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    San Francisco exhibition features “off-center” Bay Area furniture design

    Stools from local designer Caleb Ferris and design firm Prowl Studio were among the works displayed at a San Francisco exhibition centred around contemporary Bay Area design.

    The Works in Progress show displayed stools, chairs and other furniture from local designers to highlight the diversity in methods and backgrounds of an evolving Bay Area design scene.
    The recent Works in Progress exhibition held in San Francisco highlighted Bay Area designers”As the Bay Area creative scene evolves in real-time, there are boundless possibilities for how it might bloom,” said curators and designers Kate Greenberg, Kelley Perumbeti, and Sahra Jajarmikhayat in a statement. 
    “For now, we are here to acknowledge its depth and say: it’s a work in progress.”
    Caleb Ferris showed a duck-footed poplar stoolThe team distributed the exhibition’s pieces across metallic platforms supported by foundations of bricks.

    Pieces ranged from a curvacious, duck-footed poplar wood stool marked with paint and silver leaf by Caleb Ferris, to Prowl Studio’s cubic stainless steel stool wrapped in a 3D knit cover.
    Prowl Studio wrapped a stainless steel stool in a 3D knit cover”Across a range of materials, forms, and functions, the participants have found a groove in the original, the introspective, and the off-center,” said the team. 
    Designer Ido Yoshimoto displayed a sculptural side table made of old-growth redwood and finished in a dark red textured hue. The table consists of a geometric, curved corner that runs into a darkened raw edge.
    Designer Ido Yoshimoto showed a sculptural old-growth redwood side table with a raw edgeStudio Ahead created a fuzzy Merino wool stool informed by northern California rock formations, which contrasted with the smooth surface of a glass stool by curators Jajarmikhayat and Greenberg.
    Other works included a baltic plywood side table with grooved sides and small, chunky sky blue legs by NJ Roseti and a white oak chair topped with a wild fleece and suede cushion by Rafi Ajl of studio Long Confidence.

    Bendable battery among sustainable materials at San Francisco exhibition

    Office of Tangible Space showed a flat-legged chair designed in collaboration with CNC design studio Thirdkind Studio, while Duncan Oja of Oja Design displayed a charred white oak stool with an organic, rough-sawn profile.
    Fyrn Studio showed a charcoal-black hardwood stool with aluminium hardware created with replaceable parts and studio Medium Small and designer Yvonne Mouser both displayed chairs made of ash, one blackened and the other not, supported by bases of elegant, simple lines.
    Studio Ahead and Kate Greenberg and Sahra Jajarmikhayat made stools with rock-like forms”As simple as it sounds, the soul of this exhibition is in the representation of physical craft and the people behind it. It’s important to shine a light on this vibrant slice of the Bay Area that is not always as visible amidst a city focused on the digital realm,” said Perumbeti.
    “There’s something really exciting brewing in this community that is just beginning to get teased out,” said Greenberg.
    NJ Roseti created a baltic plywood side table supported by light blue cubic legsWorks in Progress was part of the wider San Francisco Art Week, which highlights art and design from the city and took place from 13-21 January.
    Other recent furniture exhibitions that highlighted California designers include INTRO/LA with pieces by Adi Goodrich and Sam Klemick and the first Miami edition from Milan-based design exhibition Alcova held in a motel during Miami’s art week.
    Works in Progress took place at the American Industrial Center in San Francisco from 18 to 23 January 2023. See Dezeen Events Guide for more architecture and design events around the world.
    The photography is by Sahra Jajarmikhayat unless otherwise stated. 

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    Aro Archive store features pastel-coloured rooms and industrial control station

    Fashion retailer Aro Archive’s pastel-hued east London store was designed by founder Ariana Waiata Sheehan to evoke “a sense of otherworldliness”.

