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      Timber Trade Federation exhibits six “conversation pieces” made from responsibly sourced timber

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      Dezeen promotion: the UK Timber Trade Federation is showcasing the winning entries of its Conversations about Climate Change design competition via a virtual exhibition and event series.The competition, which received more than 100 responses from around the world, called on entrants to create an installation that would provoke discussions about global warming while showcasing the environmental benefits of responsibly sourced, tropical hardwoods.

      Top image: Joseph Pipal’s Carbon Print is one of the winning projects. Above: The Extraction pillar is by Julia and Julian Kashdan-Brown
      “Responsibly forested timber is an essential part of the climate change solution; however, tropical forests have too often been undervalued and their forest land cleared for other uses,” said David Hopkins, CEO of the Timber Trade Federation (TTF).
      “Our competition asked architects and designers to respond to tropical timber, think about the materials they usually work with and consider how the role of materials specified is vital for implementing change.”

      Tree Whisperer are sound sculptures by Sheryl Ang and Yuta Nakayama

      Selected by a panel of judges including Yinka Ilori and Julia Barfield of Marks Barfield Architects, the six winning “conversation pieces” are now on display at London’s Building Centre for the next three months (temporarily closed due to the lockdown restrictions) and via a virtual 360-degree tour.
      Among them are a series of sound sculptures by Singaporean designers Sheryl Ang and Yuta Nakayama, which are shaped like various tree species and emit different “heartbeats” that their particular response to climate stress.
      A simple teak column by UK-based Michael Westthorp shows today’s sea level as well as its projected rise by 2120, while Julia and Julian Kashdan-Brown took a pillar of sapele wood and drilled holes through its heart to visualise the impact of uncontrolled deforestation – “take too much, and the system will collapse”.

      High Tide by Michael Westthorp shows the effects of sea-level rise
      Meanwhile British furniture maker Joseph Pipal created a series of blocks reminiscent of gold bullion, made from meranti, sapele and iroko wood, each emblazoned with the amount of carbon they are able to sequester from the atmosphere and store.
      “I’ve been uplifted, as a maker, by the simple realisation that using sustainably sourced wood can help with the climate crisis,” he said.
      Design duo Jeremy Yu and Tomos Owen as well as architect Tom Wilson are also among the winners.

      The Carbon Print project shows the amount of carbon that different tree species can sequester and store
      All timber for the installations was sourced from countries that are currently working towards being licensed via the United Kingdom and European Union’s Forest Law Enforcement, Governance and Trade (FLEGT) initiative.
      This sees countries commit to a Voluntary Partnership Agreement (VPA) and an action plan for overhauling their legal, social, business and environmental infrastructure to combat illegal logging and timber trade as well as deforestation.
      “This landmark shift in governance and procurement means that FLEGT-licensed timber is safe, responsible and legal,” Hopkins said.

      Also among the winning projects was the Sapele Sound Pavilion by Jeremy Yu and Tomos Owen
      Alongside the exhibition, Hopkins will be speaking to Dezeen’s founder and editor-in-chief Marcus Fairs as part of a live-streamed interview that will delve deeper into the environmental benefits of responsibility sourced timber, and how the materials specified today can have a positive impact on the world’s forests and climate change.
      The talk is set to take place on Thursday 11 March at 3pm and will be broadcast exclusively on Dezeen.
      Explore the virtual exhibition and discover more about the six winning installations made from VPA tropical hardwoods on the Building Centre’s website.
      Partnership content
      This article was written by Dezeen for the Timber Trade Federation as part of a partnership. Find out more about Dezeen partnership content here.

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      Ministry of Design creates lush “banking conservatory” for Citibank Singapore

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      Offices and meeting rooms are nestled among tropical plants in this wealth management centre in Singapore by local studio Ministry of Design.Conceived as a “banking conservatory”, the verdant scheme won an international competition launched by Citibank Singapore last year that invited entrants to reimagine the conventional interiors often associated with financial institutions.

