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      Maximalism to make way for “quiet refinement” in 2024 say interior designers

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      Interior design in 2024 will have a focus on individualism and see a backlash to the rise in AI design while colours will be informed by global warming, interior designers across the globe told Dezeen.

      While the trend for locally sourced materials and sustainable biomaterials looks set to become more pronounced, designers also believe that interiors will move away from the earthy hues and soft shapes seen during the pandemic years.
      However, the maximalist trend predicted by many to take off in 2023 appears to have given way to a more individualist take on interiors, with a focus on simplicity recalling the designs of US fashion pioneer Halston.
      Studio Becky Carter designed the interior of Cecchi’s restaurant. Photo by Joseph Kramm”I’m seeing a growing interest in post-industrial aesthetic and quiet refinement,” said Becky Carter, founder of the eponymous US studio.
      “Maximalism now seems out of touch,” she added. “Even the womb-like softness of the 1970s inspiration we’ve seen so much of is starting to feel heavy and overdone.”

      “There’s a refreshing air to Halston-esque modernity: simple, unfussy materials, elegantly arranged, detailed, but without excess.”
      “We foresee a shift in direction”
      Yohei Terui and Hiromu Yuyama from Japanese studio I IN also believe we will see a move away from earthy hues in interiors.
      “Over the past couple of years, the theme has revolved around earthy colour and simplicity through the use of natural materials,” the duo told Dezeen.

      Dezeen readers name Casa Tres Árboles best home interior of 2023

      “However, we foresee a shift in direction, trending towards a more ‘decorative’ approach, in contrast to the previous style,” they added.
      “We believe that this shift is driven by the prevailing desire of self-expression and individuality in today’s culture.”
      New Delhi-based interior designer Iram Sultan echoed the preference for more individual designs, saying we will see: “Emotional design, personalized spaces, a fresh approach towards materials, finishes and textures, and interiors that are easy, warm, comfortable and sustainable.”
      Interiors to focus on “real places” rather than AI-generated designs
      The rise in artificial intelligence (AI) in 2022 and 2023 was also on people’s minds, with several designers mentioning a backlash against digital designs.
      “Memorable and customised spaces that are not Pinterest- and AI-generated will be preferable, as the race against interior design and AI technology grows,” said UK-based designer Tola Ojuolape.
      The Standard in Ibiza was designed by Oskar Kohnen. Photo by Salva LopezIn 2024, interior design will be more about creating tangible spaces, according to London-based Oskar Kohnen Studio.
      “We want to see less digital dream houses of pandemic years, and go back to real places,” studio founder Oskar Kohnen said. “Forward-thinking conceptual interiors that create long-term value rather than effects.”
      Julien Sebban of French studio Uchronia agreed, saying: “The biggest trend will be very textured materials, cosy and comforting such as shearling or thick wool. As people need an antidote to digital they need to feel the physical world.”
      2024 may see “resurgence of the arts and crafts style”
      When it comes to material trends for 2024, designers are choosing to work with natural and local materials.
      “For me, natural materials with a strong connection to their placement have a profound bond with today’s design,” said Pedro Ramírez de Aguilar, co-founder of Mexican studio RA!
      “I believe materials such as wood and natural plasters play a crucial role in creating a sense of grounding.”
      Spacon & X designed Noma spinoff POPL. Photo by Bjørn BertheussenDanish studio Spacon & X partner Malene Hvidt argued that the materials used also affect the colours chosen for interiors, saying: “We also try to use colours that emphasise the natural appearance of the material itself, such as treating wood with tinted linseed to preserve the pattern of the grain.”
      This sentiment was echoed by Tim Greer, director at Australian studio TZG. “I’m hoping that we will see more natural materials with fewer complex and unsustainable finishes,” he said.
      “I think the drive towards sustainability will see the use of more natural materials and a resurgence of the arts and crafts style,” Sultan added.
      “There is a genuine return to solid bold colours”
      The colours of our interiors next year will range from pale fresh hues, such as pistachio, to stronger shades.
      “Palette-wise, I feel there is a genuine return to solid bold colours – be it a punch of emerald green, mustard yellow or Yves Klein-blue to provoke the visual energy. The expression of materiality and tactility is also a key focus for my studio this coming year,” said Hong Kong designer André Fu.
      “Customers are thriving for experiences to express their own personality and values – this has led to a greater awareness for the role design plays in the realms of hospitality.”

