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    Sullivan’s Fish Camp designed so “guests can’t be sure if it’s 1982 or 2024”

    South Carolina-based studios SDCO and Basic Projects have overhauled a seaside restaurant in Charleston with a nostalgic design that extends across everything from interiors to memorabilia.

    Contemporary details feature throughout the redesigned Sullivan’s Fish Camp, but are interwoven with retro elements to create an aesthetic that respects the restaurant’s long history.
    Sullivan’s Fish Camp is a family-owned diner that first opened in 1988Located on Sullivan’s Island, at the entrance to Charleston Harbor, the family-owned diner has been serving cold beers and seafood to locals and beachgoers for over 35 years.
    Amy Pastre and Courtney Rowson of brand strategy studio SDCO worked closely with Kate and Ben Towill of interiors studio Basic Projects to bring a cohesive visual identity throughout.
    Large hand-painted letters boldly spell out the restaurant’s nameBold typography, cartoon-style illustrations, vintage art and furniture, and playful messaging all feature in the reimagined restaurant experience.

    “The design intent was to create a world that conjures the delight and affection that generations of beachgoers had for the original, family-owned restaurant,” said Pastre and Rowson.
    “Some details feel modern, some nostalgic. Experienced together, guests can’t be sure if it’s 1982 or 2024.”
    The graphic design identity includes drawings of the building’s exteriorOn the outside, Sullivan’s Fish Camp is spelt out in large hand-painted letters across a projecting red roof canopy, identifying the restaurant as a local landmark.
    Other graphic-design identifiers include drawings of the building’s exterior and two hand-drawn characters: a “cheery flounder” and Captain Sully, a “salty sea captain-meets-fish”.
    Both vintage and contemporary artworks cover the wallsThe restaurant’s interior walls are covered in artworks that continue the seaside and maritime themes, from a stitched portrait of a fisherman to a lobster painting by local artist Katherine Dunlap.
    Commissioned works include fish illustrations by “Carolina legend” Duane Raver, whose work also features on the placemats, and a large sculpture of a marlin fish.

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    “It was important to preserve what felt inherently right for the story and space,” said Pastre and Rowson.
    “We wanted to pay homage to seaside fish camps while bringing modernity to the brand and experience,” they said. “No corner was left untouched.”
    Artworks include a stitched portrait of a fishermanThe designers commissioned a local joiner to build furniture elements, including tables, seating banquettes, and a counter that frames the merchandise display and walk-up ice cream window.
    Basic Projects sourced many of the other furniture and lighting elements from antique markets, as well as from Ebay and Etsy. A stained glass pendant lamp is one of the most striking finds.
    “My background is in film set design, so I loved every bit of the sourcing,” said Kate Towill.
    A counter frames the merchandise display and a walk-up ice cream windowDurability was an important consideration; heavy rain and high tides can cause the restaurant to flood, while beachgoers bring plenty of sand in on their feet.
    “We welcome sandy and salty beachgoers,” said Towill.
    “The floors are VCT (vinyl composition tiles) and all the wood is pressure-treated and sealed with marine-grade sealer.”
    Illustrations by “Carolina legend” Duane Raver feature on the placematsSDCO designed an extensive range of merchandise, including key chains, hats, tote bags, sweatshirts, T-shirts, bottle openers and bumper stickers.
    Custom design also extends to the tableware.
    Cups are emblazoned with the Sullivan’s Fish Camp branding, while plates feature scalloped seashell illustrations that reference the border of the original 1988 menu.
    T-shirts feature Captain Sully, a “salty sea captain-meets-fish””The result is a feel-good space that quite literally takes you on a journey through food, drink, design, nostalgia and souvenirs that create indelible memories,” added Pastre and Rowson.
    Sullivan’s Fish Camp is the latest in a series of notable design projects in Charleston, a town that has seen an influx of creatives over the past decade.
    Others include boutique hotel Post House, also designed by Basic Projects, and the newly opened International African American Museum, designed by Pei Cobb Freed & Partners and Moody Nolan.

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    Glass bricks divide spaces in Suprematism apartment in Kyiv

    Design studio Dihome has created a colourful industrial-style interior for this compact 15th-floor apartment in Kyiv, Ukraine.

    Named Suprematism, this 42-square-metre apartment was adapted for a young couple who wanted a bright, colourful apartment with the most functional use of space.
    “I wanted to dress the interior in a modern, bold way to give it a young and relaxed theme,” Dihome founder Yevheniia Sytnik told Dezeen.
    Geometric shapes and block colours characterise this apartment in Kyiv by design studio DihomeExisting walls were removed to create an open-plan layout, while glass bricks and panels were added to create spatial zoning without obstructing natural light.
    “Glass blocks, plywood and concrete are the DNA of this project,” said Sytnik.

