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      FOG Architecture adds playful tailoring motifs to Xiaozhuo boutique in Shanghai

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      Chinese architecture studio FOG Architecture has completed a shop for local fashion boutique Xiaozhuo on Julu Road in central Shanghai that features oversized buttons and zippers.

      The 300-square-metre shop features tactile surfaces and playful motifs that reference the process of tailoring.
      The fashion boutique is located in central ShanghaiFOG Architecture used a glazed facade to open up the front of the shop, allowing plenty of natural daylight into the space while blurring the line between the interiors and the street to create a transitional waiting area.
      Beams from an original building on the site were kept and painted red. These support a roof installation comprised of a series of puffy pillows, arranged next to one another and covered in a canvas-like material to create a soft texture.
      A pavilion-like facade was designed to blur the interior and exterior”The result is an exterior of the shop that looks like a ‘small pavilion’,” explained FOG Architecture. “The red columns, the flat roof resembling overlapping tiles, and the antique style stone seats all contribute to this spatial image.”

      “Retail display is the project’s preset function but the pavilion-like exterior challenges it and adds the possibility for leisure, entertainment and social,” the studio added.
      “The front space not only serves as the connection between the shop and the street, but also creates an experimental space that allows contrasting events happen.”
      The entrance of the shop features a grid wallThe entrance of the shop also features a symmetrical gridded wall. Its design was informed by a skylight in the site’s original building, and creates a light-and-shadow effect that adds animation to the wall.
      Square tiles were selected as the main material of the floor and wall in the waiting area, while graphic striplights were installed between the gaps in the ceiling to match the straight lines of the gridded wall.
      Tailoring elements were used as furnishing throughout the shopFollowing the waiting area visitors enter the main area of the shop, where product display and fitting area are arranged on the west side. Packaging, inventory and other supporting functions are located on the east side.
      FOG Architecture decided to use the tools and accessories commonly used in tailoring as the main design narrative of the shop, in response to the fashion brand’s identity.

      FOG Architecture transforms Beijing courtyard house into fragrance store

      These include red seams, oversized buttons and zipper motifs, and sinuous metallic clothing racks designed to look like sewing thread that add a sense of fun and surprise to the off-white backdrop.
      “The waiting area and the product display area are in sharp contrast in terms of palette, material, shape, and scale — stone versus fabric, light grey versus off-white, straight lines versus curved surfaces — allowing the former to become a transitional area of functions and styles, connecting the interiors to the exteriors, while guiding customer behaviours by shifting views and texture,” the studio said.
      The fitting rooms at the centre of the shop are wrapped in canvas-like materialThe newly polished interior wall is wrapped in a material that resembles a mix of linen and leather and was created by mixing canvas, plush fabric and texture paint.
      The curved outline of the canvas-clad fitting rooms serves as the visual centrepiece of the space.
      Sinuous metallic clothing racks resemble sowing threadAccording to the studio, all finishing materials in the shop were sourced from the fashion brand’s leftover materials from its production line.
      FOG Architecture was founded by Zheng Yu and Zhan Di and has offices in London, Shanghai and Chongqing.
      Previously the studio has completed flagship stores for ToSummer in Beijing and Shanghai, as well as Super Seed’s Hangzhou store featuring kinetic display.
      The photography is by INSPACE.
      Project credits:
      Design team: Zou Dejing, Huang Yingzi, Wang Shengqi, Zhunag Shaokai, Zheng Yu, Zhan DiLighting design: Liben Design, Zhang XuConstruction: Shanghai Guqin Construction Engineering Decoration Co., Ltd.Furnishing: Dongguan Lianwei Furniture Co., Ltd.Structure consultant: Tao Xinwei

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      Forma is a nomadic design gallery popping up around Berlin

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      Contemporary German furniture designs are displayed alongside vintage pieces at this travelling gallery that multidisciplinary designer Vanessa Heepen has launched in Berlin.

