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    “Architectural photography is dominated by empty, glossy, new buildings” says Jim Stephenson

    Architectural photographer Jim Stephenson explains how The Architect Has Left The Building exhibition at RIBA aims to draw attention to how people use buildings, in this interview.

    Despite taking place at the Architecture Gallery at the Royal Institute of British Architects’ central London HQ, Stephenson told Dezeen that the exhibition is not focused on buildings.
    “The installation is about people watching,” he said. “Although it’s at the RIBA and in the architecture gallery, it’s not really about the buildings – they’re just the backdrop, they’re the stage set really.”
    “We wanted to create a meditative, large scale film piece that was all about how people use (and misuse) space once the architect’s work is done,” he continued.
    The Architect Has Left The Building is an exhibition at RIBAAs the exhibition’s title suggests, the exhibition focuses on how buildings are used after the architect’s work is finished.

    It aims to show buildings in use, in contrast to the majority of architectural photography that often portrays buildings empty, at their point of completion.
    “When I used to work in architecture practices, we used to design everything around people and context,” explained Stephenson. “It felt like everything was dictated by those two things and then when we would get projects photographed we’d ask the photographer to omit those two things.”
    “The buildings were empty objects – sculptures,” he continued. “It always jarred with me, so in our work we focus on people using space as much as possible.”
    The exhibition features the work of Jim Stephenson.The exhibition include numerous photos taken by Stephenson, along with an enclosed screening room, where a film created for the exhibition was played on a dual screen.
    “This film is all about the small interactions that occur in and around buildings – between individuals, groups of people and even between people and the buildings,” said Stephenson. “It’s all about the people!”

    Short film tells story behind school theatre by Jonathan Tuckey Design

    The film, which was created with artist Sofia Smith and has a soundtrack created by Simon James, contains numerous contemporary buildings from the past 15 years.
    Among the buildings featured are Tintagel Castle Bridge by William Matthews Architects, Tate St Ives extension by Jamie Fobert, Sands End Arts and Community Centre by Mae Architects and London Bridge Station by Grimshaw, which were all shortlisted for the Stirling Prize.
    The exhibition features a film screened on a dual screenThe film makes aims to makes people think about the connections between buildings and how people are connected to them.
    “Watching Sofia make visual links between buildings that I hadn’t previously considered to have much in common was fascinating,” explained Stephenson.
    “There’s a point in the film where we transition from Sands End Community Centre to Tintagel footbridge and it’s seamless – from a community centre in West London to a bridge over the sea in Cornwall!”
    “And at London Bridge train station, Simon recorded not just the ambient sound that everyone can hear, but he also recorded the inner guts of the building with contact mics, as well as the sound in the electromagnetic spectrum,” he continued. “All those sounds get layered up in the show and I can’t go through that station now without thinking about them.”
    It also features photos taken by Jim StephensonStephenson hopes that the film will demonstrate how people improve architectural spaces and how they are recorded.
    “The history of architectural photography is dominated by empty, glossy, new buildings, photographed before people have come in,” said Stephenson.
    “I think there was a fear amongst architects that people ‘mess up their building’ and photographing them empty somehow showed the architecture in a more pure and distilled way,” he continued.
    “I think that’s mad. If the people you designed the building for are ‘messing it up’ then maybe there’s something wrong with the building? I’m half joking, but I’ve never documented a space that wasn’t improved by people, or at the very least a sign of life.”
    One of the UK’s best-known architectural photographers, Stephenson co-founded film production studio Stephenson& with Smith. Recent projects photographed by Stephenson include a wood-lined community space in east London, a rammed-earth yoga studio to the gardens of Somerset hotel and a rolling bridge in London.
    Recent buildings captured on film by Stephenson& include a visitor centre at the UK’s largest sawmill and a school theatre by Jonathan Tuckey Design in London.
    The photography is by Agnese Sanvito, unless stated. The film is by Jim Stephenson and Sofia Smith with soundtrack by Simon James.
    The Architect Has Left The Building is at RIBA in London until 12 August 2023. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world.

