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    Lina Stores South Kensington designed to “evoke the rhythm” of Italian espresso bars

    Interiors studio North End Design has applied the distinctive pistachio green synonymous with London’s popular Italian delicatessen and restaurant chain Lina Stores to the company’s newly opened branch in South Kensington.

    Positioned on the corner of Exhibition Road and Thurloe Square, the South Kensington restaurant is the seventh outpost of the well-known deli, which opened in Soho in 1944.
    The Lina Stores team worked with local studio North End Design to create an interior that balances the chain’s history with its most recent location.
    Lina Stores South Kensington includes the brand’s distinctive pistachio green”For South Kensington specifically, we added a more elevated look to mirror the neighbourhood,” Lina Stores told Dezeen.
    The brand’s “signature” pale green clads the facade, from which the deli’s recognisable stripy awning protrudes.

    Inside, the designers centred the restaurant around an open kitchen counter and coffee bar that wraps one side of the eatery and is topped with dark timber and stainless steel.
    The designers centred the restaurant around an open kitchen counterThis feature was chosen to reference the hustle and bustle found in traditional Roman and Milanese espresso bars.
    “These bars tend to be at the centre of their communities, which is very much how we see our restaurants and delicatessen when we open in a new neighbourhood,” explained the brand.
    Mismatched bentwood chairs provide seatingMismatched bentwood chairs and deep green banquettes were arranged around rectilinear tiled tables to create seating areas across the restaurant, which features a ceiling painted the same distinctive pistachio as the facade.
    Plump, leather-upholstered stools with fat cream-hued piping were also positioned at the bar – the focal point of the eatery where “everything happens”.
    Black and white photography and newspaper cuttings line the wallsThe team dressed the space with steel columns and beams – taking cues from classical Milanese colonnades – and painted them dark green “to evoke the rhythm of the architecture of Milan”, said Lina Stores.
    Chequerboard flooring features throughout the space, finished in a mixture of dark green mosaic and terrazzo tiles.
    Gloss lacquered sapele wall panelling matches the dark timber of the chairsGloss lacquered sapele wall panelling matches the dark timber of the dining chairs, while second-hand Tuscan credenzas and cabinets were sourced as waiter stations.
    “They were included for an elevated, vintage look,” Lina Stores said.
    Chequerboard flooring features throughout the spaceAcross the restaurant’s walls, a selection of vintage Italian black and white photography was combined with framed newspaper cuttings documenting Lina Stores’ history.
    “The collection and positioning of the artwork throughout the space has a spontaneous feel to it, like a wall at an old cafe that’s been added to organically over time,” explained the brand.

    Pirajean Lees draws on Japanese and Spanish design for Kioku restaurant and bar

    North End Design also added “opaline” globe lighting to the eatery, in a nod to the same bulbs illuminating Lina Stores’ original Brewer Street deli.
    “We take an individual approach to each one of our locations so no Lina Stores restaurant and delicatessen looks the same,” said the brand.
    “While all the restaurants are very much inspired by our first delicatessen, we see them as extensions and a way to further develop and bring in different elements of Italian design.”
    Globe lighting nods to the Brewer Street deliArchitecture studio Red Deer designed the first of the Lina Stores restaurants on Greek Street, minutes from the original deli. French designer Olivier Delannoy recently created the interiors for Daroco restaurant located just around the corner.
    The photography is by Adam Firman. 

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    Translucent tube forms Mexico City boba tea shop by Worc Studio

    Mexican studio Worc Studio has inserted a minimalist boba tea shop into a colonial building in Mexico City, where drinks are passed into a translucent vertical “tunnel”.

    Behind a traditional plaster facade with exposed stone trims, the compact Yoozoo shop in the Mexican capital’s Colonia Renacimiento neighbourhood emits a warm glow to entice passersby.
    Boba tea fans in Mexico City can order and collect the drinks inside a polycarbonate tube”The exterior facade is integrated into a typical colonial building that radiates a minimalist charm that takes customers into a captivating polycarbonate tunnel filled with soft light,” said Worc Studio.
    The shop solely sells variations of boba tea, or bubble tea – a drink that originated in Taiwan and is made of tea, milk, water, sugar and tapioca pearls.
    The customer area is wrapped by translucent material on three sidesTo order and receive their iced milky drinks, the only space that customers can access is a tiny double-height area directly in front of the door.