      Rather than having a permanent home, Forma will take over different locations across the German capital.
      Forma’s first exhibition was held in a building next to the Spree riverThe gallery’s inaugural exhibition, titled The Room I Walk the Line, was recently on show on the ground floor of a mixed-use building in Friedrichshain, nestled in between fragments of the Berlin Wall on the banks of the river Spree.
      “To be honest, the area is not where I would typically choose to open a gallery,” Heepen told Dezeen. “But when I first saw a picture of it on a real estate website, I was deeply touched by its huge windows, red columns and by the water, of course.”
      It featured German designers including Nazara Lázaro (left) and Studio Kuhlmann (top right)A trained interior designer, Heepen largely left the space in its found state but worked with her team to create a simple mahogany bar counter and storage unit for the gallery.

      She also asked “soft architecture” studio Curetain to create a white latex screen for the corner of the gallery.
      As part of the exhibition, this served as the backdrop for a tall white spectator shelf by Stuttgart-based Freia Achenbach, along with a graphic white stool by local designer Nazara Lázaro.
      This wiggly coat stand was mong the vintage pieces featuredOther pieces in the exhibition included a pigmented concrete chair by Carsten in der Elst and hanging metallic stars by Studio Kuhlmann, both from Cologne, as well as a translucent shelf by Berlin’s Lotto Studio.
      Forma also sourced a number of vintage pieces from Moho – a 20th-century furniture showroom in Prenzlauer Berg – among them an embossed metal cabinet and a wriggly coat stand.

      Herzog & de Meuron’s Museum of the 20th Century an “environmental disgrace” say critics

      One of Heepen’s main motivations for founding the gallery was to carve out a space for showcasing design-led furnishings in Berlin, which she says is something of a rarity in the German capital.
      “It is a discursive topic, and people have always been unsure about the success of it,” she explained. “After Forma’s first edition, I am glad to say it was hugely successful”.
      Contemporary design pieces included a translucent shelf by Lotto StudioThe designer is currently on the hunt for Forma’s next location and will let the new setting inform her selection of furnishings.
      “I’m always open to something new that occurs within the process,” she said. “I hold on to my vision, but I am also open to taking a detour.”
      Also featured was a pigmented concrete chair by Carsten in der ElsElsewhere in Berlin, Swiss architecture firm Herzog & de Meuron is currently constructing a major new museum for modern art.
      The building’s design came under fire at the end of last year, when it was discovered its complex air conditioning system would result in the venue using four times as much energy as a nearby museum from the 1800s.
      The photography is by Matthias Leidinger. 
      The Room I Walk the Line was on show at Mühlenstrasse 63 in Berlin from 15 June to 15 July 2023. For more exhibitions, events and talk in architecture and design, visit Dezeen Events Guide.

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      Lorenzo Botero and Martín Mendoza convert Bogotá residence into brick-lined restaurant

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      Local architecture studio Lorenzo Botero Arquitectos and interior designer Martín Mendoza used a palette of natural materials to transform a three-storey house into a restaurant in Bogotá.

      Located in the city’s Zona del Nogal, a popular shopping destination, Ideal Restaurant takes cues from the materiality of the deserts of the southern United States and the north of Mexico.
      Architect and interior designer Lorenzo Botero and Martín Mendoza turned a three-storey residence in Bogotá into a restaurantThe building was a three-storey residence that had undergone a series of previous renovations, which made it difficult to integrate a full kitchen and dining spaces.
      “It was a challenge,” said Botero, “But in architecture, it is about making trade-offs that are solved with the design once the program is clear.”
      The space was informed by the deserts of the southern United States and the north of MexicoThe studios used wood, copper, terracotta, linen and stone to create a warm atmosphere throughout the restaurant, which includes a covered outdoor seating area.