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    Curves and colour blocking feature in JJ16 apartment by Lucas y Hernández-Gil

    Madrid studio Lucas y Hernández-Gil has completed a family home that makes the most of every inch, with details including a yellow storage wall, a corridor kitchen and a hidden closet.

    JJ16 is a three-bedroom apartment in Madrid’s Salamanca district, but until recently it had been used as an office.
    JJ16 is a three-bedroom apartment for a family of fourLucas y Hernández-Gil, a specialist in interior architecture, converted the property back into a residence for a family that includes a mother, three teenage children and their dog.
    The challenge was not only to make it feel like a home again but also to create space for everyone’s personality within the 165 square-metre footprint.
    The kitchen occupies a corridor space between the entrance lobby and the living roomThe designers achieved this by combining space-saving strategies with statement details, providing both functionality and character.

    “Everyone had a clear idea of what they needed, which translated directly into the spaces,” said studio founders Cristina Domínguez Lucas and Fernando Hernández-Gil Ruano.
    “Far from generating a conflict, different colours and materials give the house a richness, a harmonic heterogeneity,” they told Dezeen.
    The room is defined by shades of soft pink and greyOptimising JJ16’s layout was crucial but difficult given the irregularity of the floor plan.
    Lucas y Hernández-Gil’s strategy was to make every space, including the corridors, as useful as possible.
    The utility area also occupies a corridor spaceThe kitchen now occupies a connecting space between the entrance lobby and the living room, freeing up space at the front of the apartment for a spacious main bedroom.
    Meanwhile, the corridor leading to the main bathroom and the third bedroom incorporates a mini library and a utility area.

    Lucas y Hernández-Gil splits moods inside Madrid duplex apartment

    “The main challenge was the deep layout and long corridor,” said the architects.
    “We provided circulation with content by creating spaces within it. This turned out to be one of the best design decisions of the project.”
    A curved wall frames the main bedroomCurved partitions create variety within JJ16’s layout. The largest of these separates the living room from the main bedroom, but other curves can be found in the second bedroom and a shower room.
    Many spaces have their own colours, which contrast with the bright white tones that otherwise dominate the interior.
    The third bedroom is a twin room with a hidden walk-in closetThe bright yellow bookshelf wall is the most striking, while the adjacent kitchen offers a two-tone effect with shades of soft pink and grey, and matt chrome finishes.
    Bedrooms have a minimal feel, but they boast colourful dressing rooms and en-suites. Bright orange was chosen for the hidden walk-in closet, located in the twin third bedroom, while deep purple adds a luxury feel in the main bedroom.
    Patterned tiles feature in the bathroom and en-suite areasFloor surfaces provide more visual interest. Living spaces feature oak parquet, while bathrooms are all finished with patterned cement tiles.
    This bold approach to colour and texture is a common feature in the work of Lucas y Hernández-Gil, whose other recent projects include the sunset-inspired Naked and Famous bar and the stylish Casa A12.
    The main bathroom also features a curved shower room”The approach to colour is a constant in our design process,” said Lucas and Hernández-Gil Ruano.
    “It is about activating spaces and achieving a warm and joyful domestic atmosphere.”
    The photography is by Jose Hevia.
    Project credits
    Architecture: Lucas y Hernández-GilCollaborators: Lucía Balboa, María Domínguez, Sara Urriza

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    Klein Dytham Architecture gives Fender’s first flagship store a welcoming feel

    Klein Dytham Architecture has aimed to counter rock music snobbery with its design for guitar brand Fender’s Tokyo flagship store, which is meant to feel welcoming to people who might feel judged in other guitar stores.