      Interior design trends for 2023 reflect “anger in the world” and post-covid community focus

      “I’m loving seeing light, lemon-lime yellow being utilized. I also think pistachio has yet to peak,” said Carter, while Ojuolape believes in “rich, pigmented and plaster colours”.
      “The colour and material trends will be very warm colours and more specifically orange as we need joy and to warm things up,” said Sebban. “With global warming more important than ever, that will be the colour we get used to.”
      “Embrace a bold departure from the ordinary as the world adopts warm, earthy tones inspired by landscapes and eclectic hues drawn from various cultural expressions, all crafted with sustainably sourced materials,” added Nigeria-based designer Titi Ogufere.
      Biophilia will continue to “be a staple”
      The designers Dezeen spoke to all said they were taking the subject of sustainability seriously. There is a need to create “lasting design,” said US-based designer Giancarlo Valle.
      “Sustainability cannot be separated from the world of building,” he argued. “The most sustainable thing one can do as a designer is to create something that someone will not want to take down after a short period of time.”
      Nordic Knots in Stockholm has an interior by Studio Giancarlo Valle. Photo courtesy of Nordic KnotsSpacon & X’s Hvidt added that customers are also increasingly demanding when it comes to sustainability.
      “Sustainability is fast becoming a key consideration when it comes to interior design,” she said.
      “Studios such as ours are always looking for new ways to become increasingly responsible – this is also what clients are expecting as we collectively become more aware of our impact on the planet, especially for future generations.”
      This focus is seen in the use of plants and trees indoors as well as outdoors to create biophilic designs – interiors that are more connected to the natural environment.
      “Biophilia will continue to be a staple in the design aesthetic as well as beautiful, natural and healthy surface finishes,” said Ojuolape.
      “The biophilic movement will remain strong,” agreed Sultan.
      “In the future, ‘high-end’ may mean local artisan work” 
      Ogufere added that sustainable design will draw on local communities.
      “Sustainability takes a global stage, with collaborative projects empowering local communities and embracing circular design principles, reflecting a collective commitment to environmentally conscious practices worldwide,” she said.
      “Personally, I believe that sustainability is about building with a local hand, using local materials to create a profound sense of community and reduce carbon emissions,” agreed RA!’s Ramírez de Aguilar.
      “Architects are becoming more aware of their immediate context and are losing the fear of only using ‘high-end materials.’ In the near future, ‘high-end’ may mean local artisan work.”
      Uchronia believes we will see warm colours like in its Paris coffee shop. Photo by Félix Dol MaillotFinally, designers were also planning to include technology in their interiors next year.
      “Technology will be used to enhance the quality of living,” said Sultan.
      Terui and Yayama from I IN, who see textiles as a strong trend next year, said: “Collaboration between the interior design and fashion industries can contribute to the development of new technology which in turn allows innovative spaces to be created.”
      Fu believes this can also help make projects more sustainable, saying: “I think considerations for sustainability is an integral aspect of my design approach, it’s all an organic and subconscious act – from the selection of materials to the integration of technology into the design without undermining the overall experience in mind.”
      Dezeen In DepthIf you enjoy reading Dezeen’s interviews, opinions and features, subscribe to Dezeen In Depth. Sent on the last Friday of each month, this newsletter provides a single place to read about the design and architecture stories behind the headlines.

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      Method Architecture outfits its Houston office with vibrant mural

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      Texas studio Method Architecture has completed an office for itself in Houston with maximalist design, vibrant colours and a mural at its centre.

