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      A-nrd brings “beachfront feel” to restaurant in London's Soho

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      London design office A-nrd has used a palette of neutral and natural materials to give this restaurant in Soho a laidback atmosphere reminiscent of an Australian beach club.

      Milk Beach Soho is the brainchild of Sydney-born restaurateur Elliot Milne, who wanted to create an all-day eatery and night-time hotspot influenced by some of Australia’s casual dining venues.
      A-nrd has designed London’s Milk Beach Soho restaurantThe restaurant, which can seat 150 people, is located within the Ilona Rose House development in central London and occupies what was previously an empty shell and core unit.
      A-nrd set out to design a transportive space for the eatery that replicates the feeling of coastal hospitality in Sydney’s Milk Beach neighbourhood without feeling alienating in its urban setting.
      The eatery features natural materials like wood and rattan”We chose a natural, neutral palette to give the restaurant that beachfront feel,” said Alessio Nardi, who runs the studio together with Lukas Persakovas.

      “We wanted to avoid any direct nautical motifs or tacky references to the seaside,” he told Dezeen. “Our design is intentionally quite minimal and plays with textures and subtle colours instead of using obvious motifs like ropes or model boats.”
      Bamboo pendant lights by Lion Iron hang from the ceilingThe bright and airy space is grounded by a polished Palladiana terrazzo floor that was laid in situ, with large chunks of tonal marble set into a base of sand-coloured cement to create the effect of walking on a beach.
      Walls treated with stucco and limewash bring warmth to the spacious interior, as well as creating a sense of consistency throughout the dining area and the adjacent bar.
      The bar area is backed by glossy white tilesArt deco buildings found in Sydney and the surrounding area informed some of the shapes used in the restaurant, including a curved nine-metre-long bar and the stuccoed wall that separates it from the main space.
      The bar’s backsplash is formed from glossy off-white tiles that nod to the facade of the Sydney Opera House. The tiles alternate between a plain and relief pattern, adding texture and visual interest to the space.

      A-nrd looks to Mexico to craft interiors of Kol restaurant in London

      The ceiling above the bar was lowered and clad in oak slats to create a cosier atmosphere, helped by flush art deco-style lights.
      A-nrd designed much of the furniture for the restaurant, including sofas, banquettes and tables with soft shapes that extend the art deco influence.
      Other bespoke designs used in the space include the two-metre-wide pendant lights that were crafted from bamboo by British metalworker David Barker’s company Lion Iron.
      Sandy-hued Palladiana terrazzo covers the floorThe use of natural materials also extends to the restaurant’s seating, made from timber and rattan or woven leather. The tables feature solid travertine tops and sculptural oak legs.
      Wall lights made from Japanese paper by artist Celine Wright and an Abaca fibre pendant from Pinch provide warm, diffused illumination within the dining area.
      Travertine was used to form tables throughout the restaurantThe layout of the space takes advantage of the building’s large lightwell, which floods the interior with natural light and provides views to the exterior.
      The restaurant is designed as an indoor-outdoor experience, making the most of a large courtyard area with seating for 65 guests.
      Art deco-style sconces bring a warm glow to the interiorAlessio Nardi founded A-nrd in 2015 and was joined in 2018 by long-term friend and collaborator Lukas Persakovas.
      A-nrd’s previous work includes the interior of London restaurant Kol, which aims to capture an authentic sense of Mexico through its material palette and furnishings.
      The photography is by Charlie McKay.

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      Cruciform cabinet anchors The Loma Residence by Esrawe Studio

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      An oak “skin” wraps the interior of living spaces at this apartment in Mexico City, renovated by locally based Esrawe Studio.

      The two-bedroom Loma Residence in the neighbourhood of Lomas de Chapultepec faces sunset views over the forest, so Esrawe Studio reconfigured the layout to optimise this orientation.
      The Loma Residence was reconfigured so that living spaces could enjoy west-facing vistas and lightWalls and partitions were removed to create a more open living and dining space, where low furniture is arranged so as not to obstruct the vista or prevent the golden-hour light from reaching far into the apartment.
      To deal with a column and create separation from the rest of the apartment in a single gesture, the studio wrapped the structural element in oak and extended low consoles from both sides — forming a cross shape.
      Oak panels wrap a structural column and extend out to form low consoles”Its sculptural expression triggers the operative relationship of the space, defining the leading gesture of the project, and becoming the element that houses books, vinyl records, and a space for a turntable,” said Esrawe Studio, which was founded by Héctor Esrawe.