    The store, located in Shoreditch, replaces the brand’s previous, more industrial store on nearby Broadway Market and was intended to have a frivolous feel.
    The Aro Archive store has pastel-coloured floors in pink and blueThe interior has “a sense of otherworldliness, escapism and fun,” Waiata Sheehan explains, comparing it to “a mixture between a mushroom trip and going to visit someone’s rich aunty who runs a gallery”.
    “We’ve always had very neutral industrial spaces,” she told Dezeen. |But you can get an industrial Zara these days, so time to switch it up and go full personality, which has been scary but so worth it.”
    It is located inside an old Victorian warehouseLocated inside a five-storey former Victorian warehouse, Aro Archive, which sells pre-owned clothing by avant-garde designers, was organised so that each floor has a different colour.

    Monochrome pastel pink, blue and white hues decorate the different levels, which also feature a wide range of reclaimed and recycled materials, furniture and artworks.
    Founder Ariana Waiata Sheehan created the interior design”The pink floor is supposed to feel very warm, womb-like and enclosed,” Waiata Sheehan said. “The blue floor is more light and otherworldly. And the two white floors are very ethereal and calm.”
    White duvet covers by fashion house Maison Martin Margiela were used to create curtains for the changing rooms, while interior pillars are made from reclaimed 1990s metal lamp posts that the designer sourced from a scrapyard in Preston.
    Duvet covers by Maison Martin Margiela frame the changing rooms”The building and surrounding area feel very London, so we did want to bring in a sense of that for example with the lamp posts, metal works and details, bright neon lights and so forth,” Waiata Sheehan said.
    She sourced a number of unusual furnishings for the Aro Archive store, including an industrial control station from a paper-manufacturing plant that is now used as a till.

    Halleroed references Swedish Grace and Carlo Scarpa for Toteme flagship store

    “The industrial paper control station I’ve been watching on eBay for nearly 4 years, waiting for a time I had the space to buy it,” Waiata Sheehan explained. “I wanted something different to the normal till, they’re all so boring and square.”
    The store also has another large metal till and metal drawers that originally came from a 1980s Mary Quant store and were rescued from a squat in Hackney Wick.
    A large metal till was originally from a Mary Quant storeWaiata Sheehan also sourced several smaller pieces for the boutique, where customers can purchase everything down to the artwork, furniture and accessories.
    “I do all the buying so everything is here because I love it in some way,” she explained. “But in terms of favourite pieces in store right now?”
    “For fashion, it’s the Rick Owens orange shearling gimp mask gilet, for objects the Shirin Guild ceramic incense holders and for furniture the wobbly glass table with magazine racks.”
    Waiata Sheehan bought an old industrial control station from eBayWaiata Sheehan hopes the Aro Archive boutique will feel like a home away from home and help to create a community feel in the area.
    “I think Shoreditch is lacking a sense of community and I wanted to work that into the space,” she said. “The feeling of a chaotic family home and a feeling of togetherness.”
    Lampposts from a scrapyard form pillars inside the storeOther London stores with notable interior design recently covered on Dezeen include Swedish fashion brand Toteme’s newly-opened Mayfair store and a Coach pop-up store at Selfridges that had fixtures made from recyclable materials.
    The photography is by John Munro.

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    Ideas of Order selects bright colours for New York apartment renovation

    Bright hues define the different interventions that New York architecture studio Ideas of Order has made in this apartment at the northern tip of Manhattan.

    The 1,000-square-foot primary residence in Hudson Heights was partially renovated for a couple, who had been living in the space for several years before deciding to invest in making it better suited to their needs, rather than buying another apartment.
    One side of this Manhattan apartment was overhauled by Ideas of Order to make it function better for its owners”Their sons had been sharing a room, but were beginning to need their own spaces,” Ideas of Order told Dezeen.
    “They also wanted a space that could be designed for flexibility for when their children left for college.”
    In the newly created bedroom, a lime green built-in houses a bed, a desk and storageThe kitchen also needed updating, to make it more suitable for entertaining, and more efficient storage space was required in the entryway.