      The 8,612-square foot (800-square metre) studio was completed in 2023 with a reception area, open office plan, private and collaborative meeting spaces and staff lounges.
      Method Architecture has completed its self-designed studioLocated in the mixed-use East River development, designed by architecture studio Page, the office was designed to serve as an inspiration source for the studio’s clients.
      “Our approach was to pursue maximalism with the goal of creating an environment where our clients would feel safe expressing their bold and innovative ideas with us,” Ashley Bettcher, Research and Design Specialist with Method Architecture told Dezeen.
      The office was designed to serve as an inspiration source”Creativity has no limits and great design doesn’t necessarily need to cost more. Method’s new Houston office perfectly encapsulates that mantra.”

      The “ego-free” focus of the design is a nearly 50-foot multi-wall mural by local artist David Maldonado, known for creating nearly 20 pieces of public artwork throughout Houston.
      David Maldonado created a multi-wall mural for the studioWith pops of magenta, cobalt, and yellow, the mural features icons from the city and state like the skyline, a rocket for Johnson Space Center, a bluebonnet as the Texas state flower, and the neighbouring Buffalo Bayou.
      The artwork also slips in custom motifs representing the studio, such as Method’s rubber duck mascot.
      Light grey flower-like acoustic baffles hang from the ceiling”This feature piece of artwork helps set the tone for the remainder of the office including bold colors, geometric patterns and shapes and a secondary mural designed and installed by Maldanado featuring drip paint in mirroring colorways located at the back of the office,” the team said.
      The mural is complemented by a 3D-printed wall installation behind the reception desk composed of the studio’s signature “M” logo and the raw ceiling with exposed mechanical lines all painted a vibrant shade of fuchsia.
      Clients pass through a half-arched portalLight grey flower-like acoustic baffles hang from the ceiling adding to the maximalist design. Light blue bicycles are mounted on one wall as another unique installation.
      From the reception area lounge, clients pass through a half-arched portal – created with custom millwork and embedded lights – into the main office space which includes rows of desks over custom greyscale carpet.
      Hotel desk stations accommodate hybrid work stylesHotel desk stations accommodate hybrid work styles for both in-office and at-home work.
      “Cozy architectural work booths are nestled amid the bustling breakroom and office areas, offering a quiet refuge for more private work, private conversations or meals with coworkers,” the team said.

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      The workspace is flanked by six meeting rooms: a large creative conference space, three medium-sized conference rooms and two smaller huddle spaces.
      The all-white conference room was left intentionally blank to showcase the client’s material selections with tunable white lights to adjust the light temperature for each project.
      An M-shaped window cutout opens the conference room to the rest of the officeAn M-shaped window cutout opens the conference room to the rest of the office.
      In the break room, bright blue suede fabric adorns the walls to provide an unexpected texture and pale blue lamp shades – reminiscent of the shape of inverted cupcake liners – serve as a geometric juxtaposition to the rounded banquette boxes.
      Bright blue suede fabric adorns the walls in the break room”Plush, psychedelic-inspired fabrics in meeting booths and distinctive light fixtures keep the space feeling light and fun to inspire creative design,” the studio said.
      In addition to being designed for flexible workflows and teams, the space features multiple sustainable and WELL features like ample daylighting, repurposed materials and ergonomic furniture.
      Other recently completed projects in Houston include Nelson Byrd Woltz’s grassed park that bridges a six-lane highway and Modu’s design for a wellness building with a self-cooling exterior.
      The photography is by Ana Larranaga, Method Architecture.
      Project credits:
      Architecture: Method ArchitectureMEP: Telios EngineeringGeneral contractor: Burton ConstructionFurniture: AGILE Interiors, MDI, OP,Flooring: Interface, Shaw ContractTile: Trinity Surfaces, La NovaTextiles: Knoll TextilesMasonry: Upchurch KimbroughDemountable partitions: DIRTTCountertops: CAMBRIAMural: David MaldonadoLighting: Lighting Associates Inc.Signage: ARIA Signs

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      PL Studio applies Moroccan-inspired palette to London townhouse

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      Interior design office PL Studio has transformed an east London townhouse using colours and graphics that take cues from the Jardin Majorelle in Marrakesh.

