festival and other architecture and design events taking place around the world.

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    Nicemakers renovates Swiss chalet interiors with mid-century modern furniture

    In the village of Adelboden in Switzerland, Amsterdam-based Nicemakers has transformed the interiors of The Brecon, a hundred-year-old chalet, into a secluded retreat.

    The intention for the 18-room chalet, called The Brecon, was for it to be “like a high-end version of your own home,” Nicemakers head of design Lottie Lorenzetti told Dezeen. The studio wanted the hotel rooms to feel like guest rooms in someone’s home.
    Rooms at The Brecon have been styled to feel like guests are staying in “a home away from home””We set out from the very beginning with the intention of not creating another clean, minimal, Swiss hotel aesthetic,” Lorenzetti added.
    The client, hotel operator Grant Maunder, wanted to create “a hideaway which feels like a dream home”.
    Across the common spaces, 18 rooms and four suites of the boutique hotel, Nicemakers worked with Maunder to fulfil the brief by creating a series of intimate and characterful interiors with a domestic feel.

    On entry through a bespoke wooden revolving door, the open-plan lounge space progresses into dining and living areas, featuring a sofa tucked away in a secluded nook.
    A two-seater sofa is tucked in a dimly lit nook off the main living areaThe interiors throughout are decorated with wooden panelling and integrated bookshelves, free-standing lamps and mismatched mid-century modern furniture.
    Mantel pieces and coffee tables display a collection of objects, candles and incense holders, statement one-off ashtrays and magazines that were chosen to add to the domestic feel.
    Nicemakers worked with Amsterdam’s Bisou Gallery to select relevant and personal artworks for the walls of The Brecon.
    Coffee tables are filled with homely items like boardgames, candles and matchesTimber, stone, leather and wool, in an earthy palette chosen to complement the hotel’s mountain surroundings, have been used throughout the interior scheme.
    On the ground floor, Nicemaker placed a few casual breakfast tables by an open kitchen to evoke the sense of being a guest in someone’s spacious home.
    The spa, which has a sauna, steam and treatment rooms, and the infinity pool on the terrace looking down the valley to the Engstligen waterfalls, were finished at the scale of a generous private residence, the studio said.
    A crazy-paving entrance space leads through to the open kitchenThe unusual concept for the retreat – in a small town with several more traditional hotels – was executed with a mid-century modern design approach.
    The resulting interiors contrast with the traditional chalet style found in Switzerland.
    Other unusual design details include the repeated use of crazy paving indoors; in the elevators and entranceway, on bedroom balconies and around the pool area.
    Unusual paving has been used around the hotel interiors and exteriors”The crazy paving was a hugely labour-intensive design element – it took a long time to lay and needed a skilled person who came from Wales to do this,” Lorenzetti said.
    Continuing the family affair, all the ceramic crockery was handmade in Wales by Andréa Anderson, who is married to the client Grant Maunder.
    The rooms do not feature mini bar fridges, but rather a variety of cabinetsOriginally Nicemakers had plans for bespoke mini bar cabinets, bedside tables and the same armchairs in each room.
    However, the studio concluded this would have gone against the hotel’s domestic concept.
    “You wouldn’t have a mini bar fridge in your own guest room at home,” explained Lorenzetti.

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    This decision meant that – instead of using the same suite of bespoke elements throughout the hotel – individual items could be sourced and curated for each room.
    “[This] gave the rooms a much more collected, rather than manufactured, feel”, Lorenzetti said.
    An original fireplace was preserved in the new spa areaNicemakers’ design was also informed by some of the original elements from the 1950s and ’60s heyday of the building, which was originally built in 1914.
    Textured plaster, the original red mosaic tiles in the stairwell and the mottled glass all draw from the history of the site. A pre-existing fireplace in the spa was also preserved.
    Vintage and new items were sourced from all over Europe, especially vintage markets in Italy, the UK, the Netherlands and France.
    The palette of the scheme was chosen to reflect the natural surroundingsThe mix of patterns and details was intentional.
    “[We wanted] to imitate a collected mix of items, to steer away from the classic minimal and clean, expected, Swiss aesthetic”, Lorenzetti concluded.
    Other projects in Switzerland recently featured in Dezeen include a 1960s chalet in Zinal renovated by Giona Bierens de Haan Architectures and an extension to a school in Aeschi by Haller Gut Architekten.
    The photography is by Michael Sinclair.