    “Occupying a small space, the design concept revolves around creating a journey for visitors, combining modern aesthetics with functionality,” said the studio.
    Drinks are ordered and collected through black-ringed portholesDown two steps from the street, they enter into a vertical polycarbonate “tunnel” that curves around to enclose the space on three sides.
    A circular light fixture above illuminates the translucent plastic and a singular blue-stone stool placed in the centre of the space.
    The Yoozoo logo is affixed to the polycarbonate shell”Here, customers are invited to interact with the space, not only selecting their preferred boba tea flavours, but also capturing moments of joy and excitement with friends or loved ones against the backdrop of the vibrant interior,” said Worc Studio.
    Two black-ringed portholes, one to the left and the other to the right, are used for placing and collecting drink orders.

    MYT+GLVDK creates industrial-style restaurant in Mexico City

    The Yoozoo team prepares the drinks in the U-shaped space around the central tunnel, where counters and shelves wrap the perimeter.
    “The station behind the tunnel is designed to be efficient, with a streamlined counter and all the kitchen equipment,” Worc Studio said.
    The tiny space is illuminated by a circular light fixture aboveTall windows in the street facade offer glimpses into the preparation zone, but digital menu boards and decorative wrought-iron railings obscure most of the view.
    This ironwork is repeated in a contemporary style for the window frame and mullions above the door, and the Yoozoo logo which appears both inside and out.
    The minimalist interior contrasts the building’s colonial-style exteriorMexico City has its fair share of fun and unusual dining and drinking spaces, including a recently completed fast-casual restaurant where exposed concrete walls are covered in wavy green metal mesh.
    The bubble tea concept also lends itself to playful interiors, as seen at a London cafe where tiers of cork seating are arranged around brightly coloured tables.
    The photography is courtesy of Worc.

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    Eight contemporary bathrooms coloured with soothing shades of green

    Glazed tiles, waxed concrete and tactile plaster are among the surface finishes used to create the earthy green bathrooms featured in our latest lookbook.

    The colour green is widely known to have a calming and comforting effect, thanks to its links to the natural world.
    This lends itself well to architects and designers designing for wellbeing, particularly in bathroom interiors where the goal is to relax and unwind.
    From a flat in the bustling streets of Paris to a secluded forest residence in rural Poland, the homes in this lookbook demonstrate how embracing green is an effective way to create a soothing atmosphere in any bathroom, no matter its style, size or setting.
    This is the latest in our lookbooks series, which provides visual inspiration from Dezeen’s archive. For more inspiration, see previous lookbooks featuring imperfect zellige tiles, blue interiors and living rooms with 1970s-style furnishings.

    Photo by Jim StephensonLondon apartment, UK, by Daab Design
    To create the impression of a leafy garden, Daab Design lined the walls of this bathroom in terracotta tiles with different shades of green glaze.
    The tiles reflect green-tinged light into the room, helping to create a natural, soothing atmosphere. It is finished with a large mirror, utilitarian fixtures and an opal light bulb.
    Find out more about this London apartment ›
    Photo by Tim Van De VeldeSL House, Belgium, by Ae-Architecten
    Ae-Architecten used fern green plaster to coat the walls and ceiling of the bathroom at SL House, which was recently renovated in Ghent.
    The natural shade of the walls is paired with a white terrazzo floor and sink, and warmed by brass fixtures and a wooden cupboard and window reveal.
    Find out more about SL House ›
    Photo by Martyna Rudnicka with styling by Anna SalakDom Las, Poland, by Studio Onu
    Long, narrow tiles in a range of green tones envelop this bathroom’s curving walls, lending a natural and organic aesthetic to the room.
    It was designed by Studio Onu as part of a forest house it created in Poland and is intended to echo the hues of the surrounding vegetation. The tiles are complemented by warm wooden details and a pale green cabinet.
    Find out more about  Dom Las ›
    Photo by French + TyeHouse Recast, UK, by Studio Ben Allen
    The bath, counters, washbasin and benches in the bathroom of this London house were all cast in cool green concrete, paired with industrial brass fixtures.
    Its natural hue helps soften the geometric forms of the room, which Studio Ben Allen has designed to have the feel of a hammam.
    Find out more about House Recast ›
    Photo by Piet-Albert GoethalsBelgian apartment, Belgium, by Carmine Van Der Linden and Thomas Geldof
    This guest bathroom is located in an apartment in Belgium and enclosed with deep seaweed-coloured walls that nod to its calming, coastal setting.
    It is accessed through a green wood-lined door and teamed with a statement Gris Violet marble basin that adds to the natural look of the space.
    Find out more about this Belgian apartment ›
    Photo is by Denilson Machado of MCA EstúdioHygge Studio, Brazil, by Melina Romano
    Architect Melina Romano created an earthy aesthetic for the bathroom of Hygge Studio by combining a terracotta-coloured vanity unit and matching floor tiles with forest green walls.
    Completing the room is a rounded mirror, planting and black and copper fixtures.
    Find out more about Hygge Studio ›
    Photo by Zac and ZacEdinburgh apartment, UK, by Luke and Joanne McClelland
    The garish 1970s-style turquoise interior of this bathroom was swapped for a soothing, natural material palette during a renovation by architects Luke and Joanne McClelland.
    Deep green tiles clad the bathtub and lower half of the walls, paired with wooden details including a mid-century vanity unit.
    Find out more about this Edinburgh apartment ›
    Photo by Ercole SalinaroParis apartment, France, by Pierre-Louis Gerlier Architecte
    Waxed concrete with a green hue covers the walls of this curved shower room in Paris.
    It was designed by Pierre-Louis Gerlier Architecte to create a feeling of intimacy and forms part of a wider flat renovation intended to offer a simple hotel-like aesthetic.
    Find out more about this Paris apartment ›
    This is the latest in our lookbooks series, which provides visual inspiration from Dezeen’s archive. For more inspiration, see previous lookbooks featuring imperfect zellige tiles, blue interiors and living rooms with 1970s-style furnishings.