      The three-storey, new-build house features similar shades of blue, green and yellow to the Morrocan villa that was once home to artist Jacques Majorelle.
      The home’s colour palette draws from the Jardin Majorelle in MarrakeshFurther green tones allude to the villa’s verdant garden, while soft pink hues bring a sense of overall “warmth and joy” to the palette.
      PL Studio designed the scheme for creative couple Tom Lalande and Julian-Pascal Saadi, who live in the house with their chihuahua puppy, Sasha-Lee.
      A green shade was applied to the main bedroomThe studio founders, couple Sabrina Panizza and Aude Lerin, felt the design should reflect their clients’ love of colour.

      “Although we admired the architecture and loved how the townhouse was beautifully filled with natural light, we felt that overall, the property was lacking character and positivity,” said the pair.
      “We wanted to create a home that reflected our clients’ personalities and joyful spirit, a home filled with positive energy.”
      The reception room features cobalt blue walls and arch graphicsLalande and Saadi had recently returned from a trip to Marrakesh, which led this to becoming the starting point for the design.
      The reference is most evident in a reception room at the house’s entrance, which features cobalt blue walls, a colour-block rug, plants and a Tom Dixon Etch pendant light in gold-toned brass.
      The arch graphics feature on both walls and doorwaysThe effect is heightened by paint graphics that include arched openings – both real and illusionary – and stepped blocks that create the suggestion of extra staircases.
      As Saadi works as a psychologist, this room primarily serves as a waiting room for his clients.
      Picture-frame-style graphics provide a backdrop to the dining tableThe couple’s main living space occupies the uppermost floor, where an L-shaped room gives the pair a combined kitchen, dining area and lounge.
      Geometric wall graphics tie these three spaces together but also highlight the divides between them. The most striking of these is a triptych of picture-frame-style blocks that frame the dining table.

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      “Our clients didn’t have a clear idea of what they wanted, but they had a strong desire to be surrounded by pieces of art, colours and objects that would give them good energy, which is so powerful,” said Panizza and Lerin.
      “They were not afraid of mixing different shades and colour combinations, so we went for bright, bold, and fearless!”
      A guest bedroom features a striped ceiling akin to a market stall awningThe main bedroom, located on the middle floor, uses subtly different shades of green to create colour depth. This is offset with monochrome stripes and pops of pink and blue.
      Also on this floor is a guest bedroom that doubles as a dressing room, featuring a striped ceiling that looks like a market stall awning and a pink bathroom framed by black linear details.
      Arches feature throughout these spaces, in the form of mirrors and wardrobes as well as wall graphics.
      A pink bathroom is framed by black linear detailsSaadi’s ground-floor office takes the place of a third bedroom. This room has a different character from the rest of the house, with details inspired by surrealist art.
      Key features include a sculptural table in the shape of a hand and ceiling wallpaper depicting a cloudy sky.
      A ground-floor office takes cues from surrealist art. Photo is by Aude LerinPanizza hopes the “kaleidoscopic” project can serve to inspire people who see London’s new-build homes as characterless compared with the city’s older properties.
      “We want to show it is absolutely possible to create a home with lots of personality and character. It just takes a bit of courage,” she told Dezeen.
      The photography is by Taran Wilkhu unless otherwise indicated. Top image is by Aude Lerin

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      Cake Architecture draws on Bauhaus principles for Hoxton bar

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      Cake Architecture has renovated A Bar with Shapes for a Name, an east London cocktail bar featuring “utilitarian” interiors.

