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      Studio Empathy and Praxes design library at Korean Cultural Center New York

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      Traditional Korean architecture influenced the layout and shelving design in the library at the Korean Cultural Center New York, designed by Studio Empathy and Praxes.

      Changhaak Choi of Studio Empathy and Jiyoung Kim from Praxes worked together to complete the 1,600-square-foot (149-square-metre) library, located on the third floor of the Korean Cultural Center New York’s new venue in Midtown Manhattan.
      The library is arranged to from a central courtyard formed by bookshelvesThe space houses a collection of over 10,000 books, periodicals, government publications, and multimedia resources in both Korean and English.
      It acts as a resource for research on Korea, introduces Korean writers to the New York audience, and provides educational materials for young Korean-Americans and those interested in Korean culture.
      The shelves are fabricated from plywood elements and joined to resemble traditional Korean architectural details”This new library aspires to be a cultural hub, promoting information exchange and enhancing mutual understanding of Korea among the Korean-American community and the broader New York population,” said Choi.

      “The design seamlessly blends archaic forms with a minimalistic and contemporary aesthetic, which incites a biophilic space.”
      The central space is populated with cube-shaped stools for visitors to sit and readTo enable easy circulation, the bookshelves were arranged in a rectangular plan with a pathway around the perimeter and a courtyard in the centre, with openings to allow movement between the two.
      The layout is akin to a traditional Korean han-ok house, which is similarly organised in a loop around a central space.
      The shelves sit away from the building’s glass walls so that visitors can circulate around the perimeterHere, the “courtyard” serves as the reading area and includes cube-shaped wooden stools upon which visitors can sit.
      “This design enables visitors to continuously explore the diverse scenery of book stacks and enjoy views of the rooftop garden through glass walls, seamlessly integrating indoor and outdoor elements,” Choi said.
      The library’s children’s section is housed within a lower storage moduleThe bookshelves were also modelled on the typical post-and-lintel assembly and joining techniques found in han-ok homes.
      They were fabricated as modular units using thin plywood panels, slats and metal components to be efficient and cost-effective.

      Studio Hinge creates library spaces beneath tree-like wooden columns

      Along the tops and sides of the storage modules, a wooden lattice is coloured in five bold hues to enliven the design.
      “This design resonates with the vibrant book spines, creating a dynamic visual contrast with the monochromatic, bright wood shelves, and light grey stone floor,” said Choi.
      Wooden latticework is also installed across the ceiling and behind the reception deskThe aim is for the library to become a community hub for Korean-Americans and others New Yorkers, and host events like book launches and other group activities.
      “This project showcases how cultural heritage can be preserved and celebrated through thoughtful and contemporary design, creating a unique and enriching environment for all visitors,” said Choi.
      The tops and sides of the shelves are coloured in five bold huesPlayful shelving solutions have become a hallmark of contemporary library designs around the world.
      At a space in São Paulo, MAB3 and Zénite created forest of books where shelves encircle tree-like columns, while Studio Hinge took an arboreally informed approach to storage at a library in Mumbai.
      The photography is by Michael Moran and Changhaak Choi.

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      Seven transparent bathrooms for households who share everything

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      In this lookbook we collect bathrooms with see-through walls, best suited to those who take a more relaxed attitude to privacy in the home.

      In most homes the bathroom is designed as a private space. But as the interiors listed below demonstrate, deciding against encasing the washroom in opaque walls can bring in natural light, act as a space-saving device or even create an unusual focal point in the home.
      This is the latest in our lookbooks series, which provides visual inspiration from Dezeen’s archive. For more inspiration, see previous lookbooks featuring bathrooms with sunken baths, subway tiles and double sinks.
      Photo by Yosuke OhtakeHouse in Kyoto, Japan, by 07Beach
      The bathroom inside this house in Kyoto, designed by architecture studio 07Beach, sits alongside a skylit central courtyard-like living space to give the residents the feeling of “open-air bathing”.