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    BIG opens Los Angeles office in renovated 1920s building

    Danish architecture studio BIG has opened an office in Santa Monica in a renovated 1928 Spanish revival building designed by iconic Los Angeles architect Paul R Williams.

    The 1928 building was refurbished by the team, many of whom will be joining the freshly minted BIG Los Angeles team – recruited both from the New York office and from the local “talent pool”.
    BIG has opened an office in a 1928 Paul R Williams building in Santa MonicaBIG, the architecture studio established by Danish architect Bjarke Ingels, will be anchored in the Californian city by partner Leon Rost.
    For the renovation, the studio kept many of the original Spanish revival details of the original structure including the expressive reliefs on the facade.
    Some of the plaster detailing was kept, but the office largely has an unfinished lookSome of the interior plasterwork was maintained as well. The primary second-floor workspace was opened up, and much of the walls were peeled back to reveal the wooden structure and enhanced mechanical system.

    Unfinished concrete columns are located in th middle of the space, with thick wooden rafters intersected by skylights.
    The office layout is open, with large spanning desks and folded Roulade chairs by KiBiSi, which Ingels is also a partner of.
    The office will help expand the studio’s West Coast presenceAccording to Rost, the studio plans to continue to update the space with samples of technology such as solar panels from the studio’s local projects, many of which are in late states. These projects include Claremont McKenna College Robert Day Sciences Center.
    “We’ve also designed an interior layout that preserves the original interior plasterwork from 1928 and intentionally chose a location that is close to public transport,” Rost told Dezeen.
    “As a Japanese Californian I am excited to root BIG on the Pacific Coast. In the city of storytelling, big dreams and a pioneer spirit, I am certain LA will be a fertile frontier for continued experimentation. You could say BIG – though born in Copenhagen – has always been an Angeleno at heart.”

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    The office is the studio’s second in the United States, after its New York office opened in 2010.
    The studio has a significant presence on the West Coast, and is currently in the process of completing a large mix-used development on an industrial site in Downtown Los Angeles and is working with British studio Heatherwick on a Google headquarters in the San Francisco Bay area.
    The studio will be under the direction of partner Leon RostBIG New York partner Kai-Uwe Bergmann told Dezeen that the move has come from the “considerable” amount of West Coast work the studio has had since opening in the United States.
    “Having also once called Los Angeles home – I attended UCLA in the 1990s – I am super excited to bring ‘Scand-American’ thinking to our future work within the Pacific Rim region,” said Bergmann.
    Other significant projects on the West Coast by BIG include the impressively massed Vancouver House skyscraper in Vancouver, Canada.
    The photography is by Pooya AleDavood.  