      Ministry of Design has created a conservatory within the Citi Wealth Hub
      The brief set out by Citibank was to create a wealth management centre dedicated to its high net-worth clients, over an area of 2,787 square metres across floors six to nine of an office building on Singapore’s Orchard Road.
      Across its four levels, the Citi Wealth Hub has more than 30 client advisory rooms alongside flexible office and event spaces, making it the bank’s largest wealth advisory hub in the world.

      Levels seven and eight are filled with sinuous brass planters

      The site is distinguished by its soaring atrium with tinted glass walls and skylights that create ideal conditions for growing tropical plants.
      In recognition of this, the studio proposed an office scheme based around a lush conservatory that would anchor the entire office.

      Seating alcoves are nestled into the greenery
      On floors seven and eight, a series of social spaces are nestled within the greenery, including a bar, observation deck, garden pods, banquette seating and a central garden lounge with a honed Grigio Carnico marble bar.
      “The choreographed verdant and lush greenery evokes an atmosphere where everything seems to flourish in a natural and sustainable manner – a nod to the ideals of wealth management,” said Ministry of Design’s (MOD) director of development Joy Chan Seah.

      Garden pods replace traditional meeting rooms
      “Although drawing from the virtues of biophilic design, the scheme aims to create a cultured conservatory and not a wild forest,” she added. “Introducing a measure of control and order amidst nature’s abundance, we created a series of carefully detailed planter box arrangements.”
      These sinuous, hairline brass containers are lit from below to signpost pathways and meeting spaces among the foliage.

      They are outfitted with TV screens and acoustic panels
      On the seventh floor, garden pods were installed as an alternative to traditional meeting rooms. These are lined with acoustic panels and equipped with curved TV screens, concealed power points and cables for connecting laptops.
      In collaboration with landscape architecture studio ICN Design, MOD carefully selected plants that would adapt easily to an air-conditioned environment, thrive even in the shade and create four distinct vertical layers to offer varied views at every level.

      The planters are lit from below to help signpost pathways
      For the tallest level, the designers selected betel nut feature palms, while elegant, feathery parlour palms sit below their crowns at the second level with bushy saplings and big-leafed arums in the foreground.
      Feathery Boston ferns, rosette-leafed bird’s nest ferns and money plants occupy the lowest level, fringed by jungle-floor plants that are spotlit at night.

      Marble planters decorate the eighth floor
      The eighth floor is dedicated to Citigold Private Clients, leading the design team to opt for more luxurious materials such as walnut and marble, while an observation deck offers aerial views of the conservatory on the level below.

      SelgasCano completes plant-filled co-working space inside Lisbon market hall for Second Home

      Since this floor is less open to natural daylight, the planting here is smaller in both the horizontal and vertical scale, with planters set between desk alcoves and pathways.

      Walnut wood lines the walls to create a high-end finish
      Floors six and nine were conceived as “backstage areas” offering office space for the bank’s 210 relationship managers.
      They hold a variety of hot desks, collaboration tables and a town hall for meetings.

      Collaborative tables are fringed in planters
      Large planters help create a calming work environment on these levels and are filled with shade-loving plants that, in the wild, would grow low on the rainforest floor.
      Throughout the office, the temperature of the lighting is programmed to mirror human’s natural circadian rhythm and the movement of the sun, changing from blue to reddish undertones over the course of the day.

      A marble reception centres the eighth floor
      To keep the plants healthy the project uses a hydroponic system, in which plants are held in place by absorbent granules instead of soil.
      Grow lights with special LED bulbs that mimic natural sunlight are integrated within the recessed architectural lighting.

      Integrated lighting follows humans’ circadian rhythm
      “We’ve had really good responses from Citibank and from their clients so far,” the studio said. “They’ve said this is unlike any other wealth management hub they have seen.”

      10 plant-covered buildings that point to a greener future

      Studies have shown that access to green spaces, or even pictures of nature, can benefit workers’ mental health and improve performance in the office.
      As a result, a plethora of plant-filled workplace interiors have sprung up over the past few years, including this co-working space in Lisbon with over 1,000 potted plants and trees, while tropical flora provides privacy for workers inside an office in Utrecht.
      Photography is by KHOOGJ.