    So the architects reworked one side of the open living area, adding a bedroom on one side of the kitchen and refreshing the other areas.
    A new wall divides the bedroom from the kitchenThe husband is French, and the couple spent several years living together in France.
    During this period, they both became enamoured by the midcentury architecture and design in the country and wanted to apply this style to their own home.
    Raspberry and periwinkle cabinets surround the cooking area, which also features aluminium panels”Inspired by their stories and the history of how colour was used by French midcentury designers like Charlotte Perriand, we suggested a series of polychrome millwork pieces inspired by Perriand’s design language, but updated for a contemporary home,” said Ideas of Order.
    The different areas of the home were therefore given their own identities by applying bright hues.
    A porthole looks through from the bedroom into the kitchen, which has rubber flooringLime green is used in the bedroom across a full wall of built-ins that incorporate a single bed, a workstation and plenty of storage.
    Sliding doors with fritted glass panels pull across to enclose the slightly raised room, while a porthole window with double shutters looks through the new wall that separates the kitchen.
    Storage in the entryway was made more efficient by new pink and grey built-insThis adjacent space is denoted by raspberry and periwinkle millwork, which surrounds a small preparation area with an aluminium backsplash and matching panels above.
    The same metal also fronts the bar counter between an arched opening to the living area, which is topped with concrete.
    Archways between spaces throughout the apartment have curved cornersRubber flooring in the kitchen offers a practical alternative to the wood used through the rest of the apartment.
    Finally, in the entryway – which is again raised slightly higher than the living area – an L-shaped cabinet system was constructed in a corner beside the door.

    GRT Architects combines oak and mosaic tiles for East Village Apartment renovation

    Pale pink is applied to the frames, while the doors and drawer fronts are finished in light grey and walnut is used for the trim. Choosing the right hues was a challenge that took many iterations to find the right balance, according to the architects.
    “It was important that each pair of colours in the millwork work together, but that the colours also harmonise when viewed as a whole,” they said. “We wanted the colours to be bright, but not overpowering. And we wanted the colour pairings to feel timeless and not too trendy.”
    The architects went through many iterations to find the right balance of coloursAnother challenge was the budget, which was modest by New York City standards and required some conscientious spending – particularly on small details that would make a big impact.
    “We love the custom pulls for the millwork, the shutters for the circular window, and the rounded end to the partition between bedroom and kitchen, which reflects the rounded openings throughout the apartment,” the architects said.
    The couple had been living in the space for several years before deciding to invest in making it better suited to their needsIdeas of Order was founded by Jacob Esocoff and Henry Ng, who are both Fosters + Partners and WORKac alumni.
    Their renovation is one of the most colourful interiors we’ve featured in New York City of late, compared to a neutral show apartment inside the One Wall Street skyscraper and a loft in Dumbo with a subdued palette.
    The photography is by Sean Davidson.

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    Eight interiors where burl wood provides natural texture

    This week’s lookbook rounds up eight interiors with furnishings and surfaces finished in burl-wood veneer, allowing its swirly, psychedelic graining to serve a decorative function.

    Burl wood is a rare and expensive wood, often only available in thin sheets of veneer. That’s because it is derived from the knobbly outgrowths of tree trunks and branches – also known as burls.
    Like the botanical equivalent of a callous, these outgrowths form in response to different stress factors and grow unpredictably, creating complex unexpected grain patterns behind their gnarled bark.
    Burl wood has been experiencing a renaissance over the last few years, with interior designers including Kelly Wearstler using it to evoke the bohemian flair of its 1970s heyday.
    Mixed and matched with other patterns, the material is now used to communicate a kind of organic understated luxury, much like natural stone.