      Storage cabinets at the same height are continued along a nearby wall, forming part of a much larger expanse of millwork that extends to the ceiling and wraps around the living room.
      A granite island sits in the centre of the minimalist kitchen”The oak wood skin that runs through the space embraces the perimeter of the apartment,” the studio said. “This same skin integrates all doors and entrances to the service areas, creating a visual, warm, and tactile continuity that travels all the way to the master bedroom.”
      The kitchen can also be hidden from the living area by sliding partitions in the same material.

      Chloé Mason Gray utilises “masculine” elements for Mexico City renovation

      When open, these operable panels sit flush within the millwork, which curves in on both sides to also conceal the refrigerator and the access to the pantry, linen closet and wine cellar.
      In the centre of the kitchen sits a green-toned granite island that incorporates four gas burners, and the sink faces a long window that frames the verdant landscape.
      Oak wraps the perimeter of the apartment and continues into the bedroomsSurfaces that aren’t oak are marble, to “provide the space with a sober and contemporary atmosphere” according to the design team.
      The exception is the guest bathroom, which is lined in green quartizite and features a sculptural Tikal marble washbasin designed by EWE Studio — founded by Esrawe with gallerist and curator Age Salajõe, and designer Manuel Bañó to promote Mexico’s craft heritage.
      EWE Studio designed a sculptural Tikal marble washbasin for the guest bathroomEsrawe Studio was named Interiors Studio of the Year at the 2020 Dezeen Awards, and operates from a converted dancehall with an “honest industrial aesthetic” in the Mexican capital.
      The studio’s completed interior projects have ranged from a glossy bar at the city’s Auditorio Nacional to a restaurant informed by Samurai armour and Kanji characters.
      The photography is by Fabián Martinez.
      Project credits:
      Interior design and furniture: Esrawe StudioCreative direction: Héctor EsraweDesign team: Ángel Campos, Javier García-Rivera, Raúl Araiza, Jair Rocha, Viviana Contreras.Visualizations: Madián Alvarado

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      Ten homes with space-saving pocket doors that disappear into the walls

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      Our latest lookbook explores homes where pocket doors slide into gaps within the walls, as a way of saving space or giving a more open feel to an interior.

      A pocket door is a specific type of sliding door designed to slot into a wall cavity. This means that when the door is open, it is completely hidden from view.
      For homes where an open-plan layout is desirable but not practical, pocket doors offer a viable alternative. When open they are almost invisible, allowing adjacent rooms to feel more connected.
      Pocket doors can also be used for rooms where there isn’t enough space for a door to open outwards, or for locations where it makes sense for the door to integrate into surrounding joinery.
      Read on to see 10 different examples, in homes that include a courtyard house in Arizona and a renovated 1920s apartment in New York.

      This is the latest piece in our lookbook series, which provides visual inspiration from Dezeen’s archive. Other recent editions showcase cabins with cosy interiors and homes that make the most of narrow spaces.

      St John Street, UK, by Emil Eve Architects
      Pocket doors slot in behind bookcases in the entrance lobby of this converted loft apartment in London.
      Emil Eve Architects designed various oak joinery elements to divide up the interior of the former industrial space. Pocket doors are made from the same wood, so they feel integrated.
      Behind the doors are two bedroom spaces and a bathroom.
      Find out more about St John Street ›

      Riverside Apartment, USA, by Format Architecture Office
      In this 1920s apartment in New York’s Upper West Side, recently renovated by Format Architecture Office, a pocket door separates the main lounge and dining room from an adjacent study.
      This means that, when the study is not required as a quiet workspace, it can become an extension of the day-to-day living space.
      The door sits within a deep frame made from Anigre wood – an African hardwood commonly used for furniture and cabinetry – which matches the design of the kitchen entrance opposite.
      Find out more about Riverside Apartment ›

      Logan Certified, USA, by Moss
      This converted bodega in Chicago serves as the home and workplace of Matt Nardella, founder of architecture and design firm Moss, and his wife and colleague Laura Cripe.
      The couple’s bedroom is located behind an oak-panelled wall. By installing a pocket door made from the same material, they have made the entrance feel more discrete.
      Find out more about Logan Certified ›

      Apartment in Föhr, Germany, by Karin Matz and Francesco Di Gregorio
      Pocket doors lead through to cabin-style bedrooms in this converted attic apartment on the island of Föhr, designed by architects Francesco Di Gregorio and Karin Matz.
      The doors are made from transluscent polycarbonate, giving them a soft glow that contrasts with the vivid blue-green colour of the walls.
      Find out more about Apartment in Föhr ›