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      Jean Verville Architecte inserts gridded steel lightwell into Montreal home

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      Canadian studio Jean Verville Architecte has created a theatrical interior inside a Montreal house by adding a large steel structure capped by a skylight that casts dramatic shadows.For the project, called MSO; Play/Pause, the studio completely reorganised the interior of the building and built a 12-metre-high steel lightwell in the centre of the three-storey house.

      Top image: the steel structure casts dramatic shadows. Above: it runs through the house
      The house belongs to a pair of actors, Sophie Cadieux and Mani Soleymanlou, so Jean Verville Architecte designed them a  home that could double as a performance venue.
      “We subtracted floor sections from the heart of the house to insert the steel structural installation, ” studio founder Jean Verville told Dezeen.
      “The rooms on the outskirts have been kept but redistributed to new versatile functions.”

      Light from the skylight is scattered across the ground-floor kitchen

      The steel installation measures five by five metres. A skylight caps the structure, turning it into a lightwell that casts theatrical shadows in the rooms.
      Its addition breaks up the shapes of the existing rooms, creating an interesting new layout for the owners as they go about their daily lives.

      The steel grids create decorative shadows
      As the structure unfolds over the three floors of the four-bedroom house, it creates what the studio describes as “pauses,” with functional spaces at the bottom of the building followed by living spaces and then bedrooms.
      “We start with the first two scenic pauses on the ground floor with the kitchen and the multifunction room,” Verville said.
      “Then the six scenic pauses of the living spaces and artistic creation to then end with the two scenic pauses of sleeping breaks. Each space has been designed to be versatile and re-modelable with a new function, nothing is permanent!”

      A greige hue was chosen to enhance the shadow play
      Metal grid screens and low walls were also added to the interior to create intriguing divisions between the spaces.
      The studio chose a monochrome greige colour for the interior to underline the shadows and light patterns created by the steel structure, and to work as a background for potential future theatre events in the house.

      Jean Verville Architecte creates “luminous” white triplex in Montreal

      “The great calm of monochrome greige and the changing and dancing light offer as much visual spectacle as inspiring spaces for theatrical rehearsal, and even soon the possibility of performance before a small audience,” Verville said.

      Jean Verville Architecte shot a series of playful images with the owners
      To capture the final result of the renovation, the studio shot a photo series of the MSO; Play/Pause space with photographer Felix Michaud that features the owners in different staged situations inside their home.
      Jean Verville Architecte recently finished another Montreal project, a white triplex adorned with gold windows. Previous projects on Dezeen include an electropop-informed installation created with students in Quebec City.
      Photography is by Studio Jean Verville Architects and Felix Michaud.

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      Beyond Space designs colourful office around reconfigurable grid system

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      Beyond Space has created a flexible office interior for a security company in Amsterdam using a colourful grid system that allows the user to change the layout when needed.Informed by an endless repeating grid system, the studio used a structure made from beams and columns to knit together two office floors.

      Top: office interior by Beyond Space. Above: white aluminium beams and columns run throughout the interior
      The rigid grid was constructed from aluminium to create a structural framework that gives the client the freedom to organise and reconfigure the space within it, by dismantling and moving walls as needed.
      “Should the nature or ambitions of the company change, the grid offers flexibility. Walls can easily be dismantled and rebuilt on another point in the grid,” Beyond Space said.

      Yellow-trimmed windows and doors frame private workspaces

      Multicoloured trimmed doors and windows create privacy for workspaces and contrast against the rigid white framework. The studio also hoped the colour would emphasise the flexibility of the space.
      “We wanted to put the emphasis on the fact that these doors and windows are infills in the grid and by making them a contrasting colour, the difference between the grid and the infills becomes clear,” Beyond Space cofounder Stijn de Weerd told Dezeen.

      Plants are encouraged to grow around and up the frame
      Painted concrete serves as a base for the office floor, while zoned areas and infill rooms were made from a wide range of materials including coloured MDF, corrugated sheets and fabrics.
      Carpets in meetings rooms and felt contouring against corrugated-metal walls add texture and softness to the otherwise rigid theme.