    “The glass blocks in the living room required the builders to take them for grinding three times to ensure they fit perfectly,” she continued.
    The colour scheme is based on a palette of orange, blue, yellow and redSet against a backdrop of painted white walls, colour was introduced through furnishings and decorative pieces, including an orange coffee table and a deep blue velvet sofa in the living space.
    Above hangs a burnt orange wall panel by Ukrainian artist Tasha Oro, whose work references the early 20th-century art movement Suprematism – which the apartment is named after.
    “Suprematism is characterised by simple abstract forms such as squares, circles, and rectangles,” said Sytnik.
    The apartment is set across an open-plan areaWhile the living spaces are spread across one open-plan space, the kitchen is distinguished from the rest of the living area with a reeded glass partition and a change in materials.
    Grey stools with tubular red legs tuck under the kitchen work surface to create a space-saving dining area, with a floor-to-ceiling mirror panel incorporated to create the illusion of space.
    Dividing the bedroom from the social spaces is a structural concrete pillarA structural concrete pillar acts as a partition between the living spaces and the bedroom, doubling as a TV unit on one side and shelving space on the other.
    “This volume incorporates the constructive element of the building – the concrete pillar – and becomes the axis of the entire interior,” said Sytnik.

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    Two additional decorative wall panels by Tasha Oro hang on the bedroom side of the pillar in pastel tones.
    “I worked on the project as if in a constant dialogue with Oro’s panels,” said Sytnik.
    Space-saving storage solutions are incorporated throughout the designIn the bedroom is an inbuilt desk and a low platform bed, with a yellow curtain used to neatly conceal wardrobe space.
    Rough-textured concrete ceilings with exposed electrical wiring give the apartment an industrial look.
    A colourful geometric panel, designed by Re:Quiet using recycled plastic bottles, functions as a noise absorber.
    Glass bricks separate the bathroom from the wider apartmentDivided using a glass brick wall, the bathroom is the only separate volume in the apartment, with red and yellow tones continued here.
    “Suprematist motifs in the bathroom tiles and bright yellow kitchen are complimented by the graphic patterns of the ceramic granite,” said Sytnik.
    Other Kyiv-based projects recently featured on Dezeen include an apartment renovation by Modektura and a fitness studio made from leftover materials in the face of wartime shortages.
    Photography is by Andrey Avdeenko.

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    DAB Studio adds contemporary touches to Dutch home from Amsterdam School period

    An Ettore Sottsass gridded feature wall and a sculptural green ladder characterise this 1920s Dutch house, which interiors firm DAB Studio designed to reference the Amsterdam School.

    Called Collectors Home, the dwelling is defined by the intricate brickwork and stained glass windows typical of the Amsterdam School – a movement from 1910 to 1920 that paid equal attention to the architecture and interior design of a building.
    DAB Studio has renovated a Dutch home from the Amsterdam School periodLocal firm DAB Studio renovated the Amsterdam house’s interiors to reflect its roots while adding contemporary touches.
    “The building dates from around 1929 and was designed by Eduard Cuypers,” studio co-founder Lotte Bruns told Dezeen.
    Called Collectors Home, the dwelling also includes contemporary touches”His studio was considered the origin of the Amsterdam School because the ringleaders of this style, Michel de Klerk, Joan van der Mey and Piet Kramer, were all formed in his office,” she added.

    The team enlarged and rearranged the living room’s neutral-hued fireplace, which has smooth, subtle corners – “a recognisable reference to the Amsterdam School,” according to Bruns. 
    Dedesigned to be deliberately off-centre, the fireplace mouth was decorated with modernist black marble discs that echo the room’s rounded sconce lights, positioned on a marbled mahogany feature wall.
    A gridded feature wall characterises the living spaceAlthough the wall design was originally created by Memphis Group founder Sottsass for Alpi in the 1980s, the gridded arrangement of the wood recalls the “ladder windows” common to Amsterdam School architecture, explained Bruns.
    A recognisable Wassily Chair by Bauhaus designer Marcel Breuer sits opposite a sculptural, low-slung coffee table and a deep red Gubi chaise lounge, first created in 1951.
    DAB Studio sourced a range of furniture for the project”The clients’ love of both modernism and postmodernism was the starting point for our research,” said Bruns.
    DAB Studio made use of the home’s bay window by inserting a lumpy, vintage fruit-picking ladder into the space – a formerly utilitarian object from 1890, painted green and transformed into art for the project.
    A fruit-picking ladder functions as an art piece”The semi-circular window was a big challenge because it was too small to be functional and too big to leave empty,” considered Bruns.
    “The ladder’s colour complements the stained glass and the green background of the grass and trees in the garden,” she added.

