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    Space Available opens closed-loop design workshop and studio in Bali

    Design studio Space Available has transformed a former warehouse in Bali into a workshop and office space featuring a mezzanine clad in offcuts from its plastic recycling projects.

    Situated in an industrial suburb of the island’s capital Denpasar, the building houses the first physical workspace for Space Available, which creates products and clothing from ocean plastic and other waste materials.
    Space Available has designed its own studio and workshop in BaliThe organisation, founded in 2020 by English designer Daniel Mitchell, wanted to create a studio that can act as a creative hub for hosting activities centred around the themes of recycling and closed-loop design principles that aim to keep waste materials in use.
    The space was designed to accommodate recycling machines, upcycling stations and a bio-design lab created in collaboration with MycoWorks – a Californian company that develops materials from mushroom mycelium for brands including Hermès.
    The studio makes products from recycled plasticMitchell and Space Available’s in-house architect Andika Permana oversaw the renovation of the 500-square-metre building, defined by typical industrial features including grey breeze block walls.

    “The raw warehouse space underwent a transformation of refinement to make it feel less industrial,” Mitchell told Dezeen.
    “We skimmed and painted the walls white along with painting the previously unfinished metal ceiling. Our aim was to create a clean, white, almost gallery-like atmosphere.”
    Offcuts from the production process were used to clad the stairsTowards the rear of the space, a double-height steel structure was erected to house the laboratory as well as an office on the upper level. This volume is clad in waste plastic offcuts that are repurposed from the studio’s homeware and furniture production.
    “The blue ‘marble’ structure stands out against the clean white backdrop, creating a dramatic ‘structure within a structure’ effect that really pops out as you enter the studio,” Mitchell added.

    Space Available and Peggy Gou create furniture from “heartbreaking” plastic waste

    The use of offcuts fits with Space Available’s mission to “change the perception of waste through elevated design”.
    In addition to forming the facade, the material is used to create shelving, furniture, speakers and other amenities throughout the building.
    The warehouse’s remaining open floor area functions as a flexible space for building and exhibiting projects or hosting events. Large shelving units at one end are used to store and display the studio’s furniture and archival products.
    The studio’s sheet material was also used to form various furnishingsSpace Available was founded during the coronavirus pandemic by Mitchell, who moved to Bali with his wife in 2014 after working in the fashion industry for several years.
    Shocked by the global plastic waste crisis that is evident in the volume of pollution washing up on Indonesia’s beaches, he wanted to develop a design studio that would explore circular design principles and revolutionise the perception of ocean plastic and waste.
    The organisation has recycled more than six million plastic bottles in its projects, which range from large-scale sculptural installations to furniture and fashion design.
    A shelving unit displays the studio’s furniture and archival productsIts furniture and solid surface sheet materials are made from waste plastic collected from rivers and landfills. The material is shredded, added to a mould and baked to create panels featuring vibrant colours and patterns.
    Space Available previously collaborated with South Korean DJ Peggy Gou to create a chair made from 20 kilograms of recycled plastic with an integrated compartment for storing records.
    The recycled plastic resembles colourful marbleIn 2022, the studio opened a dedicated gallery, recycling station and upcycling bar called Museum of Space Available in the coastal town of Canggu, which features
    The building features a facade made from 200,000 recycled plastic bottles and showcases the work of the studio alongside projects by other artists, designers and scientists.
    Another Indonesian organisation giving new life to plastic waste is Sungai Watch, which recently launched its first furniture designs made using discarded plastic bags.

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    In Common With opens Quarters showroom and hospitality venue in Tribeca

    New York lighting brand In Common With has opened a multi-functional space in a 19th-century Tribeca loft in time for NYCxDesign, and will host a shoppable experience and a variety of events during the festival and beyond.

    In Common With founders Felicia Hung and Nick Ozemba renovated the 8,000-square-foot (473-square-metre) space on the second floor of a historic building on Broadway as a venue to host events and showcase installations and collections both by themselves and others.
    Designed with a residential feel, the Quarters venue includes a wine bar for hosting events”A marriage of warmth and grandeur, whimsy and irreverence, Quarters is both a concept store and community gathering space,” said the duo.
    “Inspired by Tribeca’s rich artistic history – and by the participatory spirit of 1960s ad hoc art spaces – Quarters shifts between the expected and the altogether disarming, a curated space and one that’s improvisational and alive.”
    Quarters is divided into multiple interconnected spaces, including one styled as a living roomDesigned and styled to have a residential feel, the venue unfolds through various interconnected rooms, including a bar, lounge, library and great room.