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    Works by Fernando Laposse and others showcased in beachside Mexican pavilion

    Works by Mexican designers Fernando Laposse and Claudina Flores were among those shown in a remote seaside house near Puerto Escondido, Mexico, during Mexico Design Fair.

    Dozens of works were placed throughout the house, called Casa Naila, which was designed by Mexican architect Alfonso Quiñones – who used techniques gleaned from his work with Japanese architect Tadao Ando on the nearby Casa Wabi arts centre.
    Mexico Design Fair took place in a seaside home made up of pavilions. Photo by Jaime NavarroCasa Naila’s concrete foundations, wooden structure and thatched walls and ceilings were at risk because of the erosion, so their was turned into a pavilion and used for years as a location for the invite-only fair.
    According to the fair, the purpose of the exhibition was to execute a “long-term vision that foresees better conditions for the design disciplines in the country through critical dialogue, production and quality exhibition contents”.
    Furniture was displayed throughout the house’s multiple structuresArranged throughout the different pavilions of Casa Naila were furniture and decor objects.

    As visitors entered the structure there was an arrangement of colourful stools by Oaxaca City-based designer Jaime Levin, with sculptural legs, woven nylon tops and multiple seats on some of the stools.
    Directly across, in the kitchen area, was an arrangement of glassware by Mexican company Xauixe – noted for its use of recycled glass in its products and recycled cooking oil used to heat its ovens.
    Glassware from Xauixe was featuredThe other furniture installations filled the ground and second levels of the other two pavilions.
    These included works by Mexico City and London-based designer Laposse, who uses materials like agave fibres to create material with applications for rural communities. His works included the small, white and “hairy” Pup bench and wall panels with marquetry made from corn husks.
    Laposse was named Designer of the Year award from the fair.

    The programming included a pyrotechnic installationArranged in tandem with Laposse’s pieces were intricately constructed cabinets by Guadalajara-based designer Claudina Flores, who recently featured in our round-up of design studios in Guadalajara.
    The show also included a colourful set of outdoor metal furniture by César Ponce and Carlos Torre Hütt, wooden chairs draped with plush leather cushions by Brooklyn studio Prime Project, as well as floor rugs by Indian firm Odabashian with designs by American designer Little Wing Lee and Argentinian Pilar Zeta.

    Ten noteworthy exhibitions from Design Week Mexico 2023

    On the beach was a spindly structure by artist and producer David Sánchez, which became a pyrotechnic installation at the end of the one-day showcase.
    Many of the guests and designers were housed in Hotel Escondido, an hour’s drive north from the fair’s location.
    Mexican designer Fernando Laposse showed his material experimentations and was awarded the Designer of the Year honour. Photo by Jaime NavarroSelect programming took place in the architecturally significant homes around Hotel Escondido – including the temple-like Casa Monte by Carlos Matos.
    At Casa Malandra, a beachside home designed by Taller Alberto Calleja, visitors were treated to traditional tamales made in a massive basalt oven designed by artist Julio Martinez Barnetche.
    A massive basalt oven was shown as part of the satellite programmingWhile the fair showcased a wide array of designers, some of the participants commented on the remoteness of the venues, and the invite-only status of the guests meant that the participants were limited but that the visitors did become tight-knit as the programming went on.
    Other small-format design fairs in Latin America included a showcase in a monument in Santo Domingo, Dominican Republic organised by Galerie Philia last year.
    Photography by Gerardo Maldonado unless otherwise stated. 
    Mexico Design Fair took place from 24 to 26 May in Puerto Escondido. For more fairs, exhibitions and talks in architecture and design visit the Dezeen Events Guide.

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    Crafting the Present reveals manufacturing techniques behind mid-century furniture classics

    The 3 Days of Design exhibition from Danish furniture brand Fredericia reveals how iconic designs by Hans J Wegner and Børge Mogensen have been subtly adapted in line with today’s standards.

    On show at the Fredericia headquarters in Copenhagen, Crafting the Present showcases the craft processes, tools and makers behind the brand’s furniture.
    Crafting the Present is on show for 3 Days of DesignCurated by designer Maria Bruun, the exhibition shows how designs including Wegner’s Ox Chair and Mogensen’s Spanish Chair have been carefully reworked in line with modern manufacturing technologies and environmental standards.
    Rasmus Graversen, CEO of Fredericia, believes it is important for design classics to move with the times.
    The exhibition reveals the processes behind designs including Hans J Wegner’s Ox Chair”We sometimes need to challenge the way we do things; something that was good 50 years ago isn’t necessarily good now,” he explained during a tour of the show.