    The Fender store sits across the bottom four floors of the glass-walled Ice Cubes building, a 12,000-square-metre space in the neighbourhood of Harajuku that was formerly home to an H&M store.
    It is the world’s first flagship store for the 77-year-old American brand, which is one of the most recognisable names in guitars and is particularly known for electric models like the Stratocaster.
    The Fender flagship store is located in Harajuku, TokyoFor the project, Fender asked Klein Dytham Architecture to create a space that would counter the perception of guitar stores as being intimidating, particularly for women and newer players.
    It hoped the store would offer a sophisticated and immersive retail experience that would encourage leisurely browsing and communicate the brand’s heritage.

    Klein Dytham Architecture answered the brief with a store design it sees as creating “a destination of discovery”, with gallery exhibits, an event space, a cafe and a “care bar” for repairs.
    The main browsing area on the first floor features display stands made of curved woodThe first floor houses the main browsing area, which features undulating wood benches and display units that are meant to echo the curves and materials of a Fender guitar. These contours are further mimicked in the lighting above.
    The area also has custom plectrum-shaped tables where staff can place guitars they have removed from the display to show customers. Clothing racks holding the F is for Fender streetwear collection sit among the guitars.
    The second floor, which was realised in a soft grey palette, is primarily an exhibition space called the Artists Gallery.
    The second floor is the main gallery spaceHere, large-scale photos and video shows famous musicians in action, each one alongside a transparent display case housing their Fender of choice.
    There are also displays dedicated to Japanese- and American-designed Fenders respectively, and a sound-proofed Amp Room where customers can test run guitars and amps.

    Jony Ive redesigns 50-year-old Linn Sondek LP12 turntable

    On the darker and moodier third floor, another exhibition space — the Master Builders Gallery — focuses on the work of specific craftspeople, while two VIP rooms and a custom shop are furnished with comfortable couches and provide a setting for discussing bespoke builds.
    Also on this floor is a colourful display of 400 guitar finish samples that fills the length of one wall.
    The third floor includes the Fender custom shopThe final floor is the basement, which houses an event space, cafe and the Fender care bar, and where Klein Dytham Architecture endeavoured to create a cosier feel with a plectrum-shaped rug and benches.
    Tying the floors together is a spiral staircase with a hall-of-fame-style photo gallery on the interior, as well as a three-storey-high vertical LED display on the glass facade outside that will be used for Fender-related content.
    The basement includes an event space and a care bar”Conceived as a hub and clubhouse for all things Fender, this project takes the notion of a flagship store and experiential retail to beyond the next level,” Klein Dytham Architecture co-founder Mark Dytham told Dezeen.
    Dytham started the practice with fellow Royal College of Art graduate Astrid Klein in Tokyo in 1991. Some of their recent work includes the PokoPoko clubhouse for the Risonare Nasu hotel in rural Japan and a Cartier store with an intricate wooden facade in Osaka.
    Photography by Nacása & Partners.

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    Bindloss Dawes maximises light and space in London mews house

    Architecture firm Bindloss Dawes has reorganised a mews house in Chelsea, adding a full-height lightwell with a dramatic oak-and-steel staircase to forge “a sense of volume and theatre”.

    The client initially commissioned Bindloss Dawes to simply create a more spacious kitchen and living area on the lower ground floor of this typical London property and improve its relationship to the garden.
    Bindloss Dawes has completed the Chelsea Mews House in LondonBut as the project progressed, the studio was asked to extend its remit to the entire residence to create a more holistic scheme.
    “Chelsea Mews House highlights that large spaces aren’t always needed,” Bindloss Dawes told Dezeen. “It’s about creating something pragmatic and beautiful that clients will treasure.”
    “This is a small terraced house, and we’ve elevated it by bringing in daylight and giving it a sense of volume and theatre.”