    Each features richly hued decor and is populated with artful vintage and contemporary designs, the majority of which are shoppable.
    The majority of the design products on show are available to buyThere’s also bedrooms, a kitchen, a dining room, and powder rooms that feature dramatic marble sinks and are lined with handmade tiles.
    Other highlights include large tapestries hung on the walls, built-in burl wood storage that matches a counter base in a foyer, and the bar area that’s framed with a fresco by artist Claudio Bonuglia.
    The furniture, lighting and artwork presented in the space – by In Common With and many of their collaborators – will change frequently”Quarters is more than a retail concept; it’s a platform for showcasing our unique view on domesticity and hospitality and sharing our creative vision with a broader audience,” said Ozemba.
    “It represents our imagination, values, and ambitions in a tangible form, and it’s an open invitation for others to find inspiration within our world.”
    In Common With’s lighting collections including Flora, designed by Sophie Lou Jacobsen, are dispersed throughoutSince starting In Common With six years ago, Hung and Ozemba have collaborated on lighting collections with designers including Sophie Lou Jacobsen, Danny Kaplan and Simone Bodmer-Turner.
    All of these are represented throughout the different rooms, in pendant, floor, table and chandelier variations and multiple colourways.
    The various spaces, including bedrooms, a kitchen and a dining room, are all decorated with a mix of vintage and contemporary furnitureThe launch of Quarters also coincides with In Common With’s debut collection of wooden furniture, which features hand-painted trompe l’oeil surfaces and customisable inlaid ceramics created with artist Shane Gabier.
    Other new pieces on view include glass lighting and objects with hand-cut graphic patterns, and a three-piece series of hand-embroidered fabric lighting fixtures.

    In Common With opens lighting studio and showroom in Brooklyn warehouse

    Hung and Ozemba plan to use the space as a platform for their fellow designers and artists, as well as their own work, and to entertain their peers with wine evenings and dinners.
    The displays will be updated to present new projects and collections, and to reflect In Common With’s fluid approach to collaborative design.
    Highlights include a marble counter with a burl wood base in a foyer area”By welcoming others and fostering our artistic community, [Quarters] will continue to evolve in new and exciting ways,” said Hung.
    “With each new perspective and collaboration, Quarters will transform again and again, pushing the boundaries of design, expression, and creative connection.”
    Bathrooms and powder rooms feature handmade tilesQuarters launched just in time for NYCxDesign, New York’s annual design festival, and is hosting a variety of events over the course of the month. Check out Dezeen’s NYCxDesign highlights and all of the events we’re hosting.
    In Common With previously opened a studio, showroom and production facility inside a Brooklyn warehouse in 2022.
    The photography is by William Jess Laird.

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    Eight converted-barn interiors that reveal echoes of their pasts

    An “unprecious” restaurant, a sculptor’s studio and a handful of holiday homes are among the converted barns in our latest lookbook, which explores how to transform the interiors of these agricultural buildings.

    Traditionally, barns are farm buildings that house livestock or store resources such as grain or hay.
    But around the world, architects and designers have renovated these spaces – often hundreds of years old – to create homes or for them to be used for other contemporary purposes.
    While the insides of some barns have been entirely remodelled, others purposefully celebrate their original features such as timber beams and gabled roofs.
    This is the latest in our lookbooks series, which provides visual inspiration from Dezeen’s archive. For more inspiration, see previous lookbooks featuring minimalist kitchens, pyramidal ceilings and eclectic hotels.