    “If you don’t have a culture of craft in your company, you might think the way that something was done in the past is the only right way.”
    Leather upholstery techniques are showcased in the exhibitionGraversen, who is also the grandson of brand founder Andreas Graversen, wanted the exhibition to highlight how this culture of craft is at the heart of Fredericia’s approach.
    The company has a specialist upholstery workshop in Svendborg, south Denmark, a facility that was established by Erik Jørgensen in 1954 and acquired by Fredericia in 2020.
    The show includes live demonstrations from makersThe exhibition includes live demonstrations from both the workshop production team and from artisans at leather manufacturer Tärnsjö Garveri.
    Crafting the Present also showcases the tools used in these production processes, alongside models that reveal how the furniture pieces are assembled.
    “We wanted to showcase the talented craftsmen and women whose hands touch every piece of furniture,” Bruun said.
    “Here, craft is not a marketing gimmick. It is not a layer added onto the furniture afterwards. It is the heritage of this company and has an influence on everything.”
    Tools are presented alongside models”All of the tools you see are used for real,” added Graversen. “Nothing was picked just because it’s pretty.”
    “These are all used in the actual production; it’s an extraordinary experience to see what happens.”
    Rasmus Graversen, CEO of Fredericia, wanted to celebrate the brand’s culture of craftTextile curtains suspended from the ceiling provide a scenography that divides the space into different sections.
    Metal trolleys create multi-level displays, while larger models are raised up on trestles.
    The Maria Bruun-designed Pioneer stool provides seatingThe Pioneer, a design developed by Bruun for Fredericia in 2023, is also featured.
    Dotted through, the stool provides seating so that visitors can spend time watching the artisans at work.
    Crafting the Present is on show for of 3 Days of Design, which takes place in Copenhagen from 12 to 14 June. For more events, exhibitions and talks in architecture and design visit Dezeen Events Guide.

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    Teki Design creates Kyoto cafe as hub to “learn about the future of coffee”

    2050 Coffee is a minimalist self-service coffee shop in Kyoto designed to raise awareness about sustainability issues surrounding the future of the drink.

    According to architecture and interiors firm Teki Design, the coffee shop aims to interrogate “the 2050 coffee problem” – the fact that there could be a global scarcity of coffee the year 2050.
    Teki Design created the interiors for 2050 Coffee in Kyoto”Climate change might lead to a decrease in areas suitable for coffee cultivation,” Teki Design founder Tatsuya Nishinaga told Dezeen.
    “The current practice of enjoying the drink at coffee shops may become more of a luxury,” added the designer.
    The cafe features self-service machinesIn response, Teki Design wanted to create a stripped-back interior for the cafe, where customers come and “learn about the future of coffee”.

    2050 Coffee is spread over two open-plan levels and features large rectilinear windows on its facade, which reveal a monochrome interior.
    Polycarbonate counters display the machinesInside, smooth grey walls create a backdrop for curved and illuminated counters made from corrugated polycarbonate sheets, chosen for their “inexpensive and familiar” qualities.
    “While this material is often used for shed roofs due to its low cost and accessibility, it reflects light beautifully,” said Tatsuya.
    A small seating area features at one end of the ground floorThe counters display brightly lit self-service screens connected to sleek silver taps that produce five types of “sustainable” drip coffee in around 10 seconds.
    Polycarbonate was also applied to the cafe entrance to create a large, rounded sign emblazoned with the 2050 Coffee logo, which acts as a beacon when seen from afar.
    Upstairs, shelves display various coffee paraphernaliaA small seating area at one end of the ground floor was formed from understated black benches.
    Upstairs, more dark-hued seating was arranged next to a series of low-lit, chunky frame-shaped shelves displaying various coffee paraphernalia.
    The shelves are reflected in floor-to-ceiling mirrors, selected to add to the coffee shop’s futuristic feel.