    The house now features a sunken concrete floor in the basementAs part of the renovation, Bindloss Dawes updated the three-storey house from a dark and cramped two-bedroom to a simplified one-bedroom layout, making the most of the awkward trapezoidal plan with its angular walls and junctions.
    Working within the planning constraints of a conservation area in the Royal Borough of Kensington and Chelsea, Bindloss Dawes dropped the level of the lower ground floor to create a more impressive space.
    The studio also added a new three-storey staircase”Digging down 50 centimetres unlocked the opportunity to create new volumes, which in a tight footprint goes a long way to enhancing the spatial quality,” the studio said.
    This newly created spaciousness at the lower level is accentuated by the addition of a lightwell that cuts through all three storeys of the home, connecting them via a custom staircase while drawing sunshine deep into the basement.
    The staircase traverses a full-height lightwell drawing sun into the interior”The previous configuration did the house a disservice,” Bindloss Dawes said. “It has wonderful bones that we have celebrated by opening up and creating a void, which draws light right into the depths of the space.”
    Meanwhile, a subtle glass extension projects approximately 50 centimetres beyond the rear facade into the garden to increase the sense of light and space without significantly altering the exterior.

    Bindloss Dawes creates car barn for classic Porsche collector

    A thoughtful and restrained material palette was crucial to the success of the project, according to Bindloss Dawes.
    “By embracing simplicity, maximising light and space, and employing a careful selection of materials, we’ve crafted a home that balances functionality with elegance,” the studio said.
    Venetian polished plaster in a Marmorino finish by Calfe Crimmings was used on the walls throughout the home, creating a sense of tactility.
    The steps are finished in European oak while the balusters are steelExpressed concrete brings a grounding element to the basement level, with concrete skirting that seamlessly extends onto the steps leading up into the courtyard garden.
    Concrete was also used to form the first flight of the new three-storey staircase, while the upper levels are finished in European oak to match the handrail.
    The steel balusters were painted in the same grey-based white by Farrow & Ball that was also used on woodwork and ceilings throughout the house.
    The bedrooms are hidden behind subtle pocket doorsTo eliminate visual breaks to the lightwell, pocket doors were strategically incorporated at the bedroom level.
    “The project exemplifies how highly detailed yet simple design can work to great effect within tight city footprints,” said Bindloss Dawes.
    The homeowner, a talented craftsman and metalworker, personally designed and created the lighting fixtures, adding a personal touch to the home.
    The home is a traditional mews house in ChelseaPrevious projects from Bindloss Dawes, which was founded by Oliver Bindloss and George Dawes in 2018, include a timber car barn for a collector of classic Porsches.
    The studio is based in Bruton – a village in Somerset that has drawn an increasingly metropolitan crowd in recent years after contemporary art gallery Hauser & Wirth opened an outpost in the area in 2014.
    The photography is by Building Narratives.

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    SFMOMA furniture exhibition features “conversation starters”

    Designers including Bethan Laura Wood and Maarten Baas have contributed a range of “sometimes jarring” chairs and lighting to an exhibition at the San Francisco Museum of Modern Art.

    Called Conversation Pieces: Contemporary Furniture in Dialogue, the exposition at the San Francisco Museum of Modern Art (SFMOMA) features 45 pieces of furniture and decor “that prioritise meaning and material choice over function and practicality”.
    Jay Sae Jung Oh presented an otherworldly chair”The works on view are sometimes jarring, often bold and always conversation starters,” said the museum.
    Drawn entirely from the SFMOMA collection, some of the pieces were chosen purely for their alternative appearance, such as an otherworldly leather and plastic armchair by South Korean designer Jay Sae Jung Oh.
    Uneasy Lies the Head that Wears the Crown was designed by Germane BarnesOther pieces of furniture were selected for their commentary on social issues. For example, a piece by American architect Germane Barnes is a porch chair topped with an oversized backrest shaped like a milled wood comb.

