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      Ten interiors with a natural and calming organic modern design

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      For our latest lookbook we’ve collected 10 projects that exemplify the organic modern design style, which combines minimalist interiors with natural textures and colours.

      Organic materials, a muted colour palette and details such as rustic accessories and plenty of green plants are among the things that characterise the organic modern trend.
      While the style has a similar look to pared-down minimalist and Japandi interiors, the focus in organic modern interiors is more on bringing earthy colours and natural materials into the home, as seen in the 10 examples below.
      This is the latest in our lookbooks series, which provides visual inspiration from Dezeen’s archive. For more inspiration see previous lookbooks showcasing relaxing hammocks, white bathrooms and colourful staircases.
      Photography is by Lorenzo Zandri and Christian BraileyMuswell Hill home, UK, by Architecture for London

      This energy-saving home in London’s Muswell Hill has an interior filled with natural materials.
      In the living room, wood was used for the ceiling, storage and furniture, and large plants – including a monstera deliciosa and a banana plant – add a touch of green. A colourful Isamu Noguchi paper lamp is a stylish modernist detail.
      Find out more about Muswell Hill home ›
      Photography is by Jonas Bjerre-Poulsen of Norm ArchitectsForest Retreat, Sweden, by Norm Architects
      Danish studio Norm Architects created a home fitting for its surroundings with Forest Retreat, a traditional timber cabin set within a pine forest in Sweden.
      In a new-built annex, a raised daybed-cum-window seat sits next to a wall of glazing. The organic modern interior features details such as sturdy linen fabrics and a rugged jute rug, while the colour palette was kept earthy and calming.
      Find out more about Forest Retreat ›
      Photography is by Rasmus HjortshøjVipp Pencil Case, Denmark, by Julie Cloos Mølsgaard
      The interior of the 90-square-metre Vipp Pencil Case hotel in Copenhagen has a pared-down feel to it, but its well-sourced accessories add interest.
      In the eating area, large rustic vases filled with dried branches decorate the windowsills, and a rough-hewn wood vessel sits on the floor. Rounded, organic shapes and woven baskets add a countryside feel to the modern space.
      Find out more about Vipp Pencil Case ›
      Photography is by Do SyBrown Box apartment, Vietnam, by Limdim House Studio
      Curving and arched walls give Brown Box apartment in Vietnam an unusual look. While the architecture is eye-catching, its colour and material palette was kept natural and subtle.
      Cream and brown hues were used for the whole flat, including in the bedroom. Here, furniture in organic materials such as wood and leather add textural interest, and sculptural lighting contrasts against the clean lines in the room.
      Find out more about Brown Box Apartment ›
      Photography is by Caitlin MillsOcean House, Australia, by Rob Mills
      Ocean House’s clean, contemporary concrete design is combined with the warmth of a beach house through its organic modern interior.
      “I don’t see the design as being stark,” architect Rob Mills said. “The interior is organic and tactile, and incorporates neutral fabrics.”
      This can be seen in the living room, where cosy rugs and wooden furniture in pale hues sit next to design classics like Eero Saarinen’s Tulip table.
      Find out more about Ocean House ›
      Photography is by Maarten WillemsteinAmsterdam dyke house, the Netherlands, by Studio Modijefsky
      Dutch firm Studio Modijefsky renovated this dijkhuis – a traditional Dutch dwelling set next to a dyke – to respect the 19th-century style building’s heritage but add modern touches.
      In one of the bedrooms, this has resulted in a modern interior that is heavy on organic materials such as line, jute and leather, with a monstera plant in the window adding a bit of nature.
      Find out more about Amsterdam dyke house ›
      Photography is by Brian Ferry20 Bond Street, US, by Home Studios
      Bespoke furniture and vintage finds were used for the interior of 20 Bond Street in New York, set in a building from 1925. Design firm Home Studios renovated the space to “marry contemporary and vintage influences.”
      To do so it created a peaceful modern organic design, as seen in the bedroom, above, and living room (top image.) Brown, tan and cream colours were used in the whole flat, with a material palette of wood and copper.
      Find out more about 20 Bond Street ›
      Photography is by Martino di Napoli RampollaVilla Medicea di Marignolle, Italy, by Frama
      The dramatic interior of this self-contained residence inside a Renaissance villa was created by Danish design brand Frama for filmmaker Albert Moya.
      With a darker colour palette than that which usually signifies organic modern interiors, it nonetheless showcases its mix of modernist design and natural materials well in this tranquil wood-clad bedroom.
      Find out more about Villa Medicea di Marignolle ›
      Photo is by AriakePorta Venezia apartment, Italy, by Ariake
      For this year’s Milan design week, Japanese brand Ariake created a show flat in the city’s Porta Venezia area.
      Its Cipango exhibition, on view in the space, showed designs by Japanese and European designers with a focus on natural colours. Quirky accessories such as Folkform’s Plissé lamp and dried flowers create a homely atmosphere.
      Find out more about Porta Venezia apartment ›
      Photography is by Prue RuscoeWoorak House, Australia, by CM Studio
      This holiday home in Sydney was designed to optimise the view of its green surroundings and is built as a sequence of pavilions.
      Materials used for the home include pale limestone, brushed oak wood and marble. Its main bedroom has an all-white interior and has been decorated with an orchid in a vase and a pendant lamp to add interest to the monochrome room.
      Find out more about Woorak House ›
      This is the latest in our series of lookbooks providing curated visual inspiration from Dezeen’s image archive. For more inspiration see previous lookbooks showcasing timber-clad bathrooms, light-filled glass extensions and exposed wooden floorboards.