      The second-floor dining area is the “tour de force” of the project and includes an eclectic mixture of curved wooden and terracotta tables from Colombian furniture companies Carmworks and 902 Showroom and wooden chairs and benches from Vrokka.
      Vertical brick made of river sand was used to clad much of the interior”The project was very architectural and I did not want to superimpose things that were unnecessary,” said Mendoza.
      “I knew that the interior design had to work in favour of the architecture and the concept; hence the colour palette and natural materials⎯wood, vegetable fibres, terracotta, leather, jute and linens⎯and to contrast are the details in bronze and copper”.
      The second-floor space was divided by a sloping wine rack extending from the ceiling, as well as a wide stone bench tucked into a corner. The bench extends the length of the back wall to become the hearth of a metallic fireplace.
      The second-floor dining room is furnished with wooden tables and chairsA curved wall above the fireplace conceals the flue and further added dimension to the dining room, which looks out over the street through a wall of wood-framed windows.
      Lorenzo Botero Arquitectos wrapped much of the space in a thin brick made of sandstone, placed vertically to “lengthen” the walls of the space.

      Jagged windows pierce Studio Cadena’s Masa bakery in Bogotá

      Walls, floors, and windowsills were wrapped in the material, as well as the base of a large shared sink in the bathroom.
      Horizontal bands made of metal were embedded throughout the rows of bricks to reflect the earthy-red tone.
      A series of windows are framed in woodMetallic lighting fixtures and lamps from Mendoza’s brand mm&co and others made in collaboration with La Bestial also reflect the restaurant’s natural palette.
      They include circular metallic wall sconces and cylindrical pendants affixed to the restaurant’s ceiling, as well as the wall sconces topped with wicker lampshades.
      Metallic light fixtures and hardware reflect the earthen tones of the interiorThe outdoor seating area has the same linen-covered chairs and wooden tables as the second-floor dining room.
      Large clay pots line the walls and hold herbaceous plants such as lavender and rosemary.
      The restaurant is currently open and serves modern American fare.
      Other Colombian eateries featured on Dezeen include a bakery and cafe by Studio Cadena with jagged, triangular windows and a hotel with a lobby and cafe covered in plants in Medellín.
      The photography is by Mónica Barreneche Olivares.

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      Eight kitchens with tiled worktops that are pretty but practical

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      A kitchen with a statement oxblood-colour island and another with curved child-friendly counters feature in our latest lookbook, which spotlights eight worktops that are covered in tiles.

      Tiled worktops can be a functional yet attractive addition to a kitchen, able to withstand hot pots and food stains while also creating an opportunity for decoration.
      The examples in this lookbook range from tiled worktops designed as focal points to more utilitarian counters that blend in with surrounding walls, illustrating the potential of tiles in a kitchen and proving they are not limited to just splashbacks and flooring.
      This is the latest in Dezeen’s lookbooks series, which provides visual inspiration from our archive. Other recent editions showcase wine storage solutions, bedrooms with desk spaces and interiors that draw on Mediterranean living.
      Photo by Megan TaylorFruit Box, UK, by Nimtim Architects