      Note Design Studio creates colourful interiors to “break the grid” of 1930s office building

      “The corrugated metal, coloured MDF, felt, solid surface and carpet were chosen to create a diverse palette of different colours and rich textures which don’t remind you of a typical office,” said de Weerd.
      Plants have been spread out throughout the space and add an organic feel to the aluminium grid.

      Glass partitions divide the spaces within the white frame
      A white perforated spiral staircase centres the space and links the two levels of the office.
      Pastel-hued furnishings provide a contrast against the white grid and fixtures, as the studio said it was important to maintain a balanced feel.
      “We wanted to combine the apparently opposite: strict but playful, cosy as well as radical,” said de Weerd.

      Colourful furnishings contrast with the starkness of the fixtures
      Beyond Space was launched in 2020 by Remi Versteeg and de Weerd, who had previously founded Space Encounters, and works across art, architecture and product design.
      Among the architects’ projects at Space Encounters are a tile-clad office building on stilts above a brick warehouse and also and office interior which uses soft partitions to divide space.
      Photography is by Lorenzo Zandri.
      Project credits:
      Project team: Remi Versteeg, Stijn de Weerd, Arnoud Stavenuiter, Menno Brouwer, Matilde ScaliContractor: Verwol, OpmeerPlants: Het Groenlab, AmsterdamContract furniture: Lensvelt Contract Furniture, BredaConsultant fire safety: DGMRStructural engineer: De Ingenieursgroep, Amsterdam

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      Over 40 per cent of BAME interior designers have faced racial discrimination, survey finds

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      Two out of five BAME interior designers have faced discrimination at work due to their ethnicity, according to a diversity survey by the British Institute of Interior Design.Conducted last year, BIID claims its Diversity in Interior Design survey is “the UK’s first-ever survey of diversity in interior design”.
      Forty-two per cent of the 109 respondents who identified as Asian, black, mixed or other said they had been a victim of discrimination in their profession or workplace because of their race or ethnicity.
      Just over 60 per cent also believe that their race or ethnicity has hindered their advancement in the industry.
      “It is clear that racism has been a factor that has held back the career progression of ethnic minority designers,” BIID chief operating office Katherine Elworthy told Dezeen.
      White designers disproportionately represented in senior positions
      The results found that 46 per cent of black, Asian and minority ethnic (BAME) interior designers are the only person of colour in their workplace.
      White designers, on the other hand, are disproportionally represented in leadership roles.
      Although they made up only 69 per cent of all 363 survey respondents, white designers accounted for 78 per cent of those in high-level positions.

      Fifteen per cent of all respondents have faced discrimination based on their ethnicity. This number increases to 42 per cent if only including responses from people who identify as Asian, black, mixed or other

      A total of 363 interior designers responded to the diversity survey. Overall, 37 per cent of respondents believed that they had been the victim of discrimination.
      Along with discrimination based on ethnicity the survey also identified that 18 per cent of designers believe they had been discriminated against because of their gender.
      The vast majority of these were women with 63 out of the 298 female respondents saying they had experienced discrimination.
      The survey also revealed that 10 per cent of respondents had been discriminated against because of their age.
      Issues start at university
      In addition to the survey, BIID analysed data from the Higher Education Statistics Agency (HESA) on how different minority groups were represented among interior design students and recent graduates over the last five years.
      This showed that while interior design students are more likely to be from BAME backgrounds than the average UK student, a quarter of them end up having to take on low-skilled, non-industry jobs after university compared to 19 per cent of white students.

      Of all survey respondents who were in senior positions, 78 per cent were white
      This is a higher percentage than the average BAME student who studied a different subject, which BIID concluded: “suggests there may be particular difficulties for ethnic minorities who have interior design degrees”.
      “We also know from government statistics there is a correlation between being a member of some ethnic minority groups and being in the bottom income quintiles,” Elworthy explained.
      “If unpaid internships are still one of the routes into the profession then this, of course, may disadvantage designers who come from lower-income households.”
      HESA data further showed that there is an “attainment gap” at university, with only 13 per cent of BAME students receiving a first-class degree compared to 28 per cent of white students.
      Problem requires a “multi-faceted” solution
      “Whilst we are encouraged by high numbers of students choosing to study interior design, we need to explore how we can support the career progression of those students from ethnic minorities who may not be getting the opportunities to progress once qualified,” Elworthy concluded.
      “We feel that a multi-faceted approach is the best way forward. Our recently formed Diversity and Inclusion Committee is looking at how we can help support change within design practices, including recruitment, internships and opportunities for promotion,” she added.