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      Victorian balusters pattern surfaces at Aesop Yorkville store by Odami

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      The history of Toronto’s Yorkville neighbourhood informed this store for skincare brand Aesop, which local studio Odami has given ruby-toned walls and smooth beige counters.

      Odami, a design studio based several blocks west of the Aesop Yorkville shop, used features typical of the area as a starting point for elements of the design.
      Aesop’s third store in Toronto includes a “fragrance library” for testing the brand’s new aromas”The interior takes inspiration from the downtown area’s architectural and societal history – starting with the Victorian houses that populate the district, and the lanes and squares where communities have gathered over the decades,” said a statement from the brand.
      The profile of balusters found across nearby buildings and porches is translated as a closely repeated pattern that forms maple wainscoting around the interior.
      The profile of a Victorian baluster forms wainscoting around the storeWalls and ceiling are painted oxblood red, creating a dusky and intimate atmosphere inside the compact space.

      “The design is anchored by a sense of warmth, and sees traditional materials imagined anew,” said Aesop. “The geometry is akin to that of a bustling town square: a large and open space with smaller enclaves around its perimeter.”
      Walls, ceilings and furniture are coloured ruby red, while counters and sinks are beigeSeating and counters that are coloured to match the walls blend into the background, while units that have sinks for testing skin and hair products stand out in pale beige.
      The largest basin is positioned in the centre of the store, incorporating three faucets and doubling as a tea station.
      The wall colour creates an intimate atmosphere, while allowing the signature Aesop bottles to stand outA slender, metal light fixture is suspended horizontally above, directing light from a trio of tubes down onto the central counter.
      Three pale-toned cylinders set into the back wall form a “fragrance library” for the brand’s growing collection of aromas.

      MSDS Studio illuminates Aesop store in Toronto with collection of compact lamps

      Two tubes display the signature Aesop bottles, while the third has a clear front and acts as an infusion chamber for items of clothing.
      Odami was founded in 2017 by Spanish architect Aránzazu González Bernardo and Canadian designer Michael Fohring, and has completed several interiors in its base city.
      The central countertop includes a long sink and also doubles as a tea stationThey include the Sara restaurant, where a roughly plastered wall curves over the dining area, and a renovated 1980s apartment with a green-painted sunroom.
      This is the third Aesop location in Toronto, following a store designed by MSDS on Queen Street West, and another in the Downtown district.
      The history of the store’s Yorkville location provided references for its designThe brand regularly collaborates with local architects and designers on its store interiors around the world.
      Among the most recent are an outpost in Tokyo by Case-Real that features coarse plaster walls, and another in London by Al-Jawad Pike that’s filled with red sandstone from Scotland.
      The photography is by John Alunan

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      Ten bookshelf staircases that add clever storage to living spaces

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      A converted Belgian barn and a pine-lined house in Japan are among the residential interiors featured in our latest lookbook, which contains homes defined by staircases that incorporate bookshelves.