      A Gabled Roof in Kawagoe, Japan, by Tailored Design Lab
      A popular use of pocket doors is to make a patio deck feel like a continuation of the indoor living space, as Tailored Design Lab did at this family house in Saitama Prefecture.
      The project features a three-panel pocket door system, allowing a four-metre-wide window to slot into a cavity that is significantly smaller.
      Find out more about A Gabled Roof in Kawagoe ›

      O-asis, USA, by The Ranch Mine
      This home for a musician in Arizona features a series of four glazed pocket doors that allow a combined living room, kitchen and piano room to be completely opened up to the elements.
      Two of the doors connect the room with a secluded courtyard filled with desert plants, while the other two lead out to a sheltered terrace overlooking a swimming pool at the rear.
      All four doors are full-height, making them feel more like moving walls.
      Find out more about O-asis ›

      Bank Street Apartment, USA, by MKCA
      An unusually shaped pocket door was required for this renovation of an apartment in New York’s West Village, by Michael K Chen Architecture (MKCA).
      The works included adding a continuous storage unit along one wall, extending from the lounge and kitchen into a small  home-office slotted in the corner.
      The pocket door slots around this unit, thanks to a rectangular cutaway in one corner, meaning one of the owners could work from home without being disturbed by their partner.
      Find out more about Bank Street Apartment ›

      Writer’s Studio, USA, by Eric J Smith
      Using a pocket door as a main entrance is less common but not impossible, as proved by this writing studio at the Connecticut home of poet John Barr.
      The glass pocket door is set behind a stone facade, protected by a sliding panel made of distressed oak. It aligns with the owner’s desk, allowing the breeze to easily flow through.
      Find out more about Writer’s Studio ›

      Hipped House, UK, by Oliver Leech Architects
      The dining room of this family home in Surrey is previously separate from the kitchen and living space.
      In order to create more spacious, open living spaces, Oliver Leech Architects replaced the old door with a much larger opening. A pair of pocket doors mean it the room can still be closed up if required.
      Find out more about Hipped House ›

      Yurikago House, Spain, by Mas-aqui
      Pocket doors are a favourable solution for en-suite bathrooms, where a standard door might get in the way of a basin, toilet or shower.
      In this house in Barcelona, the pocket door extends all the way up to the ceiling to enhance the sense of spaciousness when it is open.
      Find out more about Yurikago House ›

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      FOG Architecture transforms Beijing courtyard house into fragrance store

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      Chinese studio FOG Architecture has turned a courtyard house in Beijing into a flagship store for fragrance brand ToSummer with exposed wooden roof trusses and columns.

      Located within a 500-square-meter Siheyuan complex, the store occupies  a 280-year-old courtyard house that are common in the region.
      The store is located at a restored courtyard house in BeijingFOG Architecture renovated the building to reveal its original architecture, which features triangle-shaped timber roof trusses and series of wooden columns.
      Layers of decorations added on the structure over the years as well as some of the interior walls were removed to expose the core wooden structure of the building as well as to create an open view of the space.
      The studio exposed the wooden roof trusses and columns of the original building”We ‘skimmed’ the building to expose its ‘skeleton’,” said the studio. The resultant ‘column field’ became the visual centre of gravity of the space as well as what defines its outline.”

      “One of the challenges of the project had to do with the building’s old and new functions – more specifically, how to transform this venerable courtyard which has stood for nearly 300 years as a private residence into a commercial space that is neighbourly, communal, and all-inclusive,” it continued.
      Product display areas are arranged around the courtyardsGlass windows were installed at the storefront, inviting visitors on the street to observe the complex layout of the old courtyard house, while glass walls were used to divide the space.
      Product display areas were arranged around three courtyards of various sizes at the ground level of the complex, each connected by a bridging hallway, which the studio described as “symbol of graduating from the past to the present”.