      A Bar with Shapes for a Name owes its title to the yellow triangle, red square and blue circle that are emblazoned on its facade in a nod to the primary colours and understated geometry commonly associated with the Bauhaus.
      Tall tubular chairs feature on the ground floorWhen creating the bar’s minimalist interiors, Dalston-based Cake Architecture took cues from the influential German art and design school that was established in 1919 and advocated for an emphasis on functionality, among other similar principles.
      Located at 232 Kingsland Road in Hoxton, the cocktail bar was renovated by the studio to serve as a multipurpose venue.
      Cake Architecture created a smooth ground-floor bar from reddish plywoodCake Architecture doubled the bar’s capacity by adding a basement, which acts as a “kitchen-bar” room, and refurbished the ground floor’s existing seating area as well as a classroom-style space that offers a location for rotating events or workshops.

      “These spaces have specific functional requirements and we selected colours and materials to suit,” studio director Hugh Scott Moncrieff told Dezeen.
      It was positioned opposite a rectilinear light installationUpon entering the bar, visitors are greeted by the main seating area or “showroom”, which was designed to be warm and inviting.
      Tall tubular chairs finished with neutral rattan were positioned around chunky geometric tables made from birch ply stained to a rich, reddish-brown hue.
      The renovation included the addition of a new basementThe team also used the same timber to create the space’s curving bar, which is illuminated by a squat, cordless table lamp by lighting brand Flos.
      Opposite the bar, a glowing rectilinear light installation by photographer Steve Braiden was fitted to the wall underneath bench-style seating reminiscent of early Bauhaus furniture designs.
      A steel, glass-topped table sets an industrial tone”We looked in particular at projects by the Bauhaus founder Walter Gropius,” reflected Scott Moncrieff.
      “Gropius is a master of this elegant zoning through the application of colour and form,” he added.
      The “classroom” includes steel-framed tablesDownstairs, the low-lit basement was created to house additional seating as well as “all of the crazy machinery they use to prepare the drinks,” the designer said.
      The basement is characterised by a bespoke central table by Cake Architecture and furniture designer Eddie Olin.
      Red, yellow and blue accents define a sculptural lampConsisting of a steel frame that “floats” over a central leg, the table was topped with a glass surface and its base was clad in phenolic-coated plywood to match the floor and walls.
      “This new basement is predominantly a production space – so the palette reflects this with hardwearing, utilitarian and industrial materials,” said Scott Moncrieff.

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      A thick, felt curtain in ultramarine adds a pop of colour to the otherwise pared-back space.
      With its pale blue walls and Valchromat-topped, steel-framed tables, the ground-floor “classroom” pays homage to the Bauhaus as an educational institution.
      A tall blackboard provides space to learn in the classroomBrighter blue vinyl covers the floors while a sculptural lamp featuring red, yellow and blue circles echoes the bar’s logo.
      A tall blackboard and overhead strip lighting add to the classroom feel of the space, which is used for various group events.
      Thin vertical lights frame the bathroom sinkCake Architecture worked closely with the bar’s founders Remy Savage and Paul Lougrat when creating the interiors, which were primarily informed by the duo’s way of working.
      “The team has a conceptually driven ethos drawn from the theory and practice of Bauhaus embedded in everything they are doing. We found that incredibly exciting,” explained Scott Moncrieff.
      A Bar with Shapes for a Name is located on London’s Kingsland Road”The Bauhaus phrase ‘party, work, play’ was pertinent to some early ideas and this carried through all our design discussions,” noted the designer.
      “The space enables these three things. Separately as individual functions and simultaneously as a representation of the overall atmosphere of a bar!”
      Cake Architecture previously worked with interior designer Max Radford to create a curtain-wrapped speakeasy in London’s Soho. The studio also designed a workspace for London agency Ask Us For Ideas in the same part of the city.
      The photography is by Felix Speller. 

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      Furora Studio designs Kraków rental apartment Pops with “very sugary interior”

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      Bespoke scalloped edges and a Verner Panton S-Chair feature at the Pops holiday apartment in Kraków, which Furora Studio designed to be more playful than a permanent home.