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    Art features throughout the home, including in the timber-clad kitchen, where a red copper table lamp with a shaggy, gold-hued fringe illuminates the sleek worktop.
    Connected to the open-plan living room, the dining space was finished with a long, dark wood table, mustard-coloured silk curtains and bespoke glass ceiling panels.
    The timber-clad kitchen houses a contemporary red copper lamp”The interior has a free, creative spirit in which each element can stand on its own and be seen as art,” concluded Bruns.
    Founded in 2016 by Lotte and her partner Dennis Antonio Bruns, DAB Studio previously transformed the kitchen floors and ceilings of a family home in Zwaag, the Netherlands, with two types of wood.
    Also based in Amsterdam, Studio Modijefsky created a contemporary family home inside a local dijkhuis – a traditional Dutch dwelling set next to a dyke.
    The photography is by Alice Mesguich.

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    Marmol Radziner creates club space in modernist Park Avenue skyscraper

    The third floor of the iconic Lever House skyscraper in Midtown Manhattan has been renovated by architecture firm Marmol Radziner to complement the building’s original modernist design.

    Marmol Radziner completed the interiors for the Lever Club within the office tower at 390 Park Avenue, which was designed by Skidmore, Owings & Merrill in the International style and completed in 1952.
    The entrance to Lever Club is lined with green marble flooring and soapstone wall panelsSOM finished restoring the building last year, after it was purchased by developers Brookfield Properties and WatermanClark in 2020, and Marmol Radziner worked on updating its communal spaces that had fallen into disrepair.
    “Lever House is a globally renowned architectural marvel, symbolising the era’s shift to modern skyscrapers,” said Marmol Radziner.
    The green hues used through the interior nod to the colour of the building’s curtain wall facade”Recognised with the prestigious Twenty-five Year Award from the American Institute of Architects (AIA), the building remains an icon of architectural excellence,” the studio added.

    Originally a cafeteria and repurposed several times over the years, the third floor now serves as a lounge, bar and dining space that continues onto a terrace projecting from the tower’s elevated base.
    The club’s layout revolves around “a series of paneled volumes”Design cues were taken from SOM partner Gordon Bunshaft’s own residence, and other modernist masters, to create an interior that feels in keeping with the building’s history and architecture.
    “From the beginning, we felt that the design of Lever Club should feel like a sympathetic insertion within the iconic curtain wall of the building,” said Marmol Radziner partner Ron Radziner.
    The bar is bookended by rosewood volumes and backed by a screen from John Lewis GlassThe club is entered via a lobby area where floors and walls are covered in panels of green marble and soapstone, contrasted by a simple cuboid reception desk made from wood.
    Inside, the layout revolves around “a series of paneled volumes set within the glass perimeter, taking advantage of the views and access to the most superbly sited outdoor terrace in the city”, according to Radziner
    The dining area overlooks an expansive terrace on top of the building’s elevated baseThe marble flooring, which echoes the green hues of the building’s pioneering facade, extends into the lounge area where tone-matched carpet demarcates soft seating areas.
    Many of the armchairs and sofas are upholstered in a complementary green hue, while chocolate-coloured leather is used to cover other seating options such as bar stool and banquettes.
    The curved banquettes are wrapped in chocolate-brown leather”The furnishings, largely bespoke, respond to and soften the hard edges of the architecture with plush texture and rich tones most often seen in a residential setting,” Radziner said.
    Rosewood tables match the large vertical elements that bookend the bar, which is backed by a John Lewis Glass patterned screen.

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    Aluminium also appears as table bases and chair frames that echo the slender window mullions.
    “It was important to us that the design respond intelligently and reverently to the building while also creating a real sense of comfort, warmth, and luxury,” Radziner said.
    Aluminium chair frames echo the slender window mullionsThis isn’t the first time that Marmol Radziner has created interiors for a SOM-designed skyscraper – the firm was also behind the penthouse at Fifteen Fifty in San Francisco, which was temporarily turned into a collectible design gallery in 2021.
    Earlier this year, Marmol Radziner completed California’s tallest residential skyscraper in Downtown Los Angeles.
    Lever Club can be used by the building’s tenants during the day and at nightLever House is one of several Manhattan office towers from the mid to late 20th century to have been retrofitted in recent years, aiming to attract new tenants.
    Among them are the postmodern AT&T Building by Philip Johnson, which was rebranded as 550 Madison after it was overhauled by Snøhetta and its lobby was transformed by Gensler.
    The photography is by Scott Frances.