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    CLB Architects takes “residential” approach for Jackson Hole Airport

    Fireplaces, warm lighting and large windows offering views of the Teton Range are among the features at the renovated and expanded Jackson Hole Airport in Wyoming, which is the only commercial airport within an American national park.

    Located in the mountainous Grand Teton National Park in the western part of the state, the airport dates to the 1930s and has undergone various changes over the decades.
    Jackson Hole Airport dates back to the 1930sAround 2009, it received a major update by the Denver office of global studio Gensler, with Jackson-based CLB Architects serving as the local associate architect.
    In more recent years, CLB has served as the design architect for a series of renovations and additions spanning five phases. Miller Dunwiddie, a Minneapolis firm, served as executive architect.
    The project was designed to tie into the landscapeThe project was designed to tie into the landscape and “facilitate the flow of 21st-century travelers”, while also adhering to strict area and height limits imposed by the national park.

    The facility is the only commercial airport located within a US national park, according to the federal agency that oversees the parks.
    A new restaurant/bar was included in the renovationThe work included a new restaurant/bar, an expanded holding area, two additional gates, a gift shop and an updated baggage claim area with retail space — all held within the L-shaped terminal totalling 125,000 square feet (11,613 square metres).
    “Design decisions facilitate an easy and stress-free travel experience, with open floor plans and clear sight corridors, as well as abundant glazing that frames the airplane runways and Teton Mountain range beyond,” said CLB Architects.
    Interior finishes are a mix of earthy and industrial materialsInterior finishes are a mix of earthy and industrial materials, including polished concrete, quartzite and timber – all meant to stand up to heavy use, as 800,000 travelers pass through the airport each year.
    For the structural system, the team paired lightweight steel with Douglas fir glue-laminated beams and rough-hewn log columns. The structural supports are meant to have “an elegant and minimal presence”.
    Fireplaces were incorporated to make the airport feel like a “residential space”In addition to the natural light that flows in through large windows, the terminal has downlights, uplights and LED accents that create a feeling of warmth.
    “Indirect up-lighting creates an evocative, atmospheric quality that contrasts with the usual cold, fluorescent lighting of institutional airport spaces,” the team said.
    CLB Architects created a “living room” for travellers awaiting their flightsThroughout the facility, the team blended elements of residential design into the travel hub.
    “It was our intent to make the experience feel more like a residential space rather than a commercial one,” the team said.

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    On the northern side of the terminal, where passengers wait to board their planes, the studio created a “living room” with comfy furniture, commissioned artwork and a monumental fireplace.
    Glazed walls are lined with polished concrete benches with leather seat cushioning, where visitors can watch aircraft take off and land. The waiting area also features a grab-and-go concessions counter and a casual restaurant with a fireplace.
    The terminal is designed to be highly flexibleThe terminal is designed to be highly flexible, so rooms can be reconfigured as needed. To that point, the airpot has an underground area of approximately 3,000 square feet (279 square metres) that was envisioned as a “versatile flex space”.
    CLB had two additional projects underway at the airport – a private terminal and three hangar structures.
    Other US airport projects include the ZGF-designed expansion to the Portland International Airport, which features a massive timber roof, and plans for a highly sculptural air-traffic-control tower in Columbus, Indiana, designed by Marlon Blackwell Architects.
    The photography is by Matthew Millman.
    Project credits:
    Design architect and architect of record for phases 3-7: CLB ArchitectsCLB team: Kevin Burke (partner), Cary Lakeman (senior project manager), Steve Jakub (project manager)Executive architect for phases 3-7: Miller DunwiddieInterior design: TruexCullins (restaurant and hold room)Contractor: Wadman CorporationCivil consultant: JviationGeotechnical engineer and well design: Nelson EngineeringStructural engineer: KL&AMechanical, electrical, plumbing, technology engineer: Michaud, Cooley, EricksonLighting: Helius Lighting DesignFood service: The Marshall AssociatesLife, safety, accessibility: Jensen HughesAcoustic engineer: Wave EngineeringClient: Jackson Hole AirportOwner’s representative: KLJ Engineering

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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.

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    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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