    From a Michelin-starred restaurant to a home that was designed to resemble a boutique hotel, read on for eight examples of how burl wood can provide textural richness to a modern interior.
    This is the latest in our lookbook series, which provides visual inspiration from Dezeen’s archive. For more inspiration see previous lookbooks featuring rooms with net floors, interiors with furry walls and homes with mid-century modern furniture.
    Photo by Pion StudioBotaniczna Apartment, Poland, by Agnieszka Owsiany Studio
    This tranquil apartment in Poznań was designed by local firm Agnieszka Owsiany Studio to give the owners a reprise from their high-pressure medical jobs.
    The interior combines a calming mix of pale marble and various kinds of wood, including oak cabinetry, chevron parquet flooring and a console and vanity, both finished in speckled burl.
    “My clients asked for a high quality, almost hotel-like space, as they were in need of everyday comfort,” founder Agnieszka Owsiany told Dezeen.
    Find out more about Botaniczna Apartment ›
    Photo by Adrian GautUlla Johnson flagship, USA, by Kelly Wearstler
    Burlwood brings “a touch of 1970s California nostalgia” to the Ulla Johnson flagship store in Los Angeles, courtesy of local designer Kelly Wearstler.
    The unusual veneer was used liberally to cover walls, ceilings and shelves, as well as forming a statement display cabinet where the material’s natural wavy surface texture provides an added element of tactility (top image).
    Find out more about the Ulla Johnson flagship ›
    Photo by Prue RuscoeKoda hair salon, Australia, by Arent & Pyke
    This hair salon in Sydney’s Queen Victoria Building was designed by Australian studio Arent & Pyke to be “best appreciated from seated height”.
    Drawing attention away from the building’s extra-tall ceilings, freestanding quartzite-rimmed mirrors are placed at angles in front of the styling chairs, framing a vintage hanging cabinet made from pale burl.
    Find out more about the Koda hair salon ›
    Photo by Pion StudioOpasly Tom restaurant, Poland, by Buck Studio
    Buck Studio employed a limited palette of colours and materials to create visual continuity throughout Warsaw restaurant Opasly Tom, which occupies a split-level building that was broken up into a series of rooms of different sizes.
    Coral-orange chair cushions mirror the hardware of the totem-like pendant lights, and several burl-clad cabinets are dotted throughout the eatery. These match the kaleidoscopically patterned panelling in the hallway and the private dining rooms.
    “This contemporary, minimalistic design approach produces the impression of coherence while creating a powerful aesthetic impact,” explained the Polish studio, which is headed up by Dominika Buck and Pawel Buck.
    Find out more about the Opasly Tom restaurant ›
    Photo by Oni StudioWarsaw apartment, Poland, by Mistovia
    Elsewhere in Warsaw, Polish studio Mistovia designed an apartment for an art director and her pet dachshund to resemble an “elaborate puzzle” of contrasting patterns.
    Walnut-burl cabinets dominate the kitchen, with their trippy swirling pattern offset against monochrome tiles, brushed-metal drawers and a terrazzo-legged breakfast bar.
    Find out more about the Warsaw apartment ›
    Photo by Jennifer Chase and Yorgos EfthymiadisImperfecto, USA, by OOAK Architects
    Upon entering Michelin-starred restaurant Imperfecto in Washington DC, diners are greeted by a custom-made maître-d stand clad in panels of burl-wood veneer, creating a mirrored tortoiseshell pattern across its surface.
    The interior, designed by Greek-Swedish studio OOAK Architects, sees neutral tones paired with splashes of blue and white that nod to the restaurant’s Mediterranean menu.
    “OOAK Architects has used varied, high-quality finishes and authentic materials including Greek and Italian marbles, as well as brass and wood from different parts of the world, creating contrasting textures across the space,” the team said.
    Find out more about Imperfecto ›
    Photo by Anson SmartBlack Diamond house, Australia, by YSG
    Australian interiors studio YSG introduced a sumptuous mix of materials to this house in Sydney’s Mosman suburb to evoke the feeling of staying in a luxury hotel.
    This approach is evidenced by a number of custom furniture pieces dotted throughout the home, including a Tiberio marble vanity in the downstairs powder room and a poplar-burl cabinet with a bronzed mirror that looms over the nearby living room.
    Find out more about Black Diamond house ›
    Photo by Åsa LiffnerStudio Frantzén, UK, by Joyn Studio
    Restaurant Studio Frantzén in London’s Harrods department store serves a fusion of Nordic and Asian food that is also reflected in its Japandi interiors – taking cues from both Scandinavian and Japanese design.
    Interiors practice Joyn Studio leaned heavily on both cultures’ penchant for wood, combining seating banquettes made from blocks of end-grain pine wood with gridded timber ceilings and seating booths framed by burl-wood wall panelling.
    Find out more about Studio Frantzén ›
    This is the latest in our lookbook series, which provides visual inspiration from Dezeen’s archive. For more inspiration see previous lookbooks featuring rooms with net floors, interiors with furry walls and homes with mid-century modern furniture.