      “The house was designed as one big space, placing the double height living room at the centre so they can see who does what,” said the studio. “Although a curtain rail was set up in the bathroom just in case, it seems the family got used to the exposed bathroom, and still use it without a curtain.”
      Find out more about House in Kyoto ›
      Photo by Miguel de GuzmánBathyard Home, Spain, by Husos
      Madrid architecture studio Husos went further than merely making the bathroom visible in this apartment, instead removing partition walls to make it the main communal area of the home.
      “The bathyard is a space whose character can be negotiated and altered by the users by sliding transparent partitions and opening out a folding bench,” the studio said.
      Find out more about Bathyard Home ›
      Photo by Hey! CheeseCats’ Pink House, Taiwan, by KC Design Studio
      This holiday home in Taiwan was designed by KC Design Studio as a place for the owner to have fun with her three cats.
      The bathroom adjoins the cats’ playroom via a wall composed of a terrazzo plinth topped with pink glass, affording a view of what’s going on next door. For moments when additional privacy is desirable, the glass can be dimmed.
      Find out more about Cats’ Pink House ›
      Photo courtesy of Suppose Design Office (also top)House in Nagoya, Japan, by Suppose Design Office
      This house was completed by Japanese architecture studio Suppose Design Office all the way back in 2009 but is too good an example of a transparent bathroom not to be included on our list.
      The main living space looks straight through glass walls to the bathroom via a landscaped area filled with rocks and plants.
      Find out more about House in Nagoya ›
      Photo by Tomooki KengakuThe Life, Japan, by I IN
      Tokyo studio I IN overhauled an apartment for Japanese developer Smarg in an attempt to change perceptions of renovation projects.
      The flat has an open-plan layout and a restful ambience. Reeded glass partition walls allow light to penetrate into the windowless bathroom, as well as distorted view of the other side.
      Find out more about The Life ›
      Photo courtesy of Blueberry NightsBlueberry Nights, Georgia, by Sandro Takaishvili
      Georgian architect Sandro Takaishvili wanted this hotel in Tbilisi to make guests feel like they’re inside a movie.
      In the bedrooms, designed to evoke David Lynch’s visual style, the bathrooms are only separated by a slight change in level and the introduction of white tiles.
      Find out more about Blueberry Nights ›
      Photo by Torben EskerodVibo Tværveh, Denmark, by Valbæk Brørup Architects
      The bathroom at this summer cabin designed by Copenhagen studio Valbæk Brørup Architects takes the form of a tiled wet room that can be opened up to the elements.
      Located at one end of the long building, it opens through glass sliding doors onto an outdoor bathing area – which is fenced to avoid giving any passers-by a nasty shock.
      Find out more about Vibo Tværveh ›
      This is the latest in our lookbooks series, which provides visual inspiration from Dezeen’s archive. For more inspiration, see previous lookbooks featuring bathrooms with sunken baths, subway tiles and double sinks.

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      Funamachi Base cafe and sweet shop designed as “extension of the park”

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      Timber pillars and PVC pipes were left bare to blur the boundaries between the interior and exterior of cafe and sweet shop in Funamachi, Japan, designed by Schemata Architects.

      Named Funamachi Base, the combined sweet store and cafe is located next to a park in the centre of Funamachi, a riverport town in central Japan.
      The cafe is located close to a riverThis location inspired the design of its three buildings, which house a restaurant, sweetshop and a structurewith an office, kitchen and workshop.
      “We envisioned the facility as an extension of the park, including the courtyard connected via flowerpots, so that the boundary between the inside and outside of the site would disappear and one would be gradually drawn inside,” the studio said.
      Part of the foundation of the building forms a counterSchemata Architects’ founder Jo Nagasaka told Dezeen that the aim was also for people to wander into the space as they walk along the river.

      “The main idea was to incorporate the greenway along the river into the facility,” he said. “The design is based on the expectation that people will find themselves entering into the shop as they walk along.”
      Schemata Architects designed the cafe and sweet shop with large overhanging roofsLarge roofs extend out from the buildings of the 326-square-metre Funamachi Base, creating sheltered spaces where visitors can sit and enjoy the cafe’s bean buns.
      “The distance between each building is taken and a roof is placed between them to create a semi-outdoor space, but to avoid clear boundaries between the inside and outside, the idea was to use the same materials inside and out,” Nagasaka said.
      The same materials were used for the interior and exterior of Funamachi BaseMade from concrete and Douglas fir wood, Funamachi Base also features visible PVC pipes, a design choice that Schemata Architects made to underline the interaction between the interior and the exterior.
      “The same materials were used inside and outside: calcium silicate board and putty coating, PVC pipes generally used for outdoor gutters were sandblasted and placed across the inside and outside of the building, and the eaves extended to create a space where the inside and outside are interchangeable,” the studio said.