      Named Pops after lollipops, the dwelling was conceived by Diana Żurek and Gutek Girek of Polish firm Furora Studio.
      “The project is a temporary apartment for anyone who wants to spend time in an attractive and very sugary interior,” said the designers.
      Pops is a holiday apartment in central KrakówSpread across one level of a multi-storey building in central Kraków, the rental home includes an open-plan kitchen and living room.
      This space was dressed with a velvety salmon-pink curtain, which stretches the length of one of two of the walls, and a central display cabinet finished in pistachio green and “crowned with frills”.

      Furniture including a decorative display cabinet was custom-made by Furora StudioMuch of the furniture and other design elements were custom-made by Furora Studio and follow the same toy-like geometry as the cabinet – a combination of round and wavy motifs created in pastel pinks, greens and creams.
      For example, a white and turquoise pendant light with scalloped edges was suspended above a circular dining table, while a ribbed half-moon alcove was created as a backdrop for the wall-mounted television.
      Pastel hues define the apartment”First and foremost, we aimed to find suitable forms,” said Żurek, describing the studio’s starting point for the project.
      “Most of the elements were custom-made because we wanted to maintain the coherence of the interior while ensuring proper functional arrangement,” she told Dezeen.
      “Essentially, each element was its own small project. The selection of shapes, milling, small details, and perfecting the form – all of these were important considerations.”
      A ribbed, half-moon alcove was created as a backdrop for the televisionAn olive-hued, L-shaped sofa was tucked into one corner of the living space and echoed by the kitchen splashback, finished in the same green colour.
      Żurek described the apartment’s double bedroom as “a pink box with a whimsical headboard and an abundance of pillows”.
      Designer Diana Żurek described the bedroom as “a pink box”In one corner, a light green built-in desk was positioned in front of a sculptural Verner Panton chair.
      The iconic S-shaped seating was originally designed by Panton in the early 1960s and recently influenced the furniture created for the Dreamhouse at the centre of the set design in this year’s Barbie film.
      “We rarely have the opportunity to be in interiors that evoke memories of earlier years, when as children, we had few responsibilities and sought joy and playfulness,” noted Żurek.
      “But this is not about returning to preschool or infantilising the space,” stressed the designer.
      “It’s about positive energy. We sought solutions that would more literally create a colorful space, full of rounded patterns, light colours and a sense of relief,” she added.
      The studio added a Verner Panton chair to the apartmentThe bathroom is also awash with pattern, featuring a jumbo scalloped-edged cabinet and pink and brown terrazzo tiles.
      Bulbous pendant lighting illuminates the space, which contains a walk-in shower.
      Summarising the holiday apartment, Żurek called it a place to “have fun and cuddle”.

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      “Certainly, there are many enthusiasts of such candy-like solutions, but this interior may not be for everyone, especially for long-term use, such as in the case of a private home,” reflected the designer.
      “For short-term rentals, I believe most people would be tempted to experience how it feels to be in such a vibrant interior,” she added.
      “These projects allow for the use of [design] solutions that might be somewhat tiring on a daily basis, but spending a brief moment in such a place opens us up to new experiences, feelings of peace and relaxation.”
      A jumbo scalloped-edged cabinet features in the bathroomElsewhere in Kraków, London-based office Studio Mills transformed an apartment at a converted monastery into a family home. Polish practice Projekt Praga created a bar with a self-service beer fountain within the taproom of a centuries-old brewery just outside of the city.
      The photography is by ONI Studio. 

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      Linda Bergroth designs “user-centric” Cover Story paint shop in Amsterdam

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      Interior designer Linda Bergroth has added colourful beams to the Amsterdam concept store for plastic-free paint brand Cover Story, which was designed to streamline the redecorating process for shoppers.