      “Conversations about diversity need to expand to celebrate the work of people of colour”

      “We are also looking at how we can work with partners in the wider industry, such as universities, colleges, trade shows, awards schemes, suppliers and other industry initiatives to make sure our industry is diverse and inclusive.”
      The survey, which received responses both from BIID members and non-members, was conducted anonymously. “This does mean that we were unable to verify the identity of respondents,” BIID said.
      “We must also emphasise that given that this survey was entirely voluntary and based on a small self-selecting sample size, it cannot necessarily be used to extrapolate for the entire UK interior design profession.”
      In a separate effort to increase the diversity of the interior design sector, Sophie Ashby and Alexandria Dauley set up the United in Design initiative earlier this year.
      The project outlines seven concrete steps that interior design studios can take to improve their diversity.

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      Ali Budd Interiors transforms Muskoka log cabin into art-filled cottage

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      Toronto studio Ali Budd Interiors has transformed a dated wooden log cabin into a comfortable Canadian holiday home, with a wood-lined sunroom, vintage rugs and art by Andy Warhol.The studio was asked to renovate the cottage in Muskoka, Ontario and turn it into a neutral but comfortable backdrop for its owners’ extensive art collection.
      “As the clients are big art collectors, we wanted to not only design the perfect space for the family to enjoy the surrounding nature, but create the perfect canvas to showcase their artwork,” founder Ali Budd told Dezeen.

      Top: monochrome furniture in the Great Room. Above: a crumpled newspaper artwork by Paul Rousso

      In each of the cottage’s rooms, fabrics designed to withstand an “indoor-outdoor” lifestyle are chosen for their practical but chic appearance.
      Mindful of Ontario’s extreme climate and the many visitors who are invited to enjoy a family’s second home, the studio made sure to choose materials that will endure considerable wear and tear.
      “While maintaining the charm of a cottage, we modernised the space by mixing textures, incorporating custom furniture designed by Ali Budd Interiors, and adding hints of black to give it that contemporary look,” explained Budd.

      Ali Budd Interiors chose materials for their ability to withstand wear and tear
      Ali Budd Interiors’ design choices balance this practical need with its clients’ love of both white interiors and natural wood.

      Mjölk Architekti updates Czech cottage with burnt-wood cladding and revamped interior

      In the cottage’s Great Room, the main living room, these design elements include neutral-coloured armchairs and a sofa by Ali Budd Interiors that have been fabricated by Cooper Brothers.

      Monochrome furniture surrounds a bespoke coffee table
      A pair of plush shearling ottomans from Luxe Pour Maison sits nearby, complemented by a bespoke Ali Budd white oak coffee table topped with a white Corian surface. A newspaper artwork by Paul Rousso adds colour to the room.
      The cottage also has a Muskoka room, a type of screened-in porch that acts as a sunroom. In this instance, it acts as an open-plan living room attached to the property’s dining area.

      Patterned Moroccan poufs add colour to The Muskoka Room
      The dining area is complete with a custom-made white Ali Budd dining table, and an iconic Campbell’s soup artwork by Andy Warhol. Black and white chairs from Restoration Hardware are positioned around the monochrome table.
      The Muskoka room’s panoramic windows give guests the feeling of being outside while they lounge on a custom curved grey sofa that hugs the room’s curved walls.
      “There is so much beauty outside this property, and we wanted to ensure that all of those elements shone through,” said Budd.
      Other interior highlights in the Muskoka room include a central round coffee table by Garcia Group, and vintage rugs and colourful Moroccan pous from Mellah Rugs.