      Schemata Architects transforms 145-year-old townhouse into Le Labo flagship

      The foundation of the building was designed to bulge out, forming a counter from which to sell the sweets.
      It was also used to create a bench for visitors to rest on and a well, as water is needed to create Japanese sweets.
      A light-brown pattern decorates the facadesThe facades of the buildings have a light-brown pattern, adding to their industrial feel.
      “White walls would make it look like a stylised Japanese building, so we dared to deviate from that,” Nagasaka explained. “We have chosen this so that the construction process is reduced and the finish is unusual.”
      Schemata Architects recently designed the Komaeyu bathhouse in Tokyo, which was shortlisted for a Dezeen Award 2024 in the interiors category.
      The photography is by Yurika Kono.
      Project credits:
      Architect: Jo Nagasaka / Schemata ArchitectsProject team: Yuko YamashitaConstruction: GikenCollaboration: Monochrome (solar panel integrated roof), Fukushima Galilei (kitchen)

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      Studio Collective completes The Hotel at The Moore in Miami Design District

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      Design firm Studio Collective has created a boutique hotel inside The Moore building in Miami Design District, completing the landmark’s transformation into a multi-functional hospitality venue.

      Recently opened, The Hotel at The Moore occupies the building’s fourth floor and includes 13 suites designed by Studio Collective to feel like private residences.
      “The hotel suites are a new addition to the fourth floor, but were designed to fit the building’s original footprint within its historic interior,” said the hotel team.
      Each room inside The Hotel at The Moore has a unique design conceptThe rooms range from 700 to 1,000 square feet (65 to 93 square metres) and each is designed differently to create a unique experience for guests.
      One suite is decorated primarily in light neutral tones, where textured plaster walls allow walnut bed frames and furniture to stand out.

      Another features wood-panelled walls and woven textured ceilings, complemented by details like rattan lampshades, while colour is introduced through rugs and throw pillows.
      One suite features wood-panelled walls and a woven ceilingThe rooms include art and custom furnishings by makers such as Dallas-based furniture brand Mous and sustainably-focused Brazilian company Sossego.
      The Moore building’s central atrium features a sculptural installation by architect Zaha Hadid, titled Elastika, which was added in 2005 when the space was used as an events venue.
      Colour is subtly introduced through rugs and other detailsThe artwork has lent its name to a public restaurant that now occupies the space, where diners can enjoy a menu by chef Joe Anthony beneath the sinuous white forms that span across and up the four-level void.
      Interiors for the Elastika restaurant were created collaboratively by operators Woodhouse and design firm Icrave, and include velvet banquette seating and an 18-cover bar.

      Esme Hotel in Miami draws on the “bohemian grandeur” of its past

      Constructed in 1921 to as a showroom for Moore and Sons furniture, the neoclassical-style building now also accommodates a private members club, which has its own restaurant and dining room.
      Members also have access to a karaoke room, hidden cocktail lounges, game rooms, a library, various dining rooms with distinct themed decor, a photo booth, sun room and a late-night speakeasy called The Rabbit Hole.
      The Moore building’s lobby is outfitted with black and white flooring, and contrasting colourful furnitureThe Club spaces are populated with furniture and accessories in muted red, blue and green hues, and many have rounded shapes that echo the architectural details through the building.
      Lower levels have terracotta floor tiles, which are swapped for wooden planks on the upper storeys.
      The building’s Elastika restaurant sits within an atrium housing a Zaha Hadid-designed sculpture of the same nameBolder colours are used in the lobby area, where black and white marble flooring contrasts the bold tones of paintings and furniture.
      A grand black and honey-toned stone staircase connects the ground level with the open balconies that overlook the atrium and Elastika.
      Many of the furniture pieces in the building’s private members club are rounded to echo the architectural featuresMiami Design District continues to add distinctive architecture and retail interiors as it develops, from a sculptural block of buildings planned by Kengo Kuma to a Louis Vuitton store wrapped in a diamond-patterned facade completed by Marcel Wanders.
      Boutiques that have recently opened in the area include a Nodaleto shoe store, a Diesel store, and locations for PatBo and Cult Gaia.
      The photography is by Kris Tamburello.