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    As well as a cafe, 2050 Coffee is used as a space for various pop-up events that investigate coffee and sustainability.
    Tatsuya warned that despite these issues, drinking coffee is becoming more popular worldwide, adding to the problem.
    “As coffee consumption increases, particularly in Asian countries where tea has been the traditional choice, the balance between demand and supply may become disrupted,” he explained.
    “Creating a place where people can first learn and then think together is what we consider our approach to problem-solving.”
    2050 Coffee is positioned on a Kyoto street cornerPreviously completed coffee shops in Japan include a Tokyo cafe in a former warehouse and another in Kyoto clad in rapidly oxidised copper.
    The photography is by Kenta Hasegawa. 

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    Pirajean Lees draws on Japanese and Spanish design for Kioku restaurant and bar

    Studio Pirajean Lees paired oxblood tiles with intricate wooden joinery at the Kioku sushi restaurant and sake bar, within central London’s OWO hotel, to reference the head chef ‘s travels.

    Kioku consists of a bar on the ground floor and a restaurant on the top floor of the hotel within the Grade II*-listed Old War Office on Whitehall, which once housed the British government’s military departments.
    Pirajean Lees created Kioku, meaning “memory” in Japanese, to capture sushi master Endo Kazutoshi’s recollections of living and working in Japan and Spain.
    Kioku bar is located on the ground floor of The OWOLocated on the ground floor of the hotel, the single-room bar is accessed via a door framed with smooth timber joinery informed by the traditional Japanese carpentry technique Sashimono.
    Guests are greeted by a bespoke oak reception desk featuring embroidered floral textiles and mesh detailing as well as a light-controlled sake cellar clad with patchwork cork panels.

    All of Kioku’s furniture was custom-made by Pirajean Lees, explained studio co-founder James Lees.
    The bar features a light-controlled sake cellar”We share a passion for storytelling and an obsession with details, from the way your hand touches the backrest of a chair, to the height of the table,” said the designer.
    “From the outset, we knew that the level of attention to detail in the interior had to match that found in the food being served.”
    Japanese records can be played on a bespoke turntableThe bar’s floor plan was subtly stepped to provide “elevated views” for each of its intimate seating areas, rather than relegate guests to hidden corners of the room, said Lees.
    A wide selection of sake is served at an oversized and curved central bar designed with knobbly timber cladding.
    Kioku restaurant is located on the hotel’s rooftopHandcrafted tiles and a gridded carpet finished in oxblood red were used to create the flooring, while deep red dado and natural clay walls also nod to the space’s Spanish influence.
    In one corner, a bespoke turntable is positioned for guests to play a selection of Japanese records from Endo’s personal collection.
    Bow details were carved into the dining chairsThe Kioku restaurant is contained within a long room on the north side of the hotel’s rooftop, with panoramic views of central London. Entered through timber double doors, the eatery features similar design accents to the bar.
    Wooden frames and boxy mirrored “portals” were used to delineate spaces within the main dining area, which includes L-shaped banquettes and oak dining chairs upholstered with Japanese embroidered silk.
    The chef’s table was positioned opposite the open kitchenBow details were carved into the chairs to emulate the seating at Endo’s favourite hotel in the city of Yokohama. Subtle versions of the bow motif are echoed downstairs on the bar’s wooden tables.
    Pirajean Lees constructed a private dining room with a chef’s table at one end of the restaurant, built above an intimate outdoor cigar terrace that overlooks The OWO’s central courtyard.
    Panoramic views of central London can be seen from the main terraceEncased by a curved glass roof, the extension was positioned opposite the open kitchen to allow guests to watch their dishes being prepared. Retractable mesh screens were also fitted for privacy.
    The main terrace includes timber dining tables and chairs with Mediterranean-style terracotta and mustard upholstery surrounded by lush plants.

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    At the end of the terrace, a historic turret overlooking St James’ Park and Horse Guards Parade features another eight-seat private dining room with soft linen curtains and an oak table illuminated by an oversized rice paper pendant light.
    Pirajean Lees chose a striking yellow rug for the circular floor to reference the sun, while the round ceiling was hand-painted with an inky indigo mural by British artist Tess Newall in an ode to the contrasting moon – recognisable motifs found in Japanese mythology.
    A historic turret houses another private dining space”We design to create emotional spaces grounded in their story, rather than interiors purely driven by aesthetics,” reflected studio co-founder Clémence Pirajean.
    Founded in 2017 by Pirajean and Lees, the studio has applied its eclectic style to various other London projects – from the “timeless” interiors of music venue Koko’s members’ club to a Mayfair restaurant with an Arts and Crafts-style design.
    The photography is by Polly Tootal.

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