      The “paint studio” is the second iteration of Cover Story outlets designed by Bergroth, who also created the interiors for the Finnish brand’s flagship Helsinki store.
      The Cover Story shop in Amsterdam features oversized colourful beamsShortlisted in the small retail interiors category of this year’s Dezeen Awards, the paint shop features oversized colourful beams. These were informed by cranes in the port city, as well as the decorative vignettes that top many of Amsterdam buildings’ facades, according to the brand.
      “The design playfully explores the use of colour, incorporating three-dimensionality through roof bars and considering how light interacts with colour to influence perception,” said Cover Story.
      Linda Bergroth designed the interiorFollowing a similar format to the Helsinki outlet, the Amsterdam shop also serves as a showroom, office and events space, despite its small size.

      A large colour chart made from hand-painted swatches in 47 different shades, designed to make choosing colours easier for customers, was attached to the wall.
      Colourfully painted blocks and plinths were incorporated to show how light responds to each Cover Story shadeChunky painted plinths were positioned in the shop window, as well as smaller colourful blocks on a central silvery table, to emphasise the different ways in which light and shadow respond to various paint options.
      Cover Story explained that Bergroth chose to highlight the old building’s “unique characteristics”, rather than introduce new furniture, including its sloping walls and the metal supports that adorn its structural pillars.

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      “Despite the significant influence that wall colour holds in shaping the atmosphere of a room and influencing interior design, paint is often perceived merely as a renovation accessory,” said the brand.
      “Cover Story’s mission is to position paint as a design product, which is why the Amsterdam paint studio is strategically located on a bustling shopping street alongside other concept stores where interior design products are sold,” it added.
      “Every aspect is thoughtfully crafted to promote a sustainable and user-centric experience.”
      The beams were informed by Amsterdam’s architectureFounded in 2020 by Anssi Jokinen and Tommi Saarnio, the brand produces 100 per cent plastic-free paint, which is also odourless.
      Finnish designer Bergroth has completed a number of colour-infused projects including Durat’s Helsinki showroom and a blue pop-up restaurant in New York built from recycled food packaging.
      The photography is by Paavo Lehtonen. 

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      Colour-drenched coffee shop by Uchronia references “sunsets in the Tunisian desert”

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      Gradated lava stone flooring and suspended planet-like orbs feature at the Cafe Nuances coffee shop in Paris, which was created by Dezeen Awards-nominated studio Uchronia.

      Located on the city’s Rue de la Tremoille, the coffee shop is the third Uchronia-designed branch for Parisian coffee roaster Cafe Nuances.
      Cafe Nuances’ latest branch has a bright white facadeThe one-room shop is fronted by a bright white facade in stark contrast to its vivid-hued interior.
      Studio founder Julien Sebban was informed by the landscapes he experienced on a recent trip to Tunisia when creating the cafe’s walls and lava stone flooring, which are decorated in ombre swathes of red, orange and blue.
      The colorful interior was informed by sunsets in Tunisia”They reminded him of the sunsets in the Tunisian desert – a veritable ode to the gentleness of summer days,” said the studio, known for its playfully eclectic designs and shortlisted in the emerging interior designer category at this year’s upcoming Dezeen Awards.

      The coffee shop’s entrance is flanked by two bright red benches topped with metallic-effect fabric – one curved, and the other straight.
      Uchronia crafted the counter from stainless steelLow-slung interlocking tables, which can double as stools, can be reconfigured to suit customers’ needs.
      Uchronia placed a chunky stainless steel counter at the back of the intimate cafe, which is overlooked by deep orange lacquered shelving – a design element found in the other two Cafe Nuances outlets.

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      “This new address picks up on the codes present in the second shop, accentuating the [coffee] brand’s colourful, futuristic retro universe,” explained the studio.
      A cluster of striking, spherical objects were finished in the same colours as the rest of the space and suspended from the reflective ceiling.
      Planet-like orbs add decoration to the space”Unlike [this branch’s] two big sisters, whose interiors feature striated shapes, here, the poly mirror tiles are complemented by half-spheres in saturated colours, accentuating the dreamlike feel of the coffee shop,” continued Uchronia.
      “They create the illusion of floating balls, which could be mistaken for Saturn.”
      Bespoke interlocking tables also function as stoolsThe studio previously livened up a Haussman-era Paris apartment for a pair of jewellery designers with furniture crafted to nod to the appearance of precious stones.
      Elsewhere, Canadian design duo Julia Jamrozik and Coryn Kempster created a sky-blue coffee shop in a century-old house in Buffalo, New York, with an optical illusion staircase.
      The photography is by Félix Dol Maillot.