    Photo by José HeviaRelámpago House, Spain, by H3O
    Barcelona practice H3O transformed an old barn in Sant Just Desvern, Spain, into a one-storey home with an unusual interior layout.
    The studio created zigzagging walls for Relámpago House in to reference an old family legend told by the homeowner, whose ancestors are said to have survived a lightning bolt that struck the barn and entered the building through the chimney, narrowly avoiding the family members sheltering under the dining table.
    Find out more about Relámpago House ›
    Photo by Rory GardinerRedhill Barn, UK, by TYPE
    A dilapidated barn in Devon, southwest England, was transformed into a secluded house that has retained its 200-year-old stone walls.
    London architecture studio TYPE used neutral hues for the interiors, designed to complement the barn’s original stone and lime plaster walls and columns.
    The studio also created a new Douglas fir floor and roof structure that was chosen to evoke the rhythm and simplicity of traditional agricultural buildings.
    Find out more about Redhill Barn ›
    Photo by Alex BaxterBarn at the Ahof, the Netherlands, by Julia van Beuningen
    Designer Julia van Beuningen added a plywood spiral staircase to this thatched barn in Gelderland, the Netherlands, which she converted into a holiday home.
    The staircase’s smooth timber and sinuous curves contrast the ceiling’s rustic wooden beams. A slender steel kitchen island also features on the ground floor and imbues the 19th-century barn with a contemporary touch.
    Find out more about Barn at the Ahof ›
    Photo by David BarbourCroft 3, UK, by Fardaa
    Set within an abandoned basalt barn, Croft 3 is a gabled restaurant on Scotland’s Isle of Mull by emerging studio Fardaa.
    “Unprecious” interiors characterise the eatery, which features salmon-hued, exposed plaster walls and long communal tables carved on the island from a single Douglas fir tree.
    Find out more about Croft 3 ›
    Photo by Lorenzo LandriniWraxall Yard, UK, by Clementine Blakemore Architects 
    The Wraxall Yard complex is a series of holiday homes in Dorset, southwest England located in formerly derelict stone barns.
    Clementine Blakemore Architects designed the project, accessed via a curved pathway, with accessibility in mind. Brick and timber accents characterise the interior, created to feel homely rather than clinical.
    Find out more about Wraxall Yard ›
    Photo by Thomas HeimannLandhaus, Germany, by Thomas Kroeger Architekt
    Landhaus – or Country House – is a holiday home and guest annexe in a converted 140-year-old barn in Uckermark, Germany.
    Designed by Thomas Kroeger Architekt, the building has a double-height large hall at the centre of the former barn. A statement red-brick fireplace with integrated seating on its sides features on one side of the paved courtyard.
    Find out more about Landhaus ›
    Photo by Brigida GonzálezKressbronn Library, Germany, by Steimle Architekten
    Also in Germany, Steimle Architekten converted a former barn into a library and community centre for the village of Kressbronn am Bodensee.
    The vertical wooden slats that clad the building allow diffused daylight to enter the interior, which features concrete flooring and an open gallery tucked beneath the preserved timber trusses.
    Find out more about Kressbronn Library ›
    Photo by Jim StephensonArt Barn, UK, by Thomas Randall-Page
    Architect Thomas Randall-Page designed an artist’s studio and airtight archive space for his sculptor father, Peter Randall-Page.
    The project is a converted barn in Devon with a largely open interior except for a cosy “winter studio” contained within a cork-clad structure positioned on timber supports. The space underneath the studio creates a lounge area with a wood-burning stove.
    Find out more about Art Barn ›
    The main image of Art Barn is by Jim Stephenson.
    This is the latest in our lookbooks series, which provides visual inspiration from Dezeen’s archive. For more inspiration, see previous lookbooks featuring minimalist kitchens, pyramidal ceilings and eclectic hotels.

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    Locally produced tiles clad walls and table in Blue Bottle Coffee shop in Nagoya

    Japanese studio Keiji Ashizawa Design sourced local materials for the design of Blue Bottle Coffee cafe in Nagoya, Japan, which features tiles across its surfaces and lamps made from pottery plates.

    The studio used tiles across the walls, floors and tables of the cafe, which were all produced by local manufacturer Ceramic Olive Bricks.
    “This cafe is located in the Chukyo area of central Japan, an area that excels in manufacturing, so we decided to make the most of it,” Keiji Ashizawa Design’s founder Keiji Ashizawa told Dezeen.
    Tiles cover the walls in this Blue Bottle Coffee cafe in Nagoya”We used a lot of tiles on the walls this time,” Ashizawa added.
    “Inspired by Blue Bottle Coffee’s philosophy of valuing the local, we decided to use tiles that are produced in the Chukyo area,” he continued.