      FOG Architecture creates kinetic display for Super Seed’s Hangzhou store

      On the first floor,  FOG Architecture remodelled the roof space to create a lounge area overlooking the building’s roofs.
      These roofs were restored with the same grey brick tiles from the original building layered in the same density.
      Grey brick tiles from the original building are restoredA rain chain was hung from the roof connecting to a hundred-year-old well of the site. The well-preserved brickwork of the well echoes the delicate crafts of the roof tiles.
      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. Other recent retail project from the studio include Super Seed’s Hangzhou store featuring kinetic display.
      The photography is by InSpace Architectural Photography.
      Project credits:
      Design team: Zou Dejing, Wu Leilei, Wang Shengqi, Tang Mo, Lei Ronghua, Jiang Lu, Huang Yingzi, Zhuang Shaokai, Sun Yuan, Zhang Xinyue, Chen Yixuan, Zheng Yining, Tao Xinwei, Cao Xiaomao, Hou Shaokai, Xiong Aijie, Khoon Choi (client representative), Zhan Di, Zheng YuProject management: Shen Qianshi (client representative)Lighting Design: Zhang Xu, Liben DesignStructural engineering Consultant: Tao Xinwei, Wang HaiboConstruction drawing: BS DesignContractor: Youlong Jinsheng

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      Citrons et Huîtres oyster bar creates impression of “diving into an aquarium”

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      French interior designer Marion Mailaender has completed a seafood bar in Paris named Citrons et Huîtres, which features oyster-shaped door handles and a stainless steel counter informed by fishmongers.

      Mailaender, who specialises in creating spaces “with a great sense of humour”, designed the bar to resemble an elevated market stall, where guests can dine inside or take away platters of oysters and shellfish.
      Citrons et Huîtres is an oyster bar with coral-coloured stoolsCitrons et Huîtres has a raw steel facade informed by the storefronts of local fishmongers, which have floor-to-ceiling windows that open onto the streets of Paris.
      Guests enter the bar through a door with a bronze handle shaped like an oyster shell, while a matching neon sign is fixed on the facade above the bar’s name.
      The bar has door handles shaped like oyster shellsInside, the space has a vaulted ceiling that reaches more than four and a half metres in height, which is painted blue together with the walls to create the impression of “diving into an amazing aquarium”, the owners said.

      The walls are decorated with prints by Mailaender’s husband, the artist Thomas Mailaender, who used a cyanotype printing process dating back to 1842 to produce ethereal blue photographs of coastal scenes.
      An oyster-shaped neon sign decorates the facadeCountertops are rendered in stainless steel and finished with a “pearly sheen”, while coral-coloured stools line the bar.
      The bar serves local French oysters from Brittany, presented on stainless steel trays that complement the interior.
      “Like a market stall with its stainless steel seafood counter, Citrons et Huîtres invites guests to savour the most incredible oysters while sipping on a glass of white,” the bar’s owners explained.
      Walls and ceilings are painted in a moody shade of blueThe name Citrons et Huîtres was chosen to reference a still-life by French Impressionist painter Pierre-Auguste Renoir, who once had his studio in the same building that now houses the oyster bar.
      “At the height of his glory in 1900, Renoir created Citrons et Huîtres, a piece of art that celebrates the most beautiful shellfish, classified as a national heritage of French art,” said the owners.
      The bar serves local French oysters and mussels from BrittanyOther oyster bars with interiors informed by the food on offer include Vancouver’s ShuckShuck, which is traversed by a curving concrete counter, and Watchman’s in Atlanta with its “spare nautical” interiors.
      The photography is by Thomas Tissandier.

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      Golem creates “pleasure-driven” pink interior for Superzoom gallery

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      Bubblegum-pink walls, floors and furniture create unconventional spaces for displaying art at this gallery in Paris designed by local studio Golem.

      Headed by architect and artist Ariel Claudet, the practice was invited to design the interior for the Superzoom art gallery, which is located in the historic Le Marais district.
      Superzoom gallery in Paris features bubblegum-pink interiorsThe gallery comprises three spaces arranged in an unusual order, with the gallery director’s office at the entrance, a white-cube gallery space in the centre and an accessible storage space at the rear.
      “We flipped upside-down the classic and elitist sequence of an art gallery, offering visitors a new pleasure-driven experience and the gallery managers three spatial tools for a large range of curatorial approaches,” explained Claudet.
      Pink is Superzoom’s signature colourSuperzoom’s signature colour pink was used as the basis for the design, reflecting the vibrancy of the local nightlife and techno scene where the gallery mingles with artists and collectors, according to Claudet.

      An integrated sound system hooked up to a vinyl record player provides a soundtrack of electronic music to enhance this connection.
      The “pink den” contains a built-in bench for visitors and a synthetic grassBy placing the director’s bright-pink office at the front, Golem aimed to create an entrance that is warmer and more inviting than a typical white gallery space.
      The “pink den” contains a built-in bench for visitors and a fake grass carpet that contributes to the warm, tonal aesthetic.
      The integrated sound system is hooked up to a record playerVisitors can continue through into a large and versatile white-walled gallery. This display area remains connected to the main spatial concept thanks to the pink openings on either side.
      The final space within the gallery is a storage area with walls painted the same shade of lively pink. In a conventional gallery setting, this space would be hidden away. But here, it is open and accessible to visitors.