      Bookshelf staircases are a clever way to incorporate storage in, around and alongside stairs, which helps to save space within small dwellings.
      Architects and interior designers also use these two-in-one units to create striking sculptural statements and add distinctive character to a room.
      From a renovated east London home to a petite Barcelona apartment, here are 10 examples of residences that use bookshelf staircases to minimise clutter or add eclectic detail.
      This is the latest in our lookbooks series, which provides visual inspiration from Dezeen’s archive. For more inspiration see previous lookbooks showcasing homes with hammocks, white bathrooms and garden studios.

      Photo by Lorenzo ZandriFarleigh Road, UK, by Paolo Cossu Architects
      Local studio Paolo Cossu Architects added a double-width oak staircase to this east London home that also serves as a bookshelf and a place to sit and read or chat.
      The renovated house was designed in this way to connect its upper and lower ground floors, which were previously subdivided into two separate properties.
      “We wanted to create a cross-level multi-functional space, that would feel connected and form part of a larger permeable living space,” architect James Kitson told Dezeen.
      Find out more about Farleigh Road ›
      Photo courtesy of Andrea MoscaBookshelf House, France, by Andrea Mosca
      Stepped bookshelves become stair bannisters, room dividers and general storage at this renovated house just outside of Paris by architect Andrea Mosca.
      On the ground floor, statement pouf-like sofas frame the characterful wooden units that were designed to look like stacked boxes rather than flat shelves.
      Find out more about Bookshelf House ›
      Photo by Maria CeballosBarcelona apartment, Spain, by Eva Cotman
      A mezzanine guest room and storage area are accessed via a petite geometric staircase that doubles as a bookshelf in this Barcelona apartment renovated by architect Eva Cotman.
      Every surface was painted white in order to create a blank, airy canvas for the occupants, including the statement staircase as well as exposed brick walls and timber ceiling joists.
      “The heart of the house is around the library, which separates the dining room from the built-in closet and, at the same time, joins the kitchen, dining room and the living room,” explained Cotman.
      Find out more about this Barcelona apartment ›
      Photo is by Tamir AddadiLondon home, UK, by Tamir Addadi Architecture
      London studio Tamir Addadi Architecture converted a loft in the city’s Muswell Hill area to include steep white stairs that also serve as a cage-style bookshelf.
      The structure’s painted wooden panels are interspersed with shelving rails that create individual compartments for books, while the space is illuminated from above by a south-facing skylight.
      Find out more about this London home ›
      Photo is by Koen Van DammeConverted barn, Belgium, by Studio Farris Architects
      A Jenga-like workspace was formed from stacked timber beams in this converted barn in West Flanders, Belgium.
      As well as a mezzanine office, the chunky structure creates a compact but eye-catching staircase that doubles as bookshelves and plinths for ornamental objects.
      “The stacked beams become the library, bookshelves, storage room, and resting and reading area,” said Studio Farris founder Giuseppe Farris.
      Find out more about this converted barn ›
      Photo is by Ema PeterBerkley House, Canada, by RSAAW
      Canadian firm RSAAW connected the levels of Berkley House in Vancouver with a double-height wooden bookcase formed from rows of light timber boxes attached to a large staircase.
      The renovated mid-century house was transformed to include gallery-like details such as white-painted walls, and the studio also added large windows and skylights that brighten the interior space.
      Find out more about Berkley House ›
      Photo is courtesy of SchemaaParis apartment, France, by Schemaa
      Space was maximised in this small Parisian apartment through the placement of an alternating-tread staircase that also includes closed storage for books and other objects.
      French studio Schemaa created cupboards of different heights, concealed by doors measuring the same width as the stair treads, while the light-hued choice of wood gives the interior an airy feel.
      Find out more about this Paris apartment ›
      Photo is by Tom CroninRosa and John’s Home, UK, by Zminkowska De Boise Architects
      Named after its owners, Rosa and John’s Home is a renovated London flat where books can be stored on their sides under a squat staircase that connects the two halves of a split-level living room.
      Zminkowska De Boise Architects inserted nooks on either side of the stairs to form more structured spaces for reading or studying. The stairs themselves serve as an informal space to gather.
      Find out more about Rosa and John’s Home ›
      Photo is courtesy of Kazuya Morita Architecture StudioShelf-Pod, Japan, by Kazuya Morita Architecture Studio
      Kazuya Morita Architecture Studio built interlocking laminated pine boards that slot together to form latticed shelving units from the floor to the ceiling of this home in Osaka Prefecture, Japan.
      The boxy units are interrupted only by small staircases that provide staggered routes through the house’s different levels.
      Find out more about Shelf-Pod ›
      Photo is courtesy of Platform 5 ArchitectsBook Tower House, UK, by Platform 5 Architects
      Tall bookshelves fold around the oak staircase at Book Tower House, a north London home renovated and extended by Platform 5 Architects.
      Designed to house its owner’s extensive collection of books, the project includes a study space on the first floor that is reached via the staircase and cantilevers over the hallway below.
      Find out more about Book Tower House ›
      This is the latest in our series of lookbooks providing curated visual inspiration from Dezeen’s image archive. For more inspiration see previous lookbooks showcasing pink kitchens, timber-clad bathrooms and multi-generational homes.