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      Eight London house extensions that maximise space and light

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      For our latest lookbook we’ve gathered eight London homes that have traded in unused garden space for contemporary and light-filled living areas.

      Rear extensions are a popular option for transforming the pokey side returns and galley kitchens of Victorian and Edwardian housing, abundant in many areas of London.
      The eight examples below showcase how extensions can bring contemporary flair to a more traditional home and optimise living space for entertaining, relaxing and cooking.
      This is the latest in our lookbooks series, which provides visual inspiration from Dezeen’s archive. For more inspiration, see previous lookbooks featuring soothing cabin interiors, kitchens with sleek metal details and living rooms with warming fireplaces.
      Photo by Jim StephensonVictorian terrace house, UK, by Oliver Leech Architects

      Oliver Leech Architects retained this late 19th-century building’s character while opening up the “disconnected and dark” interior of this Victorian terrace house in Herne Hill.
      Prioritising natural light, the studio expanded the ground floor to include an open living, dining and kitchen space, meeting the existing building with a large skylight and window seat.
      Find out more about Victorian terrace house ›
      Photo by Jae W V KimSunny Side Up, UK, by THISS Studio
      THISS Studio approached this extension in east London as though it were a piece of furniture rather than a conventional structure.
      “We wanted to think of the new addition at a domestic scale and more like a piece of furniture that you can sit within and enjoy, rather than a typical extension of the existing spaces,” THISS Studio told Dezeen.
      The practice reconfigured the dark interior of this interwar house which features timber joinery and a light-filled dining space.
      Find out more about Sunny Side Up ›
      Photo by Helen LeechMoroccan inspired house, UK, by Merrett Houmøller Architects and All & Nxthing
      The client’s extensive travels to Morocco and the Mediterranean inspired this rear extension in London.
      Merrett Houmøller Architects and interior designer All & Nxthing renovated and extended this Victorian home with clay-plaster walls, exposed brickwork and tile floors to evoke the feeling of a Moroccan home.
      Find out more about Moroccan inspired house ›
      Photo by Ståle EriksenHeath House, UK, by Proctor & Shaw
      A dilapidated conservatory and awkwardly sized rooms were swapped for a light, wood-filled interior at this Grade II-listed villa in Highgate, north London.
      Architecture studio Proctor & Shaw prioritised natural light and a natural material palette of wood and white brick for the above and below-ground extension in north London.
      Find out more about Heath House ›
      Photo by Tim CrockerMagpie House , UK, by DGN Studio
      DGN Studio extended the kitchen of this east London terrace house by three metres to create “a more cohesive and seamless sequence for living, dining and cooking”.
      The extension is illuminated by skylights between wooden beams and features a concrete window seat overlooking the garden with the client’s furniture and fittings incorporated throughout.
      Find out more about Stoke Newington house ›
      Photo by Jim StephensonVictorian maisonette, UK, by Nimtim Architects 
      Douglas fir timber screens, exposed brickwork and rough plaster characterise this extension of a Victorian maisonette in Camberwell, south-east London.
      Nimtim Architects responded to a brief calling for greater connectivity and openness in the home to create a “place of reflection and sanctuary from the city”.
      Find out more about Victorian maisonette ›
      Photo by Lorenzo Zandri and Christian BraileyEdwardian home, UK, by Architecture for London 
      Architecture for London transformed this Edwardian home in Muswell Hill, which had been untouched for 40 years, using only sustainably minded interventions and natural materials.
      Created for the studio’s founder Ben Ridley, the house was renovated and extended to create a minimal interior characterised by oak wood, stone and lime plaster.
      Find out more about Edwardian home ›
      Photo courtesy of AOCForest House, UK, by AOC
      Gillian Lambert and Geoff Shearcroft of architecture firm AOC wanted to add personality and a connection to nearby Epping Forest when designing the front extension of their Victorian house in north London.
      A single-storey garage was removed to create a series of interconnected, playful living spaces featuring tactile materials, exposed block work and bold colours.
      Find out more about Forest House ›
      This is the latest in our lookbooks series, which provides visual inspiration from Dezeen’s archive. For more inspiration, see previous lookbooks featuring characterful kitchens with sleek metal details, soothing cabin interiors and living rooms with warming fireplaces.  