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    Anastasiia Tempynska designs futuristic interior for laser clinic in Kyiv

    Ukrainian designer Anastasiia Tempynska combined futuristic details with fleshy materials that evoke the human body when creating the interior of the 13 Laser clinic and spa in Kyiv.

    Tempynska created an interior for 13 Laser that reflects the innovative technologies used by the clinic to perform procedures such as laser hair removal and skin resurfacing, on top of traditional treatments like massage and facials.
    13 Laser is a skin clinic and spa in Kyiv”I aimed to achieve a contrast between natural softness, expressed in textures and materials, and something unnatural that is connected with human activity – mirrors, neon, metal – something that looks like perfection,” Tempynska told Dezeen.
    “I also wanted to achieve an unobtrusive but simple luxury aesthetic,” added the designer, who founded her studio Temp Project in 2021.
    The futuristic interior was designed by Anastasiia TempynskaThe clinic consists of a generous reception and five treatment rooms including a larger space that can be booked by couples or friends. It is located on the ground floor of a modern residential complex and, prior to the fit-out, was an empty shell with red-brick walls and concrete columns.

    Tempynska introduced a palette of muted grey and white tones that provides a minimalist background, upon which she layered metallic finishes and matte textures informed by the design of medical equipment.
    The result is a futuristic aesthetic that is brightened and warmed by accents of pink and sky-blue, applied to furnishings and elements such as a neon sign in the reception area.
    Fleshy elements nod back to the clinic’s focus on skin and the bodyThe technological aesthetic is reinforced by custom-made elements such as an angular mirror that looks like it was cut by a laser.
    Scientific equipment such as flasks and beakers informed the glass block wall in the reception area, while the exposed utilities on the ceiling contribute to the sci-fi feel.
    The designer also sought to evoke the spa’s focus on the human body through the use of tones and textural materials that recall anatomical features.

    Olga Fradina uses natural tones and textures for interior of Ukrainian holistic healing centre