    “These tiles are used to cover the structural walls of the building that exist as pillars to create three frames.”
    A table at the centre of the space is also tiledAs well as cladding the walls in tiles, the studio used them to demarcate seating areas and created a tile-clad table as a centrepiece of the 311-square-metre space.
    “We designed the table specifically for the space,” Ashizawa explained. “The tiles used are different from the wall tiles but are from the same tile manufacturer, glazed for easy cleaning.”
    Wooden furniture is used throughout the space”We thought that the cafe, which often serves as a lounge in a large building, needs to have a central space where everyone can remember,” Ashizawa added.
    “When deciding to create a large centre table, we thought a tiled table would be both iconic and appropriate for this space.”
    Tiling also lines parts of the floor of the cafeThe cafe features wooden furniture throughout and is decorated with rounded wall sconces and pendant lamps made from pottery plates.
    “The pendant and wall lamps are made of pottery plates from the same region as the tiles, and are also used as tableware in the store,” Ashizawa said.
    “The surface gives a soft, diffused light, where the light hitting the slightly uneven edges of the plate adds a touch of craft.”
    Above the counter is a brass lamp that references Nagoya CastleIn addition, the studio drew on a local monument for the interior design. Above the main tiled table, a mobile adds an extra decorative touch.
    “The lighting on the counter finished in brass colour was created in homage to the famous ornaments on the top of Nagoya Castle,” the designer said.

    Blue Bottle Coffee Qiantan references greenhouses and Shanghai’s brick architecture

    “The mobile that looks like a tree branch was designed by an architect friend who also designed the Blue Bottle Coffee Fukuoka cafe,” continued Ashizawa.
    “Depending on how the light hits, it appears as if it is a lighting fixture. The delicate mobile, named In the Sky, made of brass subtly defines the place and creates a charming atmosphere.”
    A slim mobile hangs above the main tableThe interior has an earthy colour palette with pink-coloured tiles.
    “The elegant pink color of the tiles, the gray floor and walls, added with the natural wood and textiles of the furniture were chosen to work in harmony with one another,” Ashizawa said.
    The cafe is located in Nagoya’s Chunichi BuildingThe Chunichi Building, in which the cafe is located, is a well-known Nagoya landmark that was formerly a theatre and now houses a hotel. This also influenced how Ashozawa thought about the design of the space.
    “The cafe was conditioned to be on the ground floor of the building that is familiar to the locals with its historical existence and the newly constructed hotel floors,” he said.
    “I had the inspiration to somehow add value to the place by making it not just a cafe, but more of a lounge space in a hotel that provides a sense of comfort.”
    The Blue Bottle Coffee shop is the seventh designed by Keiji AshizawaThis is the seventh Blue Bottle Coffee cafe designed by Keiji Ashizawa Design, with others including a shop in Shanghai’s Qiantan area with a glazed facade and another in Kobe’s Hankyu department store that takes advantage of its display windows.
    According to Ashizawa, the studio aims to tailor the different designs to suit their surroundings.
    “For all of them, it is always a pleasure to have discussions about local, landscape, and the culture of the place and country to be utilized in designing the store,” he concluded.
    “Indeed, this is what makes them a challenging project as every store has its own character and constraints.”
    The photography is by Tomooki Kengaku.
    Project credits:
    Architect: Keiji Ashizawa DesignProject architect: Keiji Ashizawa and Chaoyen WuConstruction: TANKTiles: Ceramic Olive IncFurniture: Karimoku and Karimoku CaseLighting design: Aurora and Yoshiki IchikawaPendant, wall lamp shade and logo plate: Juzan

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    Miriam Barrio creates “organic and natural” interiors for Barcelona curly hair salon

    Barcelona-based Miriam Barrio Studios has transformed the interiors of a modernist building into Curly Lab, a curly hair salon incorporating curved shapes and copper-toned surfaces.