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      Each of the spaces in Superzoom’s gallery can be used for exhibiting work, either independently or together.
      For example, Golem suggested the white cube could be used for a solo show while other artists’ work is presented in the director’s office and storage space.
      A white-walled gallery provides more space for exhibiting artAll of the furniture and the pink wall separating the white cube from the director’s office are mobile and can be removed to create a larger space for exhibitions or parties.
      Golem designed the baby pink table featured in the director’s office as an emblem of the gallery that can be taken to art fairs or used for client dinners.
      The pink office table can be removed and brought to art fairsClaudet founded Golem in 2021 after working as an architect for practices including Rem Koolhaas’s Rotterdam-based firm OMA.
      Other all-pink interiors published on Dezeen include a fur-covered Balenciaga store in London and the Minimal Fantasy holiday apartment in Madrid.
      The photography is by Cyrille Lallement.

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      Karimoku opens Kyoto showroom informed by traditional houses and temple gardens

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      Designer Keiji Ashizawa has created the interior of Japanese furniture brand Karimoku’s second showroom, which features a combination of its own wooden furniture and pieces by local artists and artisans.

      Set in a three-storey building, the brand describes Karimoku Commons Kyoto as a “hybrid space”, which will function as a showroom and also house office spaces for employees.
      The space is located inside a former machiya – a traditional Japanese wooden townhouse – in Kyoto, a city known for its temples, Shinto shrines and gardens.
      The showroom is located in a Kyoto townhouseAshizawa, who has worked with Karimoku for years and also designed its first showroom in Tokyo, looked to the history of both the city and the building when designing the interior.
      “I really wanted to use the language of the townhouse and also took inspiration from Kyoto gardens,” Ashizawa told Dezeen.

      For the showroom’s ground floor area, he drew on the doma areas in traditional Japanese homes, which had bare dirt floors and functioned as a bridge between the indoors and the outdoors.
      It features wood furniture and wood panelling by KarimokuHere, Ashizawa placed furniture in light-coloured wood, including chairs by British architect Norman Foster and pieces by Danish studio Norm Architects and Ashizawa himself.
      The floor is grey concrete, which was matched by pale-grey plaster walls and a ceiling in the same colour.
      Art and ceramics by Japanese artists decorate the spaceWooden slats, of a kind traditionally used in Kyoto homes and stores to let light into buildings while maintaining privacy, cover parts of the glazing at the front of the room.
      Light wooden panelling by Karimoku hides built-in storage spaces and functions as a shelf.
      The first floor has a darker colour paletteOn the first floor, Ashizawa chose to use a darker colour palette, with furniture pieces in smoked oak wood and flooring and wall panels in dark wood.
      “When you visit a tourism house or a temple in Kyoto, the old wood, like on the temple floors, is a very dark colour,” he said. “I thought such a colour had to be the key colour [for the project].”
      The layout of this area also drew on the walkways and paths of Kyoto’s temple gardens.
      “It’s more of a guide to how to articulate the space,” Ashizawa explained. “We can think of the furniture as an art piece or a stone – it’s a kind of installation.”
      A wall alcove functions as a tokonoma display spaceThe top floor of Karimoku Commons Kyoto will function as a “library space” and showcase the latest collections and collaborations from the contemporary Case Study, Karimoku New Standard, MAS and Ishinomaki Laboratory brands.
      Throughout the showroom, earthy ceramics and rough-hewn sculptures by Japanese artists were used as decoration, which add to the organic feel brought by the wood.

      Keiji Ashizawa draws on “whiteness of tofu” for tactile Saga Hirakawaya restaurant