      An iconic piece by Andy Warhol hangs in the dining room
      Throughout the house, colourful accents such as these poufs add bright texture to an otherwise white and minimal backdrop.
      “As we were working with a monochromatic palette, we were able to layer different finishes and textiles to create something part eclectic and part chic,” continued Budd.

      Porcelain countertops are seen throughout the sleek kitchen
      This monochrome theme is particularly emphasised in the black and white kitchen. Perhaps the most pared-back and modern of the cottage’s rooms, exposed natural beams are the kitchen’s only hint of the former log cabin.
      Durable porcelain forms the room’s countertops, and a Sonneman pendant light is suspended over the sleek kitchen island.

      An original artwork by Douglas Copeland fits between the staircase’s wooden beams
      More exposed beams above the cottage’s wooden staircase perfectly frame an original painting by Douglas Copeland, its bright colours offsetting the plain white walls on which it hangs.

      Derek Jarman’s Prospect Cottage saved by Art Fund campaign

      Upstairs in the main bedroom, a black woven bed from American brand CB2 continues the cottage’s overall monochrome theme, while wiggly Graffito-print cushions by Kelly Wearstler soften the room’s clean lines.

      Graffito-print cushions add pattern to an otherwise minimal bedroom
      A final standout feature is the cottage’s renovated powder room. Originally one of the most dated-looking parts of the property, Ali Budd Interiors redesigned the room with bespoke millwork and an elegant custom-made mirror.
      Ali Budd Interiors is a female-led Toronto-based firm founded in 2010.
      More cosy cottages include this off-grid cabin in upstate New York and another log cabin renovation for a lake house in Quebec.
      Photography is by Ali Budd Interiors.

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      Studio Tamat creates casual interiors for Rome restaurant Tre De Tutto

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      Studio Tamat hoped to create the feeling of a casual local bar with its design for Tre De Tutto, a restaurant in the south of Rome.Although the restaurant only recently opened, its interior is designed to feel lived in, with its simple tiled walls, humble furniture and peeling plaster.
      These are contrasted by bold contemporary details that include geometric lighting fixtures, a neon sign and a yellow suspended staircase.

      Details include arched windows, vintage metal chairs and geometric lighting

      Tre De Tutto is located in Garbatella, a neighbourhood with a distinctly 1920s character. The space was previously a bakery, but had been abandoned for some years.
      Studio Tamat’s design follows the concept proposed by restaurant owners, to create a space that takes inspiration from the local neighbourhood traditions and culture.

      Blue majolica tiles are contrasted by coral-coloured mortar
      “Owners Mirko Tommasi and Daniele Notte proposed revisited classics of Roman cuisine, taking inspiration from one of the most authentic neighbourhoods in Rome,” explained studio co-founder Matteo Soddu.
      “In the same way, our goal from the beginning was not to distort the pre-existing space, but to enhance it and at the same time, bond with its clientele,” he said.
      The neon sign offers the same message, reading “Quanto é Bella Garbatella”, which means “How beautiful Garbatella is”.

      A marbled bar counter is made from Liquid Cosmo, a surface by Diesel and IrisCeramica
      The restaurant is divided up into various rooms, with some at ground level and others set half a storey below.
      The triangular upper level consists of three rooms that are usually reserved for breakfast and aperitifs, including a bar and a lounge area. The lower level contains two dining rooms, along with the kitchen and storage areas.

      A coral-coloured “staircase tunnel” leads downstairs
      Both levels have a slightly different design character, with a colour palette designed in collaboration with consultant Sabina Guidotti.

      Spacon & X creates casual diner for Noma’s burger spinoff POPL

      Upstairs rooms have a bold colour palette, with blue majolica tiles set against contrasting mortar, plus a marbled bar counter in vivid shades of orange and purple, and three grand arched windows.

      Dining rooms feature Grid, a graphic wallpaper by Texturae
      A coral-coloured “staircase tunnel” leads downstairs, where rooms feature pale blue walls and wallpaper with cartoon-style graphics.
      The yellow staircase features on this level, connecting one of the dining rooms with the street.