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    Rudy Guénaire draws on American modernism for Matsuri restaurant interior

    French designer Rudy Guénaire has created the interiors of Japanese restaurant Matsuri in Paris, combining wooden furniture covered in lacquer with pastel-coloured domes informed by Frank Lloyd Wright.

    Located in Paris’ 16th arrondissement, the 200-square-metre restaurant was given a full redesign by Guénaire.
    As the menu focuses on “Japanese sushi from a Californian angle”, Guénaire drew on Japonisme – the Western fascination with Japanese design – for its interior.
    Matsuri is located in Paris’ 16th arrondissement”I drew on everything that has marked me from these two countries that I adore,” Guénaire, who runs Nightflight Studio, told Dezeen.
    “From Japan, I took this idea that fascinates me, which is that the Japanese frame everything,” he added.

    “As if everything had to be an island, firmly delimited by something that protects it and makes it unique.”
    Rudy Guénaire referenced American modernist design for the interiorThe American influence comes across in the shapes used to decorate the interior, which features colourful ceiling domes that are lit from the inside.
    “From California, I took these incredible obliques that make me melt,” Guénaire said. “The kind you find in Frank Lloyd Wright or John Lautner’s work.”
    “A slant that recalls the Native American tent, the primordial shelter,” he added.
    “American modernists loved Japan and sometimes, they’d never even been there. It’s this Japonism that I wanted to prolong.”
    The restaurant features Japanese postersAt the centre of Matsuri is the kaiten – conveyor belt – on which the sushi comes out. The designer used wood throughout the restaurant and covered it in lacquer for this centrepiece.
    “The kaiten is covered in high-gloss lacquer, reminiscent of the beautiful lacquer worshipped by the Chinese and then the Japanese,” he said.
    “I used wood throughout because in Japan, everything is made of wood, that’s just the way it is and has to be!”
    The central kaiten was covered in glossy lacquerPastel-hued domes decorate the ceiling above the kaiten, creating soft lighting and adding a touch of colour to the mainly white and wood interior.
    “For the ceiling, I think I got the idea from the amazing ceiling of Frank Lloyd Wright’s Penfield House,” Guénaire said.
    “I used industrial skydomes that I turned upside down and lit from the inside.”

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    The colour was toned down to create the right atmosphere for the restaurant.
    “We set up a sophisticated lighting system with very subtle colour control,” Guénaire added.
    “I chose cheerful, very American colour bases, and then, we subtly desaturated them to approach the Japanese aesthetic where nothing is ever garish.”
    Guénaire added pastel-coloured domes to the ceilingGuénaire also designed chairs for Matsuri that draw on those found in traditional Izakayas – Japanese pubs – though he says the original ones don’t correspond to his memories of them.
    “While searching for photos of Izakaya, I never found this chair shape,” the designer said.
    “Yet, as I recall, it’s exactly this chair that I’ve seen everywhere. All small and cute,” he added.
    “Maybe that’s what Japonism is all about. You invent a lot when you think you’re bringing back memories.”
    The designer created chairs that reference Izakaya furnitureThe interior of Matsuri, which is part of a restaurant chain founded in 1986 by a French-Japanese couple, is also decorated with old posters brought back from Japan.
    “We always have friends coming back from Japan. We asked them for a little help!” Guénaire said.
    Other Japanese restaurants on Dezeen include a sushi restaurant and sake bar with oxblood tiles and the Aragawa steakhouse selling “UK’s most expensive steak”.
    The photography is by Ludovic Balay.

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    BoND’s PatBo Miami boutique features soft curves and floral touches

    New York studio BoND has created a “feminine, organic” interior for Brazilian brand PatBo’s store in Miami Design District, complete with a dramatic sweeping staircase.