      Pieces by ceramics brand Nota Shop in the nearby Shiga prefecture and vases by Kyoto artist Ai Ono were among the objects chosen for the space by stylist Yumi Nakata, who worked with Ashizawa on the project.
      These were placed on tables and shelves as well as in wall recesses informed by traditional Japanese tokonoma alcoves, where homeowners would display artistic objects.
      Keiji Ashizawa designed the interior of the showroom”There are so many places in which to show something,” Ashizawa said of Karimoku Commons Kyoto.
      “In a traditional Japanese house, there are many spaces like this, showing paintings, ceramics or flowers, which I think is one of the beauties of the culture of the Japanese house. In many ways, we tried to make such a space.”
      The top floor displays a variety of furniture piecesKarimoku, which is Japan’s largest wooden furniture brand, started out making traditional Japanese furniture.
      It now also works with a number of designers on the more contemporary sub-brands Case Study, Karimoku New Standard, MAS and Ishinomaki Laboratory, which are the four brands that will be sold in the Karimoku Commons Kyoto showroom.
      The Kyoto space is Karimoku’s second showroom after TokyoAshikawa hopes the space will help to promote a modern design aesthetic.
      “Karimoku is trying to promote modern furniture in modern life,” he said. “I need to explain about the Japanese living space situation – for example, in 1960, sixty years ago, we didn’t have much furniture in the living space.”
      “And then the modern living space came to Japan and people started buying their tables, chairs and even the sofa; it’s quite new, so people don’t necessarily understand how to use a sofa,” he added.
      “Japanese living spaces can be too messy, so it’s quite nice to show them like this.”
      Previous projects by Ashizawa include a curve-shaped tofu restaurant and a Blue Bottle Coffee shop in Kobe. Karimoku recently collaborated with Foster on a collection of furniture used in the architect’s Foster Retreat in Martha’s Vineyard.
      The photography is by Tomooki Kengaku.

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      Sculptural rattan installation meanders through Thai art gallery by Enter Projects Asia

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      Architecture studio Enter Projects Asia has completed a private gallery for a collector in Chiang Mai, Thailand, featuring an undulating rattan structure designed by an algorithm that weaves its way in and out of the building.

      The 2,000-square-metre gallery complex comprises gardens, water features and a series of pavilions for displaying the owner’s collection of silverware, fine china and porcelain, including what is reportedly the largest collection of Wedgwood porcelain in Southeast Asia.
      A rattan installation weaves throughout the galleryEnter Projects Asia, which is based on the Thai island of Phuket, developed a holistic proposal for the project that spanned everything from spatial planning to lighting and furniture, with the fluid rattan structures providing a consistent element throughout the scheme.
      The aim was to create a less “clinical, antiseptic” interpretation of a traditional gallery, based on the studio’s research into parametric design and dynamic forms, Enter Projects Asia director Patrick Keane explained.
      The overhead rattan structure drops down to form several pods”We sought to create an immersive experience, giving the space a warmth and depth uncharacteristic of conventional art galleries,” he said.

      The gallery features two wings arranged on either side of a central entrance. Each wing contains an exhibition space, with a private dining area also accommodated in the larger of the two volumes.
      The gallery complex also includes gardensThe rattan installation begins at the entrance and traces an overhead route through the building, seamlessly transitioning between inside and outside.
      At several points, the suspended structure drops down to create bulbous open-sided pods, incorporating shelves for displaying artworks and objects.
      The rattan structure weaves in and out of the buildingThe installation’s complex form was generated using generative design software and is intended to simulate the movement of clouds and steam.
      Its shape seems to change constantly when viewed from different perspectives, adding visual dynamism to the interior.

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      Lighting integrated within the overhead structure creates a warm glow both during the day and night, while concealed lights illuminate the display areas.
      The three rattan pods – measuring five, four and three-and-a-half metres in height respectively – were fabricated in a factory during the coronavirus lockdowns before being transported to the site and assembled.
      Lighting was incorporated into the rattan shapes to create a warm glowEnter Projects Asia regularly works with rattan palm, which is a naturally abundant resource in the region. Previously, the studio produced a similarly sculptural wickerwork installation for an office and factory building in Waregem, Belgium.
      During the pandemic, the practice also launched an initiative called Project Rattan that focuses on creating bespoke rattan furniture and lighting using local craft skills.
      The rattan structure creates a cohesive scheme throughout the galleryAccording to Keane, the fast-growing palm species are well suited to use in interior design, offering a sustainable alternative to conventional building materials.
      “It is not hard to be sustainable in construction if we adapt to our environment,” he said. “Why would we use synthetic, toxic plastics when we have all the noble materials we need at our fingertips?”
      The bulbous shapes were created with parametric design softwareKeane founded Enter Projects in 2005 after completing his studies in Australia and the USA. Since relocating to Asia, the firm’s projects aim to combine a focus on innovation with a strong sustainable agenda.
      Previously, a rattan studio the practice designed for yoga brand Vikasa was named leisure and wellness interior project of the year at the 2020 Dezeen Awards.
      The photography is by William Barrington-Binns.

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