    Called Uneasy Lies the Head that Wears the Crown, the piece was described by Barnes as a representation of Black hair, meant to highlight how Black hair “is often policed and frowned upon instead of celebrated as it should [be]”.
    Maarten Baas’ contribution features a bright blue clay chairDutch designer Baas and Italian architect Gaetano Pesce were also included in the exhibition.
    Baas created a bright blue chair covered with clay while Pesce contributed an organic-looking fabric and resin chair called Seaweed, which resembles clumps of tangled algae.
    A series of lighting designs accompanied the furniture. British designer Bethan Laura Wood created a spindly glass and metal chandelier called Criss Cross Kite.
    Gaetano Pesce contributed a fabric and resin chair called Seaweed”A chandelier is normally a very fancy-pantsy centre light,” said Wood, reflecting on her work.
    “I definitely want to play with this idea of fantasy within the thing.”
    Unique Girl is a playful lamp by Katie StoutAmerican designer Katie Stout’s ceramic lamp Unique Girl was also on display. The lighting piece is characterised by an abstract figure that the designer said is meant as a commentary on domesticity and femininity.
    All of the furniture in the exhibition was arranged across a deep red carpet interspersed with amorphously shaped plots of floor space to form a meandering pathway.

    Mixed Seats aims to show “what a chair could be”

    “Sparking dialogue throughout the gallery, Conversation Pieces presents chairs and lamps that surprise and garner attention unapologetically,” said SFMOMA.
    Last year, the San Francisco museum showcased an exhibition of work by architect Neri Oxman, while it recently became the first museum to acquire a module from the Japanese Nakagin Capsule Tower.
    The exhibition was curated within a winding spaceConversation Pieces: Contemporary Furniture in Dialogue was on display at the SFMOMA from 20 August 2022 to 25 June 2023. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world.
    The images are courtesy of SFMOMA.

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    Wine-red kitchen forms centrepiece of Paris apartment by Hauvette & Madani

    Interior design studio Hauvette & Madani has made a sumptuous wine-red kitchen the focus of this otherwise neutral apartment in Paris.

    The Republique apartment is set within a typical Haussmann-era building in the French capital’s 11th arrondissement and belongs to a family with two children.
    From the outset of the renovation, the clients called for the home to orbit around a “spectacular” atmospheric kitchen.
    A wine-red kitchen is the focal point of the Republique apartmentHauvette & Madani responded by using a striking colour scheme, rendering all of the kitchen’s linoleum cabinets and its curved breakfast island in a wine-red colour. The same shade was also applied to the ceiling but in a glossy lacquer.
    “We wanted a dark but joyful colour and ended up deciding on this substantial red,” founders Samantha Hauvette and Lucas Madani told Dezeen. “We also love the fact [the colour’s] eccentricity matches the rest of the calm and soft apartment.”

    Spaces are connected by travertine-framed doorwaysLustrous decorative elements such as an aged-mirror splashback and brass light were also introduced to the space, and a support column was wrapped in stainless steel.
    The room’s original wooden flooring was overlaid with travertine and Emperador marble tiling.
    Shades of beige can be seen throughout the living roomA travertine-framed doorway looks through to the adjacent living room, where walls were painted an oatmeal beige, matching a bean-shaped velvet sofa from French brand Pierre Augustin Rose.
    A pair of wriggly-edged oak coffee tables and a terracotta-coloured edition of French designer Pierre Paulin’s Ribbon chair were also used to dress the space.

    Six renovated Parisian apartments in historical Haussmann-era buildings

    The dining room next door is centred by an oval travertine table, around which steel-framed leather seats have been arranged. At the rear of the room is a tall white dresser inset with oak-lined niches where ornaments or artworks can be displayed.
    A Murano glass chandelier hangs from the ceiling, where ornate moulding was carefully preserved.
    The nearby dining room has a travertine table at its centreThe project also saw Hauvette & Madani refresh the parents’ bedroom, which now features 1930s-style lighting and a bespoke oak headboard. This winds around the back of the room and has arched cut-outs that accommodate bedside tables.
    A walnut-wood vanity cabinet and vintage Italian mirror were also fitted in its en-suite bathroom.
    A bespoke oak headboard was installed in the parents’ bedroomOften considered the heart of the home, the kitchen is where architects and designers enjoy getting playful with colour.
    Other examples include the kitchen inside Sans-Arc Studio’s Plaster Fun House, where a pink terrazzo breakfast island contrasts duck egg-blue cabinetry.
    And the kitchen within this Belgian apartment by Carmine Van Der Linden and Thomas Geldof features birch wood cupboards that were stained a murky hue of green.
    The photography is by Yannick Labrousse. 