    Located at the base of a gothic and modernist building designed by Catalan architect Enric Sagnier in 1895, Curly Lab is situated at Diputación in the Eixample district of Barcelona.
    Miriam Barro has designed curly hair-informed interiors for Curly Labs salonMiriam Barrio Studios designed Curly Lab’s 65-square-metre-interior to convey an “organic and natural language”. The space, previously occupied by a real estate agency, now features rich textures that contrast the surrounding architecture.
    Continuous microcement surfacing was used across the salon’s light-toned floors and its terracotta-toned wall to create a distinct backdrop. This microcement was locally sourced and manufactured within the vicinity of Barcelona.
    Microcement was used for the light-toned floors and terracotta-hued wallsNew elements include curved shapes that form the structure of salon countertops, furnishings and lighting fixtures, creating pathways and routes across various workstations.

    “The organic shapes were a match because in the modernist world they symbolised beauty and were entirely aligned with the DNA of curly hair,” designer Miriam Barrio told Dezeen.
    Polished copper tiles decorate these countertop bases, coexisting with historical features also on display.
    Copper-toned tiles furnish the bases of workstation countertopsRemnants of the previous interior are still visible throughout the renovated space. They include exposed brick walls and a Catalan vault ceiling with original floral paintings, which the studio preserved in their current state.
    This process involved a thorough cleaning. The studio then unified the ceiling backgrounds using plain colours, followed by a matte and transparent patina application.
    “The colour of the original ceiling drawings, they were pure inspiration!” Barrio said.
    “A great find and a stroke of luck since there is nothing more natural and special than copper tones,” she added.
    “We wanted to choose a colour derived from the tones of the ceiling and make it the protagonist. It needed to be warm and deep at the same time, neither too feminine nor too masculine. Based on that colour, all the materials for the project were chosen.”
    Preserved features include exposed brick walls and a Catalan vault ceiling with original floral paintingsThe lighting in the space was arranged to highlight the interior’s key architecture and design components, creating an eye-catching display at night when viewing the salon from outside.
    “The lighting in the main space with high ceilings needed to serve two functions: technical lighting for work and decorative lighting to set the atmosphere and enhance the architecture,” Barrio said.

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    “They were positioned at mid-height to illuminate the ceilings from the same element. Curved track lights were designed to flow in the space in the same way as the other elements,” she added.
    Barrio used black metal for the majority of the fixtures besides lighting, including oval-shaped mirrors on dressing tables and Color Bar furniture. Other notable accessories include ceramic lamps and velvet sofas.
    Lighting fixture positioning accentuates the architecture and design of the space”I think it is important to feel beautiful in a salon, for the space to be a fitting companion,” Barrio expressed.
    “We want [consumers] to feel welcomed and inspired, close to feeling like they are in a special temple. In a place of care on all levels.”
    Curly Labs combines new and old shapes and colours to create an “organic and natural” atmosphereOther innovative salon interiors across the globe include the Buller and Rice in London designed by Anita Rice and Stephen Buller, Koda in Sydney by Arent & Pyke and Treadwell by Gin Design Group.
    The photography is by Salva López.

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    Alessandro Mendini was an “atomic bomb of fantasy” says Philippe Starck

    In this video produced by Dezeen for Triennale Milano and Fondation Cartier, Philippe Starck describes the “genius” of Alessandro Mendini following the opening of Io Sono Un Drago, an exhibition celebrating the designer.

    French designer Starck, who has contributed an immersive installation to coincide with the exhibition, emphasised the impact that Mendini has had on his own work, citing his sprawling approach to creativity.
    “Mendini is something special for me,” he said in an exclusive video interview with Dezeen. “His brain was an atomic bomb of fantasy, with no limits.”
    Starck’s installation accompanies a retrospective exhibition celebrating Mendini at Milan design week, presented by cultural institutions Triennale Milano and Fondation Cartier pour l’art contemporain.
    Titled Io Sono Un Drago (I am a dragon), the exhibition contains more than 600 pieces by Mendini across his 60-year career. ​​Mendini passed away at the age of 87 in February 2019.