      London studio Nimtim Architects opted for bright white tiles to cover the worktops of this kitchen and teamed them with plywood cupboards, shelves and drawers for a deliberately simple look.
      Some tiles have curved edges, helping to create seamless transitions between the counters and splashback while also eradicating sharp corners so the space is safer for the client’s children.
      Find out more about Fruit Box ›
      Photo by Nicole FranzenEast Village Apartment, USA, by GRT Architects
      The focal point of this kitchen in an East Village apartment is an island covered in oxblood-coloured tiles, which stand out against a backdrop of white-oak cabinetry with oversized handles.
      This rich, jewel-toned finish was complemented by chequerboard mosaic tiling across the floor and shiny brass legs for the end kitchen counters.
      Find out more about East Village Apartment ›
      Photo by Peter BennettsWest Bend House, Australia, by Brave New Eco
      Duck-egg blue tiles adorn the surfaces of this galley kitchen, which studio Brave New Eco created in West Bend House in Melbourne.
      This includes an island running through its centre, where square tiles are used on the worktop and the sides are lined with long, slender versions. They are teamed with wooden joinery and slender bar stools.
      Find out more about West Bend House ›
      Photo by Stijn BollaertDe Sijs, Belgium, by Officeu Architects
      Officeu Architects combined a mix of pastel-hued square tiles to decorate the worktops in this kitchen, which features in the De Sijs co-housing project in Leuven.
      The dusky colours of the surfaces are complemented by a mix of fern-green and wooden cabinets and help draw attention to playful furnishings and fixtures, including hanging lights and bright red pots.
      Find out more about De Sijs ›
      Photo by José HeviaPalma Hideaway, Spain, by Mariana de Delás
      Green tiles are used to create focal points throughout this lofty apartment, which architect Mariana de Delás has hidden in a former motorcycle workshop in Palma de Mallorca.
      This includes the kitchen, where the tiles crown a statement island supported by chunky pink legs. This watermelon-like colour combination pops against a concrete floor and wooden cabinets.
      Find out more about Palma Hideaway ›
      Photo by Henrietta WilliamsScreen House, UK, by Studio Ben Allen
      This pared-back kitchen features inside Screen House, a north London flat that was modernised and reconfigured by Studio Ben Allen.
      To align with a strict budget, the kitchen features utilitarian fixtures and combines simple wooden joinery with white-tiled surfaces. The end tiles are curved to form a smooth edge to the counter.
      Find out more about Screen House ›
      Photo by Joe FletcherDawnridge House, USA, by Field Architecture
      Large grey tiles are used across the countertops of this wooden kitchen, which Field Architecture designed within a house in California.
      They form part of the natural-looking material palette used throughout the home, for which the studio drew on the surrounding Los Altos Hills landscape that includes a creek and large oak trees.
      Find out more about Dawnridge House ›
      Photo by Peter BennettsBismarck House, Australia, by Andrew Burges Architects
      At Bismarck House in Bondi, Andrew Burges Architects used a palette of what it described as “outdoor materials” across the ground floor.
      Alongside exposed brick, concrete and steel elements, this utilitarian palette includes tiled kitchen worktops and is intended to blur the boundary between the inside and robust exterior of the home.
      Find out more about Bismarck House ›
      This is the latest in Dezeen’s lookbooks series, which provides visual inspiration from our archive. Other recent editions showcase wine storage solutions, bedrooms with desk spaces and interiors that draw on Mediterranean living.

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      Dorothée Meilichzon reimagines historic Biarritz hotel with nautical nods

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      French interior designer Dorothée Meilichzon has renovated a Belle Epoque-era hotel in Biarritz, France, blending maritime and art deco motifs to add contemporary flair to the historic building.

      The Regina Experimental sits on a clifftop overlooking the Bay of Biscay in the French seaside city, which was once a royal getaway and is now a popular surfing destination.
      Nautical designs decorate the corridorsConstructed in 1907 by architect and landscape designer Henry Martinet, the grand building features a 15-metre-high atrium, large bay windows, a glass roof, and hints of art deco throughout.
      The majority of its spaces were well preserved, so Meilichzon’s input involved modernising the furnishings and decor – adding colour and pattern to enliven the spaces while playing on the hotel’s coastal location.
      Totemic sculptures were used in the hotel’s atriumIn the light-filled atrium, dark red and green sofas were arranged to create intimate seating areas within the expansive room.

      Totemic wicker sculptures form a line down the centre of the room, and cylindrical paper lanterns by designers Ingo Maurer and Anthony Dickens hang from the columns on either side.
      Guest rooms feature geometric, art deco-influenced headboards and striped upholsteryGuests in this space are served cocktails from a bar top shaped like an ocean liner, designed as an homage to modernist architect Eileen Gray, while listening to live piano music.
      While the bar top nods to Gray’s designs, the sofas in the room play on the shapes of the Itsasoan footbridge in nearby Guétary.
      Mirrors wrapped in rope continue the maritime theme in the roomsCarpet patterns vary between the different areas of the hotel – in the corridors, they carry a nautical motif, while the markings are reminiscent of fish scales in the guest rooms.
      The hotel’s restaurant, Frenchie, offers Basque-inspired cuisine within a bright room that features more nautical references, such as rope-hung shelves and shell-shaped sconces.
      Shell-shaped sconces decorate the dining roomHighly patterned tiled floors and furniture contrast the restaurant’s neutral plaster walls and ceiling, which are punctuated by arched niches and curved plywood panels.
      The dining area spills onto an outdoor terrace, populated by red cafe tables and chairs lined up against pale blue banquettes, around the corner from a swimming pool.