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      Trauma of Ukraine war “was crucial for me as an architect” says Tallinn Architecture Biennale curator Anhelina Starkova

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      Anhelina L Starkova explains how her experience of living through the Ukraine war has shaped her approach to curating the 2024 Tallinn Architecture Biennale in this interview.

      Starkova, who was chief curator of this year’s biennale, is from Kharkiv in north-east Ukraine – a city that has suffered heavy bombardment since Russia launched its invasion in February 2022, coming close to being captured early on in the conflict.
      According to the curator, she experienced something close to an epiphany not long after the war began, while taking refuge in the bunker in her house as bombs fell around it
      Anhelina L Starkova is chief curator of this year’s Tallinn Architecture Biennale. Photo by Helen Shets”I remember that planes were flying around, and the building was shaking, and it was really the moment when you understand that it’s probably your last minutes,” she recalled.
      “I was standing with this wall, and I was thinking that this wall was a continuation of my body – this is me,” she continued.

      “It was, for an architect, [a] very interesting feeling. Because I finished university, I had my 10 years in practice, and I still was not really immersed in architecture.”
      “You always think it intellectually, but when I was in this bunker I started [to] think, ‘oh my god, this is the only one thing that can really save me – this wall is the only one thing that I need’. It was a very existential experience.”
      Titled “Resources for a Future”, the exhibition explores innovative ways of using materials in architectureLater, while spending some time in Bucharest, visiting a shopping mall made her reconsider the value of architecture.
      “There’s all this commercial architecture, and I feel such a disgust,” she told Dezeen. “Like it’s a cartoon, it’s not real. I felt it not with my brain but with all my body: we live in a world of complete illusion.”
      In other words, Starkova said, the traumatic experience of the war has given her a new sense of clarity about what really matters in architecture.
      “When the war started in the Ukraine, that was crucial for me as an architect,” she explained. “I didn’t expect that it would influence me so much personally.”
      “Everything kind of started to be very clear: many, many things that we add to architecture – these addictive visions – are extra things, and they are not making buildings in a total way.”
      “If I would like to continue [in architecture] then I would need to isolate myself from all this gallery of thinking, which I can’t stand anymore.”

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      Instead, Starkova, who as well as running her own studio lectures at the University of Applied Sciences of the Grisons and Kharkiv School of Architecture, has become more interested in the bare essentials of architecture.
      “Really great architecture, it’s about durability factors, the functionality, but also giving people a kind of stability and safety,” she said. “In the end, it’s mostly about our immersion.”
      Starkova has applied this back-to-basics philosophy to her curation of the seventh Tallinn Architecture Biennale, which opened in the Estonian capital last week.
      Pihlmann Architects presented a proposition for changing the function of a building by changing parts of its floorplates into rampsAt the centre of this year’s biennale is an exhibition exploring the theme of Resources for a Future, hosted by the Estonian Centre for Architecture.
      Featuring 14 exhibits from studios including Gus Wüstemann Architects, KAMP Arhitektid, Déchelette Architecture and Pihlmann Architects, it examines different approaches to using local resources for creating new buildings and prolonging the life of existing ones.
      “I had conversations with each architect that you have to look at the basics and the fundamental, real feel of what you are doing,” Starkova said.
      “And even asked each architect, when you’re talking about resources, what really fosters you to do architecture, what supports you? And each installation showed the answers.”
      For instance, Denmark-based Pihlmann Architects created a large model of a stripped-back building shell where part of each floor had been cut out and sloped downwards to form a ramp up from the floor below.
      “It was really about this idea of purification,” said Starkova. “You see an old building and you just do not add anything. You see the nature of the building and you’re trying to heal it or to reformulate its elements.”
      Déchelette Architecture’s exhibit showcased rammed-earth pillars using material dug locally to TallinnThat, she said, is a lesson she learned while working on repairs to damaged buildings in Kharkiv during the war.
      “You’re trying to compose it again, to heal it, and then it gets another conceptual environment – another feeling, and it’s already architecture.”
      “Architecture is the constant process of thinking of your relation to materials, different elements, and assemblage of them in a holistic way.”
      At the centre of the exhibition are a series of pillars erected by rammed-earth specialist Emmanuelle Déchelette of Paris studio Déchelette Architecture, with the material dug locally to Tallinn.
      “It’s about doing a lot with nothing, that complete purification,” said Starkova. “To avoid this ideological or even social architecture.”