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    Michael Groth uses natural and recycled materials inside New York’s Donna restaurant

    New York designer Michael Groth collaborated with a Moroccan artisan cooperative to create the wall hangings for this worker-owned bar and restaurant in the West Village.

    The opening of Donna’s new location on Cornelia Street follows the closure of its Williamsburg spot in December 2020 as a result of the coronavirus pandemic.
    Michael Groth has designed the new Donna outpost in New YorkServing a pan-Latin menu with Mediterranean influences and Filipino-inspired cocktails, the restaurant and bar is now a worker-owned cooperative, with original owner Leif Young Huckman acting as an advisor.
    To reflect this shift, Brooklyn-based Groth aimed to imbue the design of the new outpost with references to the previous location while nodding to Donna’s revised business model.
    Earth-toned limewash plaster was applied to the walls in geometric patternsHe drew influences from the constructivist art movements of Latin America in the 20th century and particularly the work of artists Sandu Darie, Pedro Alvarez and Lygia Clark.

    Donna is decorated with earth-toned limewash plaster, applied to the walls in geometric patterns that echo the brand’s visual identity.
    Groth created wall hangings in collaboration with artisan cooperative The AnouExposed brickwork is painted white, forming a plain backdrop for the circular wool wall hangings that Groth created in collaboration with Moroccan artisan cooperative The Anou.
    Together with wool floor rugs, these help to dampen the acoustics while lime plaster assists in regulating humidity, according to Groth.

    GRT Architects uses “riot” of materials for Bad Roman restaurant in New York

    The tables are crafted from reclaimed Douglas fir flooring and stained plywood was used to build the banquette seating that wraps the perimeter.
    Bar-back shelving and floors were repurposed from the unit’s previous tenant, while the bar tops were fabricated by Brooklyn Stone and Tile – another worker-owned cooperative.
    Tables are crafted from reclaimed Douglas fir”The use of any new materials was limited to those that are natural and biodegradable, keeping in mind the holistic effects of resource extraction, human health and equity, and circular material cycles,” the Donna team said.
    Pendants lights above the bar have shades made from mushroom mycelium, which according to the team presents “an environmentally holistic approach to material creation that poetically reflects Donna’s equitable business model”.
    The pendant lights above the bar feature mycelium shadesNew York City’s dining scene was upheaved during the pandemic, with many eating and drinking establishments forced to either adapt or shutter.
    As a result, sidewalk dining shelters sprung up across the city, as documented in these photographs by John Tymkiw.
    The photography is by Nicholas Ruiz.

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    Eight interiors that strike a balance between rustic and contemporary

    For our latest lookbook, Dezeen has selected eight examples of rustic yet contemporary interiors, including but not limited to an apartment in Sao Paulo and a Tuscan boutique hotel.

    Rustic interiors have a strong focus on natural and aged materials as well as traditional wooden or stone furnishings.
    These material choices are often used to create a homely and welcoming atmosphere that is somewhat reminiscent of a farmhouse style.
    From an inn with nautical-leaning decor to a mid-century home in Joshua Tree, here are eight examples of how interior designers are bringing rustic design tropes into the 21st century.
    This is the latest in our lookbook series, which provides visual inspiration from Dezeen’s archive. For more inspiration see previous lookbooks featuring wood-panelled dining rooms, statement headboards and homes with pergolas.