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      Familien Kvistad brings colour to 1950s house in Oslo

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      Vibrantly coloured tiles and textiles feature in this house renovation in Oslo, Norway, designed by locally based duo Familien Kvistad.

      The Yellow House in the Apple Garden is a 1950s house in Oslo’s Voldsløkka area, home to a family of four and their cat, “the rambunctious Caspian”.
      Familien Kvistad has renovated a Oslo homeFamilien Kvistad founders, married couple Astrid and Ziemowit Kvistad, have completely remodelled the interior using a palette that also includes solid ash joinery and lightly speckled terrazzo surfaces.
      “When they bought the house, the family envisioned painting some walls, moving the kitchen and building two new bathrooms,” the pair told Dezeen. “Over time, things naturally escalated, resulting in a complete change of layout, roof windows, new insulation, siding… absolutely everything was replaced.”
      The kitchen features solid ash cabinetsThe three-storey house has an enviable setting in a large garden filled with fruit trees. It was this that primarily attracted the owners, rather than the building itself.

      “The house was relatively old, not architecturally distinctive and outdated inside on all levels,” said the designers.
      The house was originally built in the 1950sHowever, shortly after they bought the property, the council enforced new conservation zone restrictions that made it impossible to alter the building’s exterior in any way.
      The task for Astrid and Ziemowit was to modernise the house without changing or extending its structure.

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      “This is obviously a costly project; it would have been cheaper to build a new house,” they explained.
      “However, the outer structure had to remain.”
      A terrazzo floor and ochre sofa are installed in the conservatoryThe renovation removed many of the old internal partitions, creating a more open layout. This gives the ground floor a broken-plan feel, made up of various separate but connected living and dining spaces.
      The old loft was also removed and replaced with small mezzanines, revealing the sloping roof beams and increasing the ceiling height in the first-floor bedrooms and bathroom to up to four metres.
      Wooden ceiling joists are exposed throughoutThe colour scheme was based on “earthy shades” of the owners’ favourite colours.
      On the ground floor, this resulted in a feature fireplace clad in mustard-yellow Kaufmann tiles, a lounge sofa upholstered in a plum-coloured Kvadrat textile and a storage bench topped by forest-green cushions.
      A storage bench topped with green cushions lines the main living spaceAn abundance of wood brings balance to this bold palette, with Douglas fir flooring from Dinesen and solid ash kitchen cabinets matching the exposed ceiling joists.
      This level also includes a sunken conservatory featuring large plants, a terrazzo floor, an ochre-toned sofa and electric-blue cushions. On the wall, an expressive painting displays similar colours.
      Custom-designed wall carpets adorn the primary bedroom”During the renovation, the family sold most of what they already owned,” said Astrid and Ziemowit. “This meant that all the furniture was purchased new.”
      “However, they did have some art from before,” they added. “Much to our delight, they fit perfectly into both the colour palette and the style.”
      In one of the children’s rooms, a staircase doubles as a shelving unitUpstairs, the primary bedroom features a pair of tufted wall carpets designed and made by Familien Kvistad, depicting abstract landscapes.
      One of the two children’s bedrooms features a playful storage unit that doubles as a staircase, while the other has a ladder to provide access to the mezzanine loft above.
      The family bathroom combines green tones with terrazzoThe bathroom has a more mellow character, combining terrazzo sanitaryware with calming green tones. The basement floor mainly serves as a utility area, although it does include an extra bathroom and a living room that doubles as a guest bedroom.
      Other recently completed homes in Norway include a “house of offcuts” by Kolman Boye Architects and a villa on piloti by Saunders Architecture.
      The photography is by Magnus Berger Nordstrand.

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