      Ibiza’s first hotel gets bohemian refresh from Dorothée Meilichzon

      The hotel’s 72 guest rooms are accessible from corridors that wrap around the atrium, and face either the ocean or the Golf de Biarritz Le Phare golf course.
      Shades of blue and green dominate the art deco-influenced bedrooms, which feature glossy geometric headboards and marine-striped upholstery.
      A cool palette of greens and blues is used in the bathroomsSmall lamps extend from rope frames that wrap around the mirrors, and red accents on smaller furniture pieces pop against the cooler hues.
      “Bedrooms are awash with Japanese straw and rope combined with marine stripes and plaster frescoes with aquatic motifs,” said the hotel. “Evocative of an ocean liner, each bedroom incorporates curved forms and long horizontal lines.”
      Built in 1907, the hotel overlooks the Bay of Biscay from a clifftopMeilichzon, founder of Paris-based design agency Chzon, is a frequent collaborator of the Experimental Group, and has designed the interiors for several of its properties.
      Earlier this year, she gave a bohemian refresh to Ibiza’s first hotel, now called the Montesol Experimental, and previously completed the Hotel Il Palazzo Experimental in Venice.
      The photography is by Mr Tripper.

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      Woods Bagot lines American Australian Association HQ with oak battens

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      The American Australian Association has opened a headquarters in New York City, with interiors by architecture firm Woods Bagot designed to offer flexible spaces for events.

      The 9,450-square-foot (878 square metres) space at 600 Third Avenue is the first location in the city for the American Australian Association (AAA), a non-profit organisation dedicated to strengthening ties and collaboration between Australia and the US.
      A large, flexible space allows the AAA to host a variety of events and activitiesClose to both the United Nations and the Australian Consulate-General, the headquarters is intended to promote Australian-American relations in NYC by hosting a variety of discussions, performances, exhibitions, networking receptions and more.
      Woods Bagot – which was founded in Adelaide and has offices globally – aimed at “melding the spirit of Australia with the corporate culture of New York” with the project, according to CEO, Nik Karalis. “It’s a stylish, welcoming environment created to bring people from both countries closer together,” he added.
      Moveable dual-purpose furniture created for the space includes a workstation that doubles as a barTo accommodate such varied activities, a large events space was left open to be as flexible as possible while incorporating movable dual-purpose furniture and fittings.

      A custom mobile island acts as both a work surface and a bar, and counters along the windows can also become serving areas for food and drinks.
      The ceiling structure was left exposed, while white oak battens wrap the columnsLocated on a high floor, the space benefits from sweeping views of the skyline through unobstructed expanses of glass.
      The ceiling structure was left exposed to maximise the height in the space, while columns were wrapped in vertical white oak batten system by wood cladding manufacturer Sculptform – for which Woods Bagot created an immersive showroom in Melbourne in 2001.

      Steam-bent timber tunnels through Melbourne showroom by Woods Bagot

      Similar battening lines the lobby and circulation spaces, with curved profiles creating sculptural frames around a golden bar back and over a pair of sliding doors with frosted glass panels.
      The AAA headquarters also houses offices for employees and a boardroom for private meetings.
      The white oak battens also line the lobby area, surrounding the doorway to the boardroomTo commemorate the opening of the space in June 2023, the organisation commissioned a custom artwork from the APY Art Centre Collective.
      The colourful painting was created by eight Indigenous women artists based in Adelaide and hangs in the bar area.
      Some of the battens feature curved profiles to create sculptural shapesWoods Bagot works on projects worldwide, and its current high-profile projects underway range from the Aboriginal Art and Cultures Centre in Adelaide to an extension of Seattle-Tacoma International Airport.
      Also in the US, principal Krista Ninivaggi recently completed the lobby design for the supertall Brooklyn Tower.
      The photography is by Adrian Gaut.