    The two-level retail space was designed by BoND following the studio’s work on the PatBo headquarters in Manhattan, which opened last year.
    The ground floor space at PatBo’s Miami store features tall ceilings, terrazzo flooring and sculptural displaysThe team took a similarly soft, feminine approach in the Miami flagship, pairing white and pale pink with rich woods and brass accents.
    “The new store is an artful and site-specific reinterpretation of the feminine, organic aesthetic that is synonymous with the brand’s stores in Brazil,” said BoND.
    A ribbon-like balustrade follows the staircase up through the store, circling oversized silk flowers by Hana FormEntering under a dramatic arched canopy, customers find themselves within a tall, bright space featuring terrazzo flooring, geometric wooden display plinths and brass rails.

    Hints of green marble can be spied in custom furniture pieces, as well as the stair treads and risers hidden behind a solid, ribbon-like guardrail.
    An arched opening leads through to bright coral-coloured fitting roomsAn arched opening beside the register leads into a bright, coral-coloured changing area, where terracotta tiles cover the floor.
    The staircase glides up the curved back wall of the store, and rises through a gap in the upper floor plate, around which the balustrade circles back on itself.
    Darker woods and carpet create a more intimate atmosphere on the upper level”A winding white and green marble staircase serves as a focal point of the space connecting visitors to the second-floor salon and dressing area,” said the studio.
    Curved wood panels and caramel-coloured carpet provide a more intimate atmosphere upstairs, exaggerated by the lower ceiling height.
    The warmly lit fitting rooms on the upper level are lined with curved wood panelsThe brass railings continue, whereas the coral fitting rooms are swapped for wood-lined chambers with curved corners and warm lighting.
    “An overarching geometry of soft curves is a running thread that ties all spaces together,” the studio said.

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    Furniture pieces including Frank Gehry’s Wiggle chair, a green marble coffee table and a curved grey sofa form a seating area for customers to relax while they shop.
    Overhead are a pair of oversized silk flowers by artist Hana Form, which also appear on the ground floor suspended through the staircase void.
    Green marble appears behind the facade, as well as on the staircase and custom furniture insideBoND also created a facade of pale pink wooden slats to help the building to stand out in the Miami Design District, where brands are encouraged to get creative with their frontages.
    A Louis Vuitton store wrapped in a diamond-patterned facade by Marcel Wanders and a Kengo Kuma-designed block of sculptural buildings are among other examples.
    BoND wrapped the store exterior in pale pink wood slats to help it stand out in the Miami Design DistrictBoND was founded by Noam Dvir and Daniel Rauchwerger, whose studio has also completed a bold yellow scheme for a men’s apparel store in New York.
    The firm’s other projects include the renovation of a mid-century Sears Catalog kit house in Fire Island Pines and a Manhattan hair salon featuring wooden frames and moveable styling stations.
    The photography is by Studio Pyg.

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    Eight contemporary kitchens brightened by skylights

    Residential kitchens illuminated by skylights are the focus of this lookbook, which includes homes everywhere from Australia to Mexico and Japan.

    A popular feature in many contemporary kitchens, skylights are typically used to maximise natural light in rooms that sit below ground or in the depths of a plan.
    However, they are also helpful for saving valuable wall space in areas for food preparation, leaving more room for cabinets and shelving, or they can simply be installed to create a focal point.
    The eight examples below show how skylights can be made in all shapes and sizes to enhance and brighten kitchens in any style.
    This is the latest in our lookbooks series, which provides visual inspiration from Dezeen’s archive. For more inspiration, see previous lookbooks featuring exposed structural ceiling beams, clerestory windows and nightclub interiors.