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      Traditional Chinese roof tiles decorate the interior of Blue Bottle Coffee shop in Shanghai

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      Japanese studio Keiji Ashizawa Design has used traditional Chinese roof tiles as the key material at Blue Bottle Coffee’s latest shop in Shanghai to celebrate local culture.

      Set to open on Friday, the cafe is located on the first and second floors of a building connected to the Kerry Centre in downtown Shanghai, close to the over 1,000-year-old Jing’an Temple.
      The new Blue Bottle Coffee shop is located in downtown ShanghaiKeiji Ashizawa Design placed a total of 13,000 handmade brick tiles on the bar counter, stairwell wall and the lounge area of the cafe.
      This particular type of bricks, which have semi-circular edges, were made in Yixing, a nearby city that is known for its clayware manufacturing. A new smoking process was used for the surface of the tiles to increase their strength and create a subtle reflective effect.
      Bespoke handmade brick tiles were used to cover the bar counter”As Blue Bottle Coffee commits to create local communities around their cafes, we always determine the materials and design based on the local, both culture and history,” studio founder Keiji Ashizawa said.

      “Working on a project in mainland China as a Japanese architectural firm, I felt that there was an importance in considering the common aspects between the two cultures,” he added.
      “With that in mind, we looked through images I photographed and found an image of a roof I took from a restaurant in Chengdu, which inspired me to use roof tiles for the cafe.”
      The stairwell allows visitors to enjoy views of the coffee-making processA coffee bar that connects both floors is at the centre of the space, while seating and product displaying areas are arranged around it.
      According to Blue Bottle Coffee, this is to encourage customers to interact with the process of coffee making.
      An open lounge is on the second floor of the cafeThe stairwell is right next to the bar counter on the first floor so that when people walk up to the second floor, they are able to watch coffee being made at the bar area from different heights.
      An open lounge space at the second floor features a hanging paper light above a seating area with dark-brown furniture and leather cushions.

      Keiji Ashizawa designs Blue Bottle Coffee shop for “cave-like space” in Maebashi hotel

      Where the shop connects to the Kerry Centre, a series of semi-circular recessed seating areas have been carved out from the wall on both floors.
      The rounded shape of the seating areas not only responds to the roof tiles but also creates privacy for the customers dining in the cafe.
      Keiji Ashizawa Design used concrete in a variety of colours and textures all over the cafe, which has structural columns and slabs in raw concrete. Natural oak furniture was selected to add warmth to the interior.
      The seating areas are designed to reflect the shape of traditional Chinese roof tilesBlue Bottle Coffee was founded as a small roastery in Oakland, California, by James Freeman in 2002 and has since grown into a chain of cafes across the USA and Asia.
      This is the second Blue Bottle Coffee shop in mainland China. The first one was opened in February this year, designed by Schemata Architects, also in Shanghai.
      Previously, Keiji Ashizawa Design has designed three Blue Bottle Coffee shops in Japan.
      The photography is by Chen Hao.

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      Cocktail bar “suspended between sea and sky” draws upon nearby Mediterranean

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      Architect Gae Avitabile has designed the interior of Civico 29, a sea-informed cocktail bar in the coastal town of Sperlonga, Italy.

      Located halfway between Rome and Naples on Italy’s western coast, the bar features colours and materials informed by the nearby seafront, with blue motifs and wave-like forms dominating the space.
      Gae Avitabile designed Civico 29 to mimic the experience of being on a beachAvitabile transformed the oceanside building, which previously contained an ice cream parlour, into a bar that aims to recreate the sensory experience of being on a beach.
      “The space was used as a gelato ice cream parlour with simple, traditional interiors which were not evocative of the location,” Avitabile told Dezeen.
      “Not being able to work on spaces and volumes – both in physical terms due to the small size, and because of the limits imposed by the council – I changed my point of view and began to think in terms of a project which would find its own dimension in multi-sensoriality,” he continued.