    The bouclé texture of several soft seating areas was chosen to reference the irregularities of skin when magnified under a microscope, while a lumpy side table was painted in a fleshy pink colour.
    “I was looking for a second-order association to manifest the theme of corporeality within the futuristic concept,” said Tempynska.
    “It was the colour pink – the colour of redness on the skin that reacts to cosmetic procedures. It is also the colour of the palm of your hand when you look at it on a sunny day.”
    A monolithic reception desk was designed to resemble solid stoneThe theme of nature was manifested in the monolithic reception desk, which weighs 400 kilograms and is made from concrete painted to resemble a solid chunk of stone.
    Other roughly textured or patterned elements were chosen to enhance the natural feel, with ceramic floor tiles complementing the desk’s stone-like surface.
    The pock-marked edge of a console table evokes the texture of a pumice stone used to exfoliate skin, while the uneven wall behind the reception desk recalls the mud used for some of the spa’s treatments.
    The clinic has five treatment rooms including a larger space for couples or friendsMost of the furniture featured in the project was custom-made, including a tubular floor lamp with integrated flower vases that is situated near the entrance.
    The angular mirror on wheels was designed for taking interesting selfies, while the bespoke neon sign references the pulse of a laser.
    Tempynska worked for several design studios prior to setting up her own office. Russia’s full-scale invasion of Ukraine at the start of 2022 left her briefly without work. However, clients gradually returned and she has since completed numerous projects despite the challenges posed by the ongoing war.
    This rough-edged console table was chosen for its resemblance to a pumice stone”There was a time when we worked without communication and electricity,” the designer recalled. “I couldn’t leave the Dnipro left bank and often couldn’t call the builders.”
    “When I came to their workshop, they illuminated the products with a flashlight, but we work and believe in our victory,” she continued.
    Other projects that have recently been completed in Kyiv include Olga Fradina’s soothing, monochromatic interior for a wellness centre called Space and a refurbished attic apartment with views over the city.
    The photography is by Yevhenii Avramenko.

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    Bird feathers and burls inform New York restaurant by Polonsky & Friends

    New York design studio Polonsky & Friends has lined this tiny New York omakase restaurant with burl wood veneer panels, while its counters and cabinetry are coloured to resemble bird feathers.

    Designed as a sister location of Rosella, an East Village sushi spot that opened in 2020, Bar Miller is located a few blocks away in Alphabet City.
    The compact Bar Miller space seats eight covers around a counter made from rare Avocatus stoneThe owners brought back Polonsky & Friends to complete the interiors so that the two outposts could share the same “warm, welcoming energy”.
    Although the menu borrows from traditional sushi craft, it’s not authentically Japanese, so the designers wanted to steer clear of any tropes that might deceive customers.
    Burl wood veneer panels on the walls are framed in white oak, matching the building’s original floors”The design had to incorporate local and craft-centric elements and honour the food’s Japanese inspiration, but not fall into any folklore since the team isn’t Japanese and the menu is untraditional,” studio founder Anna Polonsky told Dezeen.

    The restaurant only seats eight covers, which surround the open kitchen in the centre of the compact space.
    Custom wallpaper hand-painted by Hollie M Kelley displays the feathers of an eastern rosella birdDeep blue-green Avocatus stone – a rare quartzite with a leathered finish – forms the entire bar counter
    A custom ceiling pendant by Madrid-based designer Pablo Bolumar is suspended above the counter like a string of pearly beads.
    Pieces by several local designers are featured in the restaurant, including ceramic vases by FefostudioOn the walls, panels of burl wood veneer are framed in white oak, which matches the refinished original parquet floors.
    “We were able to sand back [the flooring] after it was hidden for years in the previous restaurant,” Polonsky said.
    To contrast the blue-green dining area, kitchen cabinetry is coloured maroon as another nod to the rosella bird’s feathersA trio of panels feature a custom wallpaper drawn by artist Hollie M Kelley, displaying the feathers of an eastern rosella bird.
    Kelley also drew the icon for the sister restaurant, a western rosella, which has different colours in its plumage.

    Lunar festival informed Studio Tack’s design of Tsukimi restaurant in New York

    The maroon hues in the wallpaper are echoed on the cabinetry behind the kitchen counter, differentiating the food preparation area from the blue-green of the dining space.
    Other details include a panel of vertical wood slats for storing plates above the sink and moulded-glass scones shaped like scallop shells.
    Vertical wood slats provide spaces for storing dishesThe bar stools were crafted by Maderas Collective in Nicaragua and upholstered by Ecua in Queens, while ceramic vases were sourced from New York-based Fefostudio.
    In the bathroom, green tiles laid in a herringbone pattern cover the walls and a rice paper pendant light hand-painted by Claire Dufournier hangs from the ceiling.
    The bathroom features dark green tiles and a hand-painted rice paper pendant lightFor those looking for more Japanese restaurants with notable interiors, New York City has plenty of options to choose from.
    Check out the Rockwell Group-designed Katsuya close to Hudson Yards, Rule of Thirds by Love is Enough in Greenpoint, and Tsukimi in the East Village designed by Post Company – formerly known as Studio Tack.
    The photography is by Nicole Franzen.