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      Eight serene interiors with decorative lime plaster walls

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      For our latest lookbook, we have gathered eight examples of homes where tactile and practical lime plaster walls give the interiors a natural, calming feel.

      Lime plaster is a traditional wall coating typically made from sand, water and lime. It is often used in heritage buildings, since it is a breathable material that can be a good choice for damp spaces.
      It also has a natural look and feel that can help to create a more rustic and peaceful atmosphere in modern homes.
      This is the latest in our lookbooks series, which provides visual inspiration from Dezeen’s archive. For more inspiration see previous lookbooks featuring clever wine storage solutions, space-efficient bedrooms and Mediterranean-style interiors.
      Photo by Simone BossiMA House, France, by Timothee Mercier

      Architect Timothee Mercier turned a rural farmhouse building in southeast France into a home for his parents that aimed to respect both the site and the region’s architectural history.
      Inside, he went for a pared-back, spartan interior, where some of the house’s stone exterior was left exposed. Walls were white-washed with chaux – a local lime plaster – to create a clean backdrop for the living room’s wooden furniture.
      Find out more about MA House ›
      Photo by Lorenzo ZandriCork House, UK, by Polysmiths
      Cork-clad living spaces feature in this east London home, which architecture studio Polysmiths’ director Charles Wu designed for himself and his partner.
      Wu used locally sourced timber and lime plaster for the house. A lime-plastered wall divides the main bedroom from its en-suite bathroom, which is lit by a corner lightwell.
      Find out more about Cork House ›
      Photo by Lorenzo ZandriHerne Hill House, UK, by TYPE
      The Herne Hill House extension replaced an existing conservatory at a south London terrace house, creating a bigger kitchen and dining room.
      A peaceful window nook gives views out of the garden from the open-plan kitchen, which features walls covered in lime plaster. Their pale beige hue contrasts the warm terracotta-coloured quarry-tile floor.
      Find out more about Herne Hill House ›
      Photo by David DworkindQuébec home, Canada, by Ménard Dworkind
      This home in Montréal centres around a lime-plastered, curved central block that sweeps around a staircase and forms a mezzanine level that overlooks the living room.
      Here, the rounded wall holds a terracotta fireplace. A geometric steel table adds a more modernist and industrial feel to the organic interior.
      Find out more about the Québec home ›
      Photo by Mikaela BurstowIceberg apartment, Israel, by Laila Architecture
      Natural lime plaster covers the walls in this Israeli apartment, which gets its name from a large birch plywood storage volume resembling an iceberg.
      In the kitchen, the plaster walls were complemented with birch plywood cabinetry and sunny pastel-hued chairs.
      Find out more about the Iceberg apartment ›
      Photo by Lorenzo Zandri and Christian BraileyLow Energy House, UK, by Architecture for London
      The minimalist interior of this energy-saving home in north London was designed using wood, stone and lime plaster by studio Architecture for London.
      Designed as a home for its founder, Ben Ridley, it had some problems with dampness. To help solve this, walls were coated with lime plaster to form an airtight layer, mitigating any heat loss.
      Find out more about Low Energy House ›
      Photo by Salva LópezCasa Soleto, Italy, by Studio Andrew Trotter and Marcelo Martínez
      Studio Andrew Trotter and Marcelo Martínez renovated this 17th-century Puglia house, using natural materials and colours wherever possible.
      Earth-coloured lime plaster decorates the walls, adding to the rustic feel of the space and matching the tactile and rough-hewn materials and furniture used for the interior.
      Find out more about Casa Soleto ›
      Photo by Jim StephensonNorth London home, UK, by Whittaker Parsons
      A home in London’s Stoke Newington was given an additional storey made from copper, larch and structural insulated panels, which houses a bedroom suite.
      Architecture studio Whittaker Parsons chose lime plaster for the walls of the space, which was designed to have a serene feel.
      “Lime render is a calming tactile material, characterful and soft,” said Whittaker Parsons. “It is a low-carbon alternative to gypsum plaster. It’s also a hygroscopic material, so it naturally moderates the moisture level in the bedroom.”
      Find out more about this North London home ›
      This is the latest in our lookbooks series, which provides visual inspiration from Dezeen’s archive. For more inspiration see previous lookbooks featuring clever wine storage solutions, space-efficient bedrooms and Mediterranean-style interiors.