      “For me, the sea is light and colour, sound, touch, taste and smell.”
      The space was transformed into blue-toned cocktail barThe project was heavily influenced by the local area and uses a minimal material palette.
      “The materials are unusual for the setting, and have been chosen to give life to my multi-sensory project,” Avitabile commented. “Despite this, the perception is that of strong links with the location.”
      An outdoor terrace has seating overlooking the seaVisitors enter through a wide opening that leads to the main space. The room contains a long bar with a wave-like form coated in a blue gradient that mirrors the view of the ocean outside.
      “The bar, its sinuous shape reminiscent of the movement of the waves, is an implicit reference to the sea and draws inspiration from the area’s great pieces of architecture,” said Avitabile.

      Red tones feature throughout Lofos cocktail bar in Greece

      A lamp by Munari inspired by fish traps is suspended over the counter, contained in a white metal mesh structure, while a layer of traditional European hollow bricks filled with white lime and covered with resin lines the floor.
      A white lamp and a blue mesh curtain feature in the spaceSurrounding the space is an aluminium mesh curtain created by Kriskadecor that lines two of the four walls, chosen by Avitabile due to its movement being reflective of coastal breezes.
      “[The curtain] moves with gusts of wind and creates an elegant sound reminiscent of a coastal breeze,” Avitabile commented.
      A small bathroom sits beside the main bar spaceTo the side of the main space is a small bathroom with wallpaper coated in exotic motifs. Large openings on the opposite side of the bar lead to an outdoor seating area overlooking the ocean.
      “I deliberately avoided indoor seating, partly due to the small area available, and partly because enjoying the panorama remains the linchpin of this project,” said Avitabile.
      Other cocktail bars featured on Dezeen include a Shanghai bar covered in over 1,000 insects by Atelier XY and a gender-neutral cocktail bar and salon in Kyiv designed by Balbek Bureau
      The photography is by Carlo Oriente.

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      Axel Arigato opens “upside-down” pop-up sneaker shop in Selfridges

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      Trainers injected with magnets climb the walls and polystyrene ceiling tiles line the floor of Axel Arigato’s “upside-down” office-themed sneaker pop-up in London’s Selfridges department store.

      Installed in Selfridge’s first-floor menswear department for 12 months, the topsy-turvy pop-up store is a departure from the stone displays and pared-back colour palette ordinarily associated with the Swedish streetwear label’s retail environments.
      The Axel Arigato shop-in-shop is located in SelfridgesInstead, the design team conceived the store as an upside-down office featuring all of the typical, run-of-the-mill materials and fixtures that you would expect to find in an office, such as ceiling tiles, strip lighting, corrugated metal, exposed wires, pipes and steel beams but all installed to create the impression of being upside down.
      Typical polystyrene grid ceiling tiles are installed across the floor, while shiny vinyl floor tiles are used on the ceiling.
      It was themed around an upside-down office interiorThe sneakers, which include the latest season and popular carry-over footwear silhouettes, are injected with magnets and stuck to the wall while customer’s receipts are dispensed from behind a set of elevator doors that open at the touch of a button.

      “The concept was to flip the script both physically and figuratively on what customers expect from a pop-up, turning all elements upside down through an industrial office lens in which the ceiling becomes the floor and vice versa,” said the brand, calling the pop-up its most “ambitious and boundary-pushing” to date.

      Bum-shaped sculptures feature in Axel Arigato’s brutalist Copenhagen flagship

      The endeavour was facilitated by British footwear retailer, Kurt Geiger, who provides the footwear offer for Selfridges.
      The store is a continuation of the brand’s co-founder and creative director Max Svärdh’s mission to disrupt the traditional retail module. A digitally native business, Axel Arigato began its life online in 2014, opening its first physical store in London’s Soho in 2016.
      Metal lines the walls of the shop-in-shopFrom the beginning, the brand elevated the status of its products to art by displaying them on plinths in the centre of the store like pieces of sculpture. The concept was in contrast to other sneaker brands at the time, which typically displayed as many shoes as possible across shop walls.
      The brand’s permanent stores are also distinguished by the use of monolithic blocks of stone. In Paris, goods are displayed on blocks of travertine, concrete in Copenhagen and terrazzo in London.
      The photography is courtesy of Axel Arigato.