      A suspended yellow staircase provides access to the street
      Humble finishes and timeless elements feature throughout, including a resin-topped concrete floor, vintage metal chairs, leather-like upholstered benches and large pot plants.
      “We left the rough walls, with the original layers of plaster, to dialogue with the contemporary design of the architectural elements that characterise the space, from the clean-cut counter that dominates the bar, to the exquisitely pop staircase of the restaurant,” said Soddu.

      Tre De Tutto is located in Garbatella, in the south of Rome
      Tre De Tutto’s menu matches its design, with a selection of drinks inspired by local history and “unpretentious” dishes that include pasta, panini and antipasti.
      Photography is by Seven H Zhang.

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      Snøhetta designs Tokyo restaurant with all-black interior and stage-like kitchen

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      Architecture firm Snøhetta has worked with Bronx-based cooking collective Ghetto Gastro to create a jet-black eatery in Tokyo that will house immersive dining experiences.Set above a convenience store in the city’s Harajuku neighbourhood, Burnside is a casual restaurant by day and a bar and lounge by night.

      Top image: floral sculptures by Makoto Azuma hang in the dining area. Above: the room is oriented around a central kitchen
      The space was designed with flexibility in mind, as it will host a rotating roster of chefs and be used for a wide variety of pop-ups and events. It comprises a 30-person dining room with an open kitchen, all decorated using a dark material palette with amber-coloured accents.
      The eatery, which marks Snøhetta’s first project opening in Tokyo, was designed for art and design collective En One Tokyo, with help from local construction partner Kooo Architects and Ghetto Gastro – an ensemble of chefs that specialises in immersive dining experiences.

      The kitchen is open to the eyes of the public

      “Using food to empower communities, Ghetto Gastro celebrates the Bronx as an inspiration and catalyst of global culture,” explained the practice. “Burnside builds upon this creative energy where the Bronx and Tokyo meet.”
      Black was chosen as the predominant colour, referencing the dark atmosphere of Tokyo’s izakaya bars and the characteristic finish of Shou Sugi Ban charred wood. At the same time, it represents Ghetto Gastro’s culinary style, which it describes as “Black Power Kitchen.”

      Steps lead up to the kitchen as if it were a stage
      Together, the team wanted to build a dining experience that combines the intimacy of a bar with the easy informality of convenience stores, whether New York’s bodegas or Japanese conbinis.
      Sound designer Devon Turnbull, who goes by Ojas, designed a bespoke sound system for the space while local flower artist Makoto Azuma created a series of floral sculptures that are displayed behind glass in the dining area.
      Guests arrive at the eatery via a staircase that takes them from the street to the second floor. Once inside, the eye is drawn towards the open kitchen by a curved amber-coloured light strip that runs along the ceiling.

      A long, black sharing table anchors the space
      The space is divided by two intersecting arches, delineating the dining area and kitchen while still allowing views across both spaces.
      A set of steps lead up into the open kitchen as if it were a stage, framed by curved walls that suggest the proscenium arch of a theatre. A central table in the kitchen is the focal point of the entire room, transforming the food preparation into a performance.

      The walls next to the kitchen are curved to suggest a proscenium arch
      A flexible kitchen layout was designed to adapt to the needs of a rotating roster of chefs. It can also be used as a space to dine and eat, or closed off to become a temporary gallery with the help of a curved, sliding partition hidden within the proscenium arch.

      New York bodegas inform interiors of Genuine Liquorette bar in London

      “The transition between day and night, cafe and lounge, is a driving theme for the interior design,” explained Snøhetta. “A dark material palette features amber-coloured accents that reflect the changing light throughout the day while highlighting more ornate design elements such as the floral sculptures designed by Makoto Azuma.”
      Custom-designed, family-style tables maximise the limited floor space and can be joined together or folded away to allow for a variety of layouts including a dance floor for late-night events.

      A curved, sliding partition can be used to divide the space
      Other dark restaurant interiors include central London’s Lucky Cat restaurant, where design studio AfroditiKrassa hoped to create a space that looks better in person than in pictures, and Shenzhen’s Voisin Organique restaurant, which Various Associates designed to resemble a gloomy valley.

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