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      Bottega Veneta channels Veneto design sensibilities at Sloane Street store

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      Fashion brand Bottega Veneta has opened a store on London’s Sloane Street that draws on materials, furniture and design techniques from Italy’s Veneto region.

      Located at the base of a nine-storey 1920s red brick apartment complex, the store sits behind a white-rendered frontage with doric column-style detailings.
      The store is located on Sloane StreetIt was opened as the first store to implement Matthieu Blazy’s vision for the brand and its physical retail locations, following his appointment as Bottega Veneta’s creative director in 2021.
      The interior was designed using materials, furniture and furnishings associated with the Veneto region where the brand was founded – the northeastern area of Italy that encompasses the land between the Dolomite Mountains and the Adriatic Sea and contains the city of Venice.
      It is the first store under the creative direction of Matthieu Blazy”Bottega Veneta’s identity is not only reflected in the furniture, but throughout the space, creating its uniquely warm atmosphere,” Bottega Veneta said of the store.

      Upon entering the space, visitors are met by a largely open interior. This is zoned by four large, curved wooden volumes that were inserted at the centre of the store and introduce a loose symmetry to the division and organisation of the space.
      It was inspired by the Veneto regionThese wooden volumes are constructed from dark wood and have a multi-faceted design, incorporating protruding elements and geometric cut-outs that are fitted with shelving for use as display areas for the brand’s accessories and footwear.
      Beyond subtly zoning the ground floor of the store into three distinct areas, the wooden volumes also create a series of intimate spaces and rooms tucked behind, within and between each of their adjacent structures.

      Gaetano Pesce designs his first-ever handbag for Bottega Veneta

      The floor of the store was blanketed in terrazzo, a material chosen for its ties to Venice, the brand said.
      The movement of water informed the design of the terrazzo, which has an oscillating look that was achieved through the use of four different stones – Bardiglio, Carrara, Verde Alpi, and Grigio Carnico.
      Terrazzo covers the floor of the storeLouvred veined stone panels framed in a brassy metal trim line the front and rear of the store and provide additional depth and colour to the interior.
      Where not used as decorative panelling, smaller brass-framed louvred panels are also used as mirrors that can be twisted and turned to reflect and face various parts of the store.
      Dark wood volumes divide the space in the storeWoven sofas and armchairs nod to the Intrecciato woven accessories and garments that the brand has become known for. The furniture pieces were constructed from leather in hues of green, brown and black and paired with a forest green rug.
      Sculpted wooden side tables and hard furnishings are scattered throughout the interior.
      Woven leather furniture is used throughoutA staircase, tucked to the side of the store, is clad in the same stone that covers the floors and lined in glass and brass to tie it in with the structural fixtures that can be found throughout the interior.
      At this year’s Milan design week, Bottega Veneta unveiled a collaboration with Italian designer Gaetano Pesce that saw him design his first-ever handbag.
      Prior to their collaboration on accessories, Pesce created a swirling resin set comprised of 400 custom chairs and a pooling multi-coloured floor for Bottega Veneta’s Spring Summer 2023 show.
      The photography is courtesy of Bottega Veneta.

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