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      Sam Jacob Studio adds glass-tube entrance to London's V&A museum

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      British architect Sam Jacob has used ribbed glass to create a contemporary entrance for London’s historic V&A museum and updated its bathrooms with a broken-ceramic cladding that feels “a little perverse”.

      The studio drew on the Victoria & Albert museum (V&A’s) collection for its designs, choosing glass for the lobby in a nod to the museum’s glass collection and crushed jasperware for the bathrooms.
      The lobby has glass tubes in three sizesThe entrance structure was designed in response to the existing proportions of the building and is formed of three bands of glass tubes, starting with 120-millimetre diameter tubes on the lower level that become thinner on the upper levels.
      Sam Jacob Studio wanted the design, which marks the entrance from Cromwell Road, to function as a modern response to the surrounding Grade I-listed museum building.
      It sits in front of a large arched window”The heights of the whole structure and the way it is split into three levels is a contemporary response to the historic fabric,” Jacob told Dezeen.

      “This helps the new elements resonate in a harmonious way even with a very different design sensibility,” he added.
      “Working with historic buildings is a great challenge and one that means it’s important to understand what is really there, and why it might be like that.”
      The contemporary lobby was designed as a response to the historic museumUsing glass for the lobby also helped create a more dramatic and dynamic effect at the entrance, while nodding to the large arched window that dominates the space.
      “The glazing for the entrance – especially the glass tubes – were a way to retain a sense of transparency at the entrance, but also to dramatise the way light is transmitted into the space,” Jacob said.
      Sam Jacob Studio designed the lobby for the Cromwell Road entrance”The effect of the tubes is to act like lenses, and the movement of people through the entrance becomes visually more animated, producing different effects as the daylight changes over time,” he added.
      “It’s also a response to the large arched window above, that has texture and colour to the glass, so that the whole interior elevation now acts in a similar way.”

      Sam Jacob Studio adds “ambiguity and mystery” to ArtReview events space

      “It’s glass used not so much for quality of transparency but for the dynamic effects of light passing through that it creates,” he added.
      Jacob also added sliding doors to the lobby and designed a collection of moveable stations that will be used for bag checks on entry.
      A welcome desk with mirrored backing sits in the lobbyAt the museum entrance, the studio added a welcome desk made from glass tubes with a mirrored backing that reflects the surroundings.
      As well as the lobby, the architect also updated the bathrooms. Here, Jacob used crushed jasperware waste material from the Stoke-on-Trent factory that makes the V&A’s Wedgwood porcelain collection.
      This was used to create colourful wall panels constructed by crushing 700 kilograms of blue, grey, pink and black ceramic waste.
      Terrazzo made from jasperware decorates the bathroom”Terrazzo is a material you often find in these kinds of spaces, so our intention was to introduce a really unusual material element by using the waste jasperware,” Jacob said.
      “It is a material that resonates with the history of the V&A, and with the history of British applied design and with a certain luxury,” he added.
      “Even in a fragmented state, jasperware colours are instantly recognisable. Using it in this smashed-up state, and making a feature of its brokenness, felt like a very modern take on those traditions.”
      Bathroom walls have life-sized digital printsThe design was also intended to make the museum’s visitors think about reuse and how we care for objects.
      “It also feels a little perverse – using broken ceramics in a museum where objects are usually incredibly carefully looked after,” Jacob said. “But a beautiful kind of perversion – all the coloured fragments make a speckled colour field to the walls that surround you.”
      “It’s an interesting experiment in the high concept reuse of waste material, about how we care for objects and the impact that the production of designed objects has on the world.”
      The V&A Museum is in a Grade I-listed buildingThe bathroom walls have been decorated with life-sized digital prints showcasing figures from V&A’s collection, as well as landscape scenery.
      For Jacob, designing for the V&A meant “working in the shadow of people” such as British designer William Morris, a history that made him think about what a similar design response might look like today.
      “We tried to channel a contemporary version of that same spirit of applied arts to help transform some of the most functional spaces of the museum into places of delight, places to interact with the collection in different ways, and make it a more accessible and engaging experience,” he said.
      The glass entrance lets light into the interiorOther recent projects by Sam Jacob Studio include an office, bar and events space for the ArtReview magazine in London and a neolithic shelter in Shenzhen port.
      The photography is by Timothy Soar.
      Project team:
      Architecture: Sam Jacob StudioLighting: Studio ZNAStructure: Price and MyersMain contractor: AlcemaSpecialist fabricator: MillimeterTerrazzo: DiespeckerQuantity surveyor: Currie BrownMechanical and electrical services (M&E): Harley Haddow / JRG Electrical

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      OEO Studio uses materials in a “playful way” for Designmuseum Denmark cafe and shop

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      Copenhagen-based OEO Studio has created a cafe and shop interior for Denmark’s Designmuseum using stone, steel and wood to honour architect Kaare Klint’s original design.