    Mendini was a key figure in the radical design movementThe exhibition sets out to explore Mendini’s influence on 20th-century design and architecture, particularly in his multidisciplinary approach to creativity.
    “Alessandro Mendini was a key figure of the last century, not just for design but also for art and architecture because he was able to link all these disciplines and blur the lines between them,” explained Michela Alessandrini, curator for Fondation Cartier pour l’art contemporain.
    “He revolutionised the idea that design is a well-drawn object,” added Triennale Milano curator Nina Bassoli.
    “He worked with design as a tool for communicating art, poetry, literature, feelings.” said Bassoli.
    The exhibition brings together work from across the realms of art, architecture and designThe title of the exhibition comes from a drawing of a dragon by Mendini, with different parts of its body associated with different professions. Created as an allegorical self-portrait by Mendini, the image was highlighted by the curators as a representation of Mendini’s vast breadth of work across many different practices.
    “[When] talking about Mendini it is quite impossible to have a clear distinction between what is art, what is useful, what is object, what is designed,” said Bassoli.

    Triennale Milano celebrates Alessandro Mendini at Milan design week

    The exhibition is split into six thematic sections and opens with a section titled Identikit, which showcases a series of self-portraits Mendini created over the course of his life.
    Through the display of architectural models, furniture pieces, sculptures and artworks, the show explores themes such as Mendini’s architectural practice with the Atelier Mendini workshop, his experiments with postmodernism and radical design, and his research within design theory.
    Mendini created an optical illusion-like installation towards the end of his careerThree installations created by Mendini towards the end of his life also feature in the exhibition, and engage with the concepts of dreams and nightmares.
    Starck’s installation, titled What? A homage to Alessandro Mendini, is located in the Triennale’s Impluvium space, in accompaniment to the main exhibition.
    The audiovisual installation was designed to take viewers into a sensory journey through Mendini’s mind.
    The installation uses surreal visual projections and fragmented audio to immerse the viewer. Image by Delfino Sisto Legnani DSL Studio, courtesy of Triennale Milano”When you arrive in this room you receive Alessandro,” said Starck. “You receive his eyes, his face, his voice. I tried to create what I think is inside his brain.”
    “What I learned from Mendini is that the real geniuses are always kind,” he added. “There are no bad geniuses. If they are bad, they are not a genius.”
    The installation will be displayed until 13 October and was conceived, designed and directed by Starck.
    The exhibition was curated by Fulvio Irace, with exhibition design by designer Pierre Charpin.
    Io Sono Un Drago is open to the public at the Triennale Milano 13 April to 13 October. What? A homage to Alessandro Mendini runs from the 16 April to 13 October. See our Milan design week 2024 guide on Dezeen Events Guide for information about the many other exhibitions, installations and talks that took place throughout the week.
    Partnership content
    This video was produced by Dezeen for Triennale as part of a partnership. Find out more about Dezeen’s partnership content here.

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    Highstay designs Paris holiday apartments for Olympics visitors and holiday makers

    Hospitality brand Highstay has brought a contemporary spin to these 19th-century Parisian apartments, which its team has renovated to offer accommodation during the Olympic Games and beyond.

    The holiday apartments are intended for short- and long-term stays of up to one month, offering an alternative to hotels “for those coming to the city this summer for the Olympics”, Highstay said.
    Highstay’s has created holiday apartments within historic buildingsThe apartments are spread over four central Paris locations: Champs-Elysées, Saint-Honoré, Louvre and Marais.
    The majority are located within historic Haussmann-era buildings typical of the French capital and were designed by Highstay’s in-house team to retain their character while offering a contemporary twist.
    Each apartment is designed with a neutral palette and contemporary furniture”Our interior designers combine the quintessential Parisian style of 19th-century architecture with contemporary materials and modern equipment,” said the Highstay team.

    “The association of natural stones, elegant woods and high-quality fabrics shapes the atmosphere of a room and best connect our guests to the spirit of a place.”
    Parquet floors, bronze mirrors and marble accents are common throughoutRanging from one to three bedrooms, the apartments are decorated in a neutral palette, combining classical mouldings with minimally detailed stone and pale wood surfaces.
    Common materials and elements found in most of the interiors include arched architectural features, parquet flooring, travertine surfaces and dramatic marble used across fireplaces, bathrooms and kitchens.
    The buildings’ classical mouldings were retained”Each high-end pied-à-terre positions the kitchen area as the focal point and central hub, inviting conviviality while suite-style bedrooms offer a warm and intimate ambience through carefully selected wood materials, varied fabrics and textures,” said the team.
    Unique features tailored to the different contexts of each location range from large-scale upholstered or wooden headboards to full-wall panelling, bronze-tinted mirrors and various contemporary furniture and artworks.
    The kitchen area is positioned as a focal pointIn the two-bedroom Louvre I apartment, which overlooks the famous museum on Rue de Rivoli, a grand salon room contains the kitchen and living area.
    A ring-shaped light hangs over the centre of the tall space, which is vertically emphasised by the kitchen millwork and full-height windows.