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      The participating architects were given a deliberately open brief, because Starkova felt the exhibition was “not about dogmas”. As a result, the exhibits are highly varied in form and approach.
      They range from a huge chunk of a restored traditional Estonian log house by Apex Arhitektuuribüroo (pictured top) to an abstract proposal for a public space created only by digging by Romanian architect Laura Cristea and Swiss architect Raphael Zuber.
      In another, Estonian studio KAMP Arhitektid presented research on the surprising breadth of potential building materials that can be found on one specific 15 square-kilometre piece of land in the country.
      “Each project was a surprise because I didn’t know them personally before the exhibition, none of them,” said Starkova.
      A research project by KAMP Arhitektid demonstrated potential building materials found on a single plot of landThat effect was only heightened by the fact that Starkova managed the whole project remotely, only arriving in Tallinn a few days before the exhibition opened.
      She began with a list of more than 500 architects whose work she admires, eventually selecting those who she felt “were the most radical in their thinking”.
      The Ukraine war is referenced in one installation, produced by Elina Liiva and Helena Manna in collaboration with PAKK, composed of a series of images of apartment living rooms printed on translucent fabric and placed in a line, with chunk of concrete lying nearby that corresponds with a hole cut into the scene.
      But beyond that, Starkova deliberately avoided making the conflict a direct focus of the exhibition, believing that it may detract from a sense of immediacy.
      “During the war, it’s not a place for architecture – mostly a place for thinking,” she said.
      “And yes, architects are trying to think, with the support of international world architecture, what could be done [after the war]. But I just wanted to stay honest and not be futuristic.”
      The only exhibit to directly reference the Ukraine war looked at approaches to changing buildings damaged in the conflictOverall, Starkova hopes the exhibition will enable visitors “to learn from architects that architecture is simple to do, and that the formulas are quite simple”.
      As well as leading curation of the exhibition, Starkova was also head judge for the biennale’s customary pavilion commission competition, this time for a bus shelter at Tallinn’s Balti Jaam transit hub.
      Out of more than 80 entries, the winner was No Time to Waste by Belgian architecture duo Brasebin Terrisse.
      The central concept of the pavilion, which is still completing construction, was that the design would be led by whatever construction off-cut materials could be sourced in Tallinn.
      “This was the only project who said that we have an open end – we do not propose [a] form of the installation, we prepare that we come to Tallinn, we test a local situation and after we will develop a form given when doing the work on it,” said Starkova.
      A competition to design a pavilion for the biennale was won by Brasebin Terrisse’s project No Time to Waste (front)”So the rendering of the project itself is just a library of technology that they would like to use, but the form must be made later during the working process,” she added. “It followed the course of the biennale.”
      With the biennale’s opening-week programme complete, Starkova has now returned to Kharkiv, where many buildings lie in ruins in a city that was previously celebrated for its rich and varied architectural heritage.
      “It’s all so difficult,” she reflected. “Kharkiv is changing, it is in constant change.”
      “It’s absolutely impossible to live, because you live in that mode of always existential crisis – on the edge, always. You go to bed, you don’t know you’re going to wake up. You go outside, you don’t know you’re coming back.”
      “Maybe it brings some beauty, because we actually live in this way, all of us – right on the edge.”
      The photography is by Tõnu Tunnel unless stated otherwise.
      Resources For A Future will run until 1 December 2024 at the Museum of Estonian Architecture, Ahtri tn 2, 10151 Tallinn, Estonia. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world. 