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    Nine contemporary homes where ruins reveal layers of the past

    In this lookbook, we feature nine residential projects that demonstrate unique ways of interacting with a site’s history by weaving existing ruins into their designs.

    Until recently, it has been common practice to hide away old structures during adaptive reuse projects.
    However, the architects in this list embrace the past by stitching domestic spaces with the remains of former buildings, creating inventive encounters with preserved architectural remains.
    This is the latest in our lookbooks series, which provides visual inspiration from Dezeen’s archive. For more inspiration see previous lookbooks featuring clever outbuilding interiors, homes with mid-century modern furniture and residential spaces with playful net floors.
    Photo by Tamás BujnovszkyNickzy Apartment, Hungary, by Béres Architects

    Carefully preserved stone walls are featured in this Hungarian guesthouse renovation by local studio Béres Architects.
    20th-century plaster finishes have been stripped back to expose the 400-year-old apartment’s original stonework, reestablishing its visual prominence against modern white-rendered walls.
    Find out more about Nickzy Apartment ›
    The photography is by José HeviaEl Priorato, Spain, by Atienza Maure Arquitectos
    The interiors of this 16th-century Spanish clergy house were restored by Atienza Maure Arquitectos to create ambiguity between the existing structure and new interventions.
    Concrete vaults, white-painted walls and limited fixtures sit alongside heritage-protected arches to create minimal differentiation between the materials and spaces.
    Find out more about El Priorato ›
    The photo is by José HeviaMediona 13, Spain, by Nua Arquitectures
    In the historic centre of Tarragona, Spain, Nua Arquitectures reinforced this home’s crumbling stone and timber structure with brightly coloured steel supporting elements.
    According to the studio, the steel insertions add another layer to the home’s visible “memory” and draw attention to the historic building fabric.
    Find out more about Mediona 13 ›
    The photo is by James MorrisCroft Lodge Studio, West Midlands, by David Connor Design and Kate Darby Architects
    David Connor Design and Kate Darby Architects enclosed the decaying remains of a 300-year-old building under a steel-framed shell in England’s West Midlands area.
    The bold new studio maintains every aspect of the heritage-listed structure within the internal living spaces, including the rotting timber, dead ivy and old birds’ nests.
    Find out more about The Parchment Works ›
    The photo is by Francesca IoveneCascina, Italy, by Jonathan Tuckey Design
    For this farmstead restoration in Italy, British studio Jonathan Tuckey Design prioritised returning the 19th-century buildings to their original state with minimal alterations.
    The existing beams and trusses of the distinctive barn roof had lost their structural integrity, leading the studio to layer a new roof atop the timber without disrupting the internal aesthetic.
    Find out more about Cascina ›
    The photo is by Simon KennedyArdoch House, Scotland, by Moxon Architects
    Moxon Architects expressed eye-catching details of 19th-century ruins within this outbuilding refurbishment in the Scottish Highlands.
    Alongside new finishes of uniform clay plaster, pieces of the crumbling masonry were preserved within the guesthouse’s renovated walls and doorways as subtle connections to the earlier building.
    Find out more about Ardoch House ›
    The photo is by Johan DehlinThe Parchment Works, Northamptonshire, by Will Gamble Architects
    The remains of a 17th-century parchment paper factory and cattle shed were brought into focus within this residential extension by Will Gamble Architects.
    New interventions were intended to be discreet, exposing original structural elements internally, while configuring glazing to look out onto uncovered ruins from the ground floor.
    Find out more about The Parchment Works ›
    The photo is by Rory GardinerRedhill Barn, Devon, by TYPE
    This 200-year-old English barn was in a state of disrepair before TYPE restored it into a modern family home.
    Aiming to distinguish between old and new, the studio lined contemporary wall finishes and wood panelling against remnant stone walls, while using existing columns to dictate the house’s layout.
    Find out more about Redhill Barn ›
    Photo by David BarbourCuddymoss, Scotland, by Ann Nisbet Studio
    Scottish architecture practice Ann Nisbet Studio inserted a timber-framed home into a stone ruin in Scotland and defined new living spaces within the surviving forms.
    To encourage layered encounters of the site, views of the landscape were also aligned with existing window apertures from the bedrooms.
    Find out more about Cuddymoss ›
    This is the latest in our lookbooks series, which provides visual inspiration from Dezeen’s archive. For more inspiration see previous lookbooks featuring homes with net floors, mid-century modern furniture and perforated brick walls. 