    Laurent Taïeb transforms Louvre Post Office into Hôtel Madame Rêve in Paris

    Arched niches display decorative items on either side of the dark stone fireplace, from which the TV emerges at the touch of a button.
    The primary bathroom is wrapped almost entirely in richly veined black-and-white marble accented by black fixtures while the second is clad in warm-toned travertine.
    Highstay’s Louvre I apartment includes a bedroom with dark walnut panellingParis is gearing up to host the 2024 Olympic and Paralympic Games over the summer and is preparing by renovating many of the city’s iconic sites and landmarks including the Grand Palais, which is set to host the fencing and taekwondo events.
    Only one permanent new sporting venue – a timber Aquatics Centre by VenhoevenCS and Ateliers 2/3/4 –  is being constructed for the event, in a bid to minimise its carbon footprint.
    Louvre I also has a bathroom with walls and floors lined entirely in dramatic black and white marbleOther accommodation options across the city for design-minded travellers include the Canal Saint-Martin hotel designed by Bernard Dubois, Hôtel de la Boétie by Beata Heuman and Hôtel Madame Rêve by Laurent Taïeb.
    The photography is by Thomas de Bruyne.

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    Red staircase anchors Diesel store in Miami Design District

    Fashion brand Diesel has debuted a retail design concept at its store in the Miami Design District, featuring raw metal surfaces and a red lacquered spiral staircase.

    Designed under the creative direction of Glenn Martens, who joined the brand in 2020, the industrial-style store is intended to reflect “the brand’s signature bold attitude”.
    Diesel’s new store in Miami Design District debuts an industrial-style retail concept”Envisioned as a fresh, powerful expression of Diesel’s design edge and identity, the store is anchored by a glass facade framed in signature Diesel red with the brand’s red-and-white Biscotto logo,” said the design team.
    Red was also applied selectively to interior elements, including a statement spiral staircase and a wall behind at the back of the store.
    The store’s focal point is a red lacquered-metal spiral staircaseThe helical lacquered-metal form has solid balustrades and steps with a diamond-plate texture for added grip.

    It leads up to a second level where another red wall with floating shelves is used for product displays.
    The staircase has solid balustrades and steps with diamond-plate texture for added gripAcross the two floors, the 1,900-square-foot (177-square-metre) store presents the full Diesel collection.
    Bags, shoes, accessories and fragrances are presented on the lower level, while areas dedicated to denim, ready-to-wear apparel and footwear can be found upstairs.
    The upper level also has a red display wall that stands out against the concrete and metallic surfacesExposed concrete floors and ceilings, and walls covered in riveted raw metal panels and mirrors create a monochromatic backdrop that allows the red elements to stand out.
    “Throughout the space, minimalist red leather couches and streamlined silver fixtures create a strong sense of structure with a touch of softness,” said the team.

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    Vitrines for displaying accessories on the ground floor sit atop crinkled metal bases, though the sales counter opposite is flat and sleek.
    Both levels have floor-to-ceiling glass across the street facade, and at night, fluorescent lighting throughout the store gives off a harsh white glow.
    The ground floor features vitrines atop crinkled metal basesFollowing the Miami store unveiling, the interior concept will be rolled out to global Diesel locations.
    The brand was founded in 1978 by Italian entrepreneur Renzo Rosso, who still serves as its president.
    The Diesel store joins many luxury fashion brands in Miami Design DistrictMiami Design District is home to the stores of many luxury fashion labels, each of which has exterior and interior treatments designed to reflect its distinct brand identity.
    Other examples include Louis Vuitton’s menswear space, which Dutch studio Marcel Wanders wrapped in a patterned facade informed by the brand’s monogram, and a Christian Louboutin boutique that’s covered in tree bark.
    The photography is courtesy of Diesel.

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