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      Dezeen and SketchUp are launching Design Workshops with Uchronia and Tola Ojuolape

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      Dezeen is teaming up with SketchUp to launch the Design Workshops video series in which leading designers describe how they created especially commissioned interior environments.

      The series will launch in two weeks with the first of two videos hosted by Uchronia founder Julien Sebban, who will explain how he used SketchUp’s design software to create a fantasy bar interior.
      Across two videos, Sebban will describe his practice’s approach to hospitality design projects, and demonstrate how SketchUp’s software allowed him to create and visualise a 70s-themed space characterised by colourful gradients, curves and soft edges.
      Uchronia designed a 1970s themed bar for the Design Workshops video seriesSebban’s first workshop will focus on form, while the second will explore the theme of texture.
      Sebban’s Paris-based practice Uchronia, known for its bold application of shape, colour and reflective surfaces, was named emerging interior designer of the year at last year’s Dezeen Awards.

      Julien Sebban is an interior designer and the founder of UchroniaFollowing Sebban’s workshops, the series will continue with a two-part video workshop delivered by London-based interior designer Tola Ojuolape.
      Ojuolape, who is the founder of eponymous design practice Tola Ojuolape Studio, has designed a library in SketchUp especially for this project.
      She will deliver a two-part video workshop on the design, which is a proposal for Clerkenwell in London, an area known for design and makers.
      Ojuolape was shortlisted at last year’s Dezeen Awards for emerging interior designer of the year. Her practice is characterised by its use of natural materials and an emphasis on narrative.
      Interior designer Tola Ojuolape will also contribute to the Design Workshops seriesSketchUp is 3D design software used to model architectural and interior design projects, product designs, civil and mechanical engineering and more. It is owned by construction technology company Trimble.
      Dezeen collaborated with the brand last year on Climate Salon, a podcast series exploring the role that architects and designers can play in tackling climate change.
      Partnership content
      This video series was produced by Dezeen in partnership with SketchUp. Find out more about Dezeen partnership content here.

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      Gustaf Westman hosts Brooklyn pop-up modeled on “museum experience”

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      Swedish designer Gustaf Westman displayed existing and new objects including a colourful “puzzle” shelf during a three-day pop-up event in New York City.

      Named Gustaf Westman in New York, the show was located in an industrial storefront in Williamsburg and displayed the designer’s colourful objects and furniture on a meandering pink and orange pathway.
      Swedish designer Gustaf Westman held a New York City pop-up that gave nod to a museum experienceSmall descriptions were placed on the ground in front of the objects, as “a nod to a museum experience”, while printed pamphlets similar to museum guides were available to visitors.
      “The decision was very organic,” Westman told Dezeen. “When we came here, it was like a gallery space. It’s also a bit ironic, because I’ve only been doing this for four years and I’m not really ready to do a museum.”
      A brightly coloured pathway weaved through the space, which was divided by Westman’s screens and a larger display wall towards the front.

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      Among the new objects displayed was Puzzle Shelf, a shelving unit made of interlocking, stackable rectangular forms that conclude in puzzle-shaped feet. Westman noted that the shelf is 3D-printed and processed to resemble the material qualities of his other ceramic and metal objects.
      “I have an obsession with trying to test all different materials and trying to make them look the same,” said Westman. “Even if I work with wood or ceramics or glass, I want to keep the same finish, so [3D printing] is the next step.”
      The shelf was made in a host of bright colours such as red, pink, cream, and dark blue.
      Existing and new objects from the designer were displayedThe remaining space was filled with pedestals and shelving outfitted with existing glassware and objects such as a spiralling book stand and flower-shaped mirrors, along with furniture such as a coffee table that pinches wine glasses in place.
      The designer previously used nylon tights to create “terrazzo-like” tables and displayed his objects during Day Two from Stockholm Design Week 2024.
      The photography is by Kate Fatseas unless otherwise stated
      Gustaf Westman in New York was on show at 25 Fillmore Place, Brooklyn from 10-13 October. For more events, exhibitions and talks in architecture and design visit the Dezeen Events Guide.

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