      OEO Studio worked with materials and colours that reference Klint’s design from the 1920s and added details such as custom-built cabinets to the shop and a “monolithic” steel serving counter to the cafe.
      OEO Studio created the interiors for the Designmuseum cafe, above, and museum shop, top imageThe interior design was part of a major two-year renovation of the Designmuseum, which showcases Danish design. It is located in a building from the 18th century that was renovated and adapted into a museum by Klint and architect Ivar Bentsen.
      While OEO Studio didn’t make any structural changes, the studio added some major interventions to the museum’s interior.
      Stone and wood were used throughout the interior”The large arched doors inside the museum have undergone a drastic change and have been covered in hot-rolled steel, present in the entrance way and in the museum cafe,” OEO Studio head of design and founding partner Thomas Lykke told Dezeen.

      “A huge monolithic serving counter made of steel and wood is the primary fixed piece in the cafe,” he added. “As for the museum shop, the major changes are custom-built cabinets filling out the arches in the walls.”
      A hot-rolled steel counter creates a monolithic effect in the cafeLykke and Anne-Marie Buemann, OEO Studio managing partner, designed the 240-square-metre cafe and lounge space and the 140 square-metre museum shop to be based on Klint’s simple, “ascetic” design.
      “We were inspired by Klint and his almost ascetic touch on design with his clean lines – subtle yet majestic at the same time,” Lykke explained.
      Kaare Klint paper lamps hang in the cafeAs well as the six-metre-long bespoke counter, made from oiled oak and hot-rolled steel, the studio also designed custom cafe tables, high tables and counter-style seating for the museum’s all-day eatery.
      The cafe also features a selection of chairs by well-known Danish architects and designers, such as Hans J Wegner and Arne Jacobsen, with the mostly wood and steel furniture contrasting against a grey stone floor made from original tiles that were reused.

      Frank Maali and Gemma Lalanda transform 1950s garage into steel-clad event space with a “sacral feeling”

      “We defined a material palette that complimented the building and the architecture,” Lykke said of the studio’s design.
      “Materials were also chosen for their durability and their ability to age beautifully,” he added.
      “A mix of hard materials, as well as more soft and warmer materials, were used, including steel, wood, leather, stone, and textiles. The materials have been used in a playful way – still not over-shining the architecture. ”
      The Designmuseum cafe can be accessed from the gardenIn the museum shop, OEO Studio reused glass cabinetry designed by Klint and added custom-built cabinets.
      Small islands display books and other museum items for sale, while the built-in wall cabinets showcase sculptures and other accessories.
      In both the cafe and the shop, OEO Studio used a colour palette designed to compliment the building itself.
      The Designmuseum shop features built-in cabinets”For the colour scheme our intention was to create a palette that naturally blended well with the original building and the materials used,” Lykke explained.
      “The stone tiles on the floor have a major presence in the museum – beautiful and rich,” he added.
      “The use of hot-rolled steel with its bluish tones creates a beautiful contrast to the tiles and the old plastered walls with their original colour. The special blue-grey paint was carefully created to complement the architecture and floors.”
      A pale-blue, beige and blue-grey colour palette contrasts against wooden furnitureThe studio also created a 35-metre boardroom for the Designmuseum, which can accommodate up to 10 people and features furniture that the studio designed for Stellar Works.
      All of the furniture was built by Danish makers from materials sourced locally.
      “Materials of high durability, quality and a design that allows for hard use over many years were important factors,” Lykke said.
      OEO Studio reused glass cabinets designed by KlintThe Designmuseum reopened during the annual Danish design festival 3 Days of Design, when it also unveiled a translucent pavilion designed by Henning Larsen in the garden outside of the museum.
      Homeware brand Vipp also showcased new architecture during the festival, with a renovation of a former garage.
      The photography is by Christian Hoyer.

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