    Photo is by Stanley YangVilla Kurno, US, by Mini Inno
    Los Angeles interior design studio Mini Inno renovated this mid-century ranch-style home in Joshua Tree National Park and converted it into a holiday home.
    The studio opted for a neutral interior scheme that serves as the background for various wooden furnishings and fixtures.
    Wood beams were left exposed across the ceiling of the living area while wooden barstools, shelving and cupboard doors are contrasted against the white-painted walls and floors.
    Find out more about Villa Kurno ›

    Monteverdi Hotel, Italy, by Michael Cioffi
    Located in a hamlet in Val d’Orcia, a UNESCO World Heritage Site in Tuscany, Monteverdi Hotel was transformed from a crumbling building to a 29-room hotel over a 14-year renovation.
    Materials and finishes throughout the interior were chosen for their textural quality and walls feature uneven surfaces with indents and niches. Salvaged wood was used for ceiling beams, timber archways and closet doors, which were constructed from old farm doors.
    Find out more about Monteverdi Hotel, ›
    Photo is by Alexander RibarWhidbey Inn, US, by Mike and Matt French
    Mike and Matt French collaborated with friends and local designers to update this historic inn on Widbey Island near Seattle.
    The team renovated the property, which was built in 1907, and decorated the interior with a contemporary yet rustic approach with subtle nautical influences. Wood panelling in various shades was used across the interior and paired with timber furnishings.
    Find out more about Whidbey Inn ›
    Photo is by Jeff HoltCarriage House, US, by Workstead
    This home is set inside a converted kitchen house in South Carolina – a small outbuilding that was originally used to prepare food for the main residence.
    Workstead decorated its interior using an imperfect approach that saw the US studio make a feature of exposed, paint-splattered brickwork and crumbling plaster walls.
    In one of the home’s living areas, cypress and woven cane cabinets with an integrated window seat were built around a window, extending from the wooden floors up to the white-washed ceilings.
    Find out more about Carriage House ›
    Photo is by Carola MerelloLa Ganea, Italy, by Studio Mabb
    A material palette of plaster, timber and iron defines the rustic interiors of this restaurant in Brescia, Italy, which was designed by interiors practice Studio Mabb.
    The former farmhouse dates back to the 16th century and was renovated to have a simple aesthetic with earthy components. Large wooden beams stretch across the ceiling above a tiled floor and grey-washed walls while dark wood and iron furnishings complete the moody atmosphere.
    Find out more about La Ganea ›
    Photo is by Giorgio MarafiotJapanese tea house, Italy, by Lorenzo Guzzini
    At this home on Lake Como, which was informed by Japanese architecture, materials were chosen for their likeness to the surrounding nature and the vernacular architecture of the historic village of Dizzasco.
    Textural wall finishes in earthy tones and stone-lined floors were combined with exposed wooden ceilings, pine skirting boards and doors in an effort to reference the rustic look of traditional tea houses.
    Find out more about Japanese tea house ›
    Photo is by Matej HakárHouse V, Slovakia, by Martin Skoček
    Slovakia-based architect Martin Skoček used salvaged and time-worn materials in the interior of this gabled home near Bratislava.
    Bricks walls are exposed in the open-plan living area at the centre of the home beneath a wood-gabled ceiling that spans the entire length of the space.
    Contemporary additions such as a steel breakfast island and oak storage wall anchor the kitchen area, providing a contrast with the raw brick walls and wooden ceiling.
    Find out more about House V ›
    Photo is by Fran ParenteGM Apartment, Brazil, by Nildo José Architects
    Brazillian studio Nildo José Architects highlighted many of the existing architectural features when renovating this two-bedroom apartment in a condominium tower in Sao Paulo.
    The interior scheme draws on a more contemporary idea of rustic, using exposed concrete elements combined with bleached wood and glazed tiles.
    “The kitchen is open and funky, blending rustic and modern with colours, design and materials,” the studio said.
    Find out more about GM Apartment ›
    This is the latest in our lookbooks series, which provides visual inspiration from Dezeen’s archive. For more inspiration see previous lookbooks featuring wood-panelled dining rooms, statement headboards and homes with pergolas.

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