    Photo by Helen CathcartThe Maker’s Barn, UK, by Hutch Design
    A square-shaped skylight casts light over the glossy tiled kitchen in The Maker’s Barn, a home that Hutch Design created on the site of a concrete pig shed near London.
    The soft light from overhead enhances the warm and tactile finish of the space, which is finished with wooden cabinetry and a mix of rough terracotta and wooden floor tiles.
    Find out more about The Maker’s Barn ›
    Photo by Peter BennettsBismarck House, Australia, by Andrew Burges Architects
    Rather than opting for a traditional square skylight, Andrew Burges Architects punctured the ceiling of the Bismarck House’s kitchen with a curved sheet of glazing.
    It follows the shape of the undulating first floor above and helps brighten the industrial aesthetic of the room, which pairs utilitarian tiles with exposed brick walls and concrete flooring.
    Find out more about Bismarck House ›
    Photo by Danny BrightMontauk House, USA, by Desciencelab
    Desciencelab slotted rectangular skylights across the pitched roof of Montauk House, maximising natural light in the teak-lined cooking and dining area below it.
    The light drawn in through the glazing bounces off the white-painted ceiling, helping to distribute it around the open-plan room, which also contains a lounge area.
    Find out more about Montauk House ›
    Photo by Rory GardinerHouse VO and House WO, Mexico, by Ludwig Godefroy
    This kitchen skylight has been carved into the sculptural concrete form of a Mexican house designed by Ludwig Godefroy.
    It helps to illuminate the kitchen counters, which would otherwise be lowly lit due to their position below ground level.
    Find out more about House VO and House WO ›
    Photo by Tololo StudioYamaguchicho House, Japan, by Slow
    Exposed concrete walls form a backdrop to this black kitchen, which is partially lit by angled, fluted skylights on one side.
    This was designed by Slow to provide the owners with ample light while cooking, due to the Japanese house having a mostly windowless exterior for privacy.
    Find out more about Yamaguchicho House ›
    Photo by Jim StephensonWalled Garden, UK, by Nimtim Architects
    Nimtim Architects placed skylights to one side of this kitchen, which sits deep in the plan of a townhouse it has extended in London.
    The square panes are framed by Douglas fir beams and filter just enough light to brighten the space while retaining the cosy, earthy quality achieved through a palette of exposed brickwork, rough plaster and concrete flooring.
    Find out more about Walled Garden ›
    Photo by Benjamin HoskingBrunswick Apartment, Australia, by Murray Barker and Esther Stewart
    Murray Barker and Esther Stewart kept it simple for the skylight in this kitchen, opting for a square-shaped design that sits above the dining table.
    It helps light up the space that would otherwise have little natural light, due to its other windows sitting close to a brick wall and reducing the amount that can filter inwards.
    Find out more about Brunswick Apartment ›
    Photo by Virtually Here StudiosMalibu beach house, USA, by Sophie Goineau
    In Malibu, Sophie Goineau has renovated a family beach house to allow more light in. In the kitchen, this involved adding skylights to its wavy roof.
    The skylights are partially obscured with ash battens that cloak the entire ceiling, letting in light but blocking out the bright overhead sun.
    Find out more about this Malibu beach house ›
    This is the latest in our lookbooks series, which provides visual inspiration from Dezeen’s archive. For more inspiration, see previous lookbooks featuring exposed structural ceiling beams, clerestory windows and nightclub interiors.

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    This week we revealed Buckingham Palace’s interiors

    This week on Dezeen, we published photos of the inside of Buckingham Palace’s newly refurbished east wing.

    Opened to the public for the first time in its 175-year history earlier this month, the chinoiserie interiors contain porcelain lions, nine-tiered pagodas and a lotus-shaped chandelier.
    The wing also contains the room with the palace’s famed balcony that overlooks the Mall.
    OODA has designed Bond Tower for TiranaIn architecture news, Portuguese studio OODA unveiled the latest eye-catching design set to be built in the Albanian capital, Tirana.
    Named Bond Tower, the studio designed a pair of connected skyscrapers that bend away and towards each other.

    OMA unveils the Simone Veil BridgeIn France, the Simone Veil Bridge in Bordeaux designed by Dutch studio OMA opened to the public.
    Described by the studio as “anti-iconic”, the bridge is overly wide with a 28-metre-wide unprogrammed public space.
    “Our design for the Simone Veil Bridge is like a stage but without the theatre,” explained OMA partner Chris van Duijn.
    Dyson launched its first headphonesIn design news, technology company Dyson unveiled its first audio-only headphones with the aim of disrupting the market.
    “At Dyson, we are driven by the opportunity to disrupt established categories,” Dyson principal industrial designer Phil Douglas told Dezeen.
    “The Dyson OnTrac is our first standalone pair of headphones,” he continued. “So, our main aim was to create a piece of technology which really serves its primary purpose well – to create a pair of headphones that people want to listen to.”
    On launched a trainer with a sprayed-on upper ahead of the OlympicsAhead of the Olympics starting next week, Swiss running brand On unveiled its latest trainer, which will be worn by athletes at the Games.
    Named Cloudboom Strike LS, the trainer is topped with a lightweight, low-carbon upper created by spraying filament using a robotic arm.
    A lookout in Belgium was one of this week’s most-read storiesPopular projects on Dezeen this week included a lookout on a Belgium beach, a multi-generational Melbourne home made with pale bricks and a giant bubble added to a century-old Japanese house.
    Our latest lookbooks featured interiors with exposed structural ceiling beams and interiors brightened by clerestory windows.
    This week on Dezeen
    This week on Dezeen is our regular roundup of the week’s top news stories. Subscribe to our newsletters to be sure you don’t miss anything.

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