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    Sam Crawford Architects tops Sydney home renovation with “garden oasis”

    A private roof terrace enclosed by greenery features in Hidden Garden House, a Sydney home reconfigured by Australian studio Sam Crawford Architects.

    Situated within a conservation zone, the home has been updated by Sam Crawford Architects to brighten its dark interior and transform it into an urban “sanctuary”.
    An open-tread staircase has been added to the hallwayAlterations to the 198-square-metre home’s interior are first seen in its entrance, where a stair with open treads and a white-steel balustrade replaces a solid timber structure that previously restricted light from a skylight above.
    Down from the entry hall is a spacious ground-floor kitchen and dining area, which is illuminated by 4.5-metre-high glass openings that lead out to a landscaped patio. The patio is paved with limestone tiles that extend out from the interior.
    A curved concrete roof features in the kitchen”By extending the ground floor finishes through the full-width doors into the rear yard, the garden and high-level green trellises at the rear of the site form the fourth wall to the rear wing,” studio director Sam Crawford told Dezeen.

    “They create a sense of enclosure that draws the occupant’s eye up to the expanse of the sky rather than surrounding suburbia.”
    Angled timber screens and greenery ensure privacy for the bathroomA concrete ceiling in Hidden Garden House’s kitchen curves upwards to help draw in the winter sun and provide summer shading, while operable clerestory windows allow natural ventilation.
    Above, this curved ceiling forms a sloped roof terrace filled with plants, which is situated off the main bedroom on the upper floor.

    John Ellway updates Brisbane cottage with staggered extension and gardens

    An ensuite bathroom, also lined with limestone floor tiles, has expansive openings offering a scenic yet private bathing experience enabled by angled timber screens and the terrace’s greenery.
    “The rolling green roof serves as a visual barrier to the surrounding suburb, whilst allowing the occupants to occupy their private garden oasis,” added Crawford.
    White walls and wooden furniture feature throughout the interiorHidden Garden House’s consistent material palette of bright white walls and wooden furniture ties its living spaces together, while decorative square tiles line both the kitchen and bathrooms.
    Curved details, such as the patio’s shape and the kitchen island and splashback, also feature throughout.
    The home aims to be an urban “sanctuary”Other alterations that were made to improve Hidden Garden House’s layout include the relocation of entrances to the ground floor laundry room and bathroom.
    Elsewhere, Sam Crawford Architects has also created a restaurant topped with an oversized steel roof and a bridge modelled on the curving shape of eels.
    The photography is by Tom Ferguson.
    Project credits:
    Architect: Sam Crawford ArchitectsBuilder: TokiStructural engineer: Cantilever EngineersCivil & hydraulic engineer: PartridgeAcoustic engineer: Acoustic LogicHeritage consultant: Damian O’Toole Town PlanningQuantity Surveyor: QS PlusLandscape design: Gabrielle Pelletier, SCARoof garden supplier: Fytogreen Australia

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