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      Dezeen Agenda newsletter features the Dezeen Awards 2022 longlists

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      The latest edition of our weekly Dezeen Agenda newsletter features the longlists for this year’s Dezeen Awards. Subscribe to Dezeen Agenda now!

      This week, Dezeen revealed the longlists for Dezeen Awards 2022, which feature over 1,000 of the world’s best projects and practitioners across more than 40 categories.
      The architecture longlist highlights the best recently completed buildings from around the globe, designed by studios from 48 different countries including Peru, New Zealand, Germany, Mexico, Belgium and Japan.
      Grimshaw’s Victorian Tunnelling Centre (above) and LUO Studio’s Timber Bridge in Gulou Waterfront (above) feature in the Dezeen Awards 2022 architecture longlistDezeen also revealed this year’s studio longlist, as well as dedicated longlists for design, interiors, sustainability and media.
      Other stories in the latest newsletter include a roundup of seven innovative projects by Japanese designer Issey Miyake following the news of his death last week and an interview with the developer behind Saudi Arabia’s controversial megacity The Line, who says the development will “revolutionise our current way of life”.

      Dezeen Agenda
      Dezeen Agenda is a curated newsletter sent every Tuesday containing the most important news highlights from Dezeen. Read the latest edition of Dezeen Agenda or subscribe here.
      You can also subscribe to Dezeen Debate, which is sent every Thursday and contains a curated selection of highlights from the week, as well as Dezeen Daily, our daily bulletin that contains every story published in the preceding 24 hours on Dezeen.

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      Formafantasma and Artek's Cambio exhibition explores Finnish design's link to forestry

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      Design duo Formafantasma has collaborated with furniture brand Artek to explore the relationship between the timber and design industries in Finland through an exhibition at Helsinki Design Museum.

      Called Cambio: On Finnish Forestry, the exhibition is part of Formafantasma’s wider Cambio project – an ongoing investigation into the global impact of the extraction, production and distribution of wood.
      The exhibition takes place at Helsinki Design MuseumThe duo teamed up with Finnish company Artek to create the show, which features a mixture of work shown in previous Cambio exhibitions in the UK, Italy and Switzerland, as well as new works specific to Finland.
      Featuring original films and installations as well as supporting archival material, On Finnish Forestry examines how the country’s timber industry has evolved over time, with a focus on design.
      Formafantasma created an installation of interlocked Stool 60s”This exhibition clearly links furniture design to a specific biome: forests,” Formafantasma founders Andrea Trimarchi and Simone Farresin told Dezeen.

      “At the end of the day, it isn’t about products but about ideas.”
      An installation made up of stacked 1933 Stool 60 models by the late Artek co-founder Alvar Aalto intends to communicate the iconic product’s lasting legacy by mixing both vintage and recently produced pieces.
      One installation features aerial images capturing tree canopy density over OrivesiThe stools are crafted from silver birch, a tree species commonly found in Finland. Trimarchi and Farresin explained that Artek’s local production habits influenced their desire to collaborate with the furniture brand.
      “The majority of trees used in the production of Artek furniture are from Finnish forests, specifically from an area within a 200-kilometre radius from a sawmill close to Jyväskylä,” explained the designers.
      “We don’t see Artek just as a design company producing beautiful furniture, but as a case study on how to relate production to a specific ecosystem.”
      Under the Yoke includes a postcard of artwork by Eero JärnefeltAnother installation presents wooden boards featuring infrared aerial images of Finland’s Orivesi municipality, which document recent tree canopy cover in its peatlands area.
      Formafantasma overlaid the large-scale images with smaller, historical black-and-white snapshots comparing the habitat in previous years.
      A contemporary model of Aalto’s Screen 100 is also on showUnder the Yoke is an installation comprising a postcard of an 1893 artwork of the same name by Finnish painter Eero Järnefelt that depicts a traditional scene of slash-and-burn agriculture, which is framed by chunky pinewood sourced from contemporary clearcutting.
      Among the work presented in the exhibition, other pieces by Aalto include a 2022 version of his 1936 flexible room divider Screen 100 and deconstructed chair legs featured in an investigation into the designer’s renowned L-leg design for furniture.
      The specific qualities of birch wood was a significant influence on Aalto’s desire to create an alternative to the then-popular metal tubular legs, according to Helsinki Design Museum.

      “It’s not enough to ask designers to be sustainable” says Formafantasma

      Trimarchi and Farresin explained that the exhibition attempts to use different media to unite audiences over the same ideas about the impact of the timber industry.
      “It might sound banal, but what we want is to shift the focus from ‘things’ to ‘context’,” concluded the designers.
      “We would like people to see chairs like pieces of forests and design as the outcome of political decision-making and not exclusively as the fruit of the creativity of a designer.”
      The exhibition also explores Aalto’s renowned L-leg designKnown for an interest in climate change, Formafantasma has completed a number of other projects that explore the environmental impact of design.
      These include the first Cambio show in London, which was commissioned by the Serpentine Gallery. Last year, the duo also redesigned its website to try and reduce “pollution connected to the internet”.
      The photography is by Paavo Lehtonen Photography.

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      Get listed in Dezeen's digital guide for London Design Festival 2022

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      Are you exhibiting at this year’s London Design Festival? Get your event listed in our digital guide to the week on Dezeen Events Guide, which will feature the festival’s key events.

      Taking place from 17 to 25 September 2022, London Design Festival features hundreds of events across the city, including the trade fair Design London and a programme of must-see events, exhibitions, talks and installations.
      Dezeen’s guide will go live one week before the London Design Festival. It will provide visitors with all the information they need to know about the festival.
      The digital guide will benefit from Dezeen’s high-ranking SEO and will sit on Dezeen Events Guide, which has received over 700,000 views since it launched in 2020.
      It follows the success of our digital guide for Milan design week 2022, which received over 40,000 page views.

      To be considered for inclusion in the guide, email [email protected]. Events will be selected by the Dezeen team to ensure that the best events are included.
      Get listed in Dezeen’s digital London guide
      For only £100, you can include your event in the list, which includes up to 75 words of text, the date, location, a link to your website and an image.
      For more information about partnering with us to help amplify your event, contact the team at [email protected].
      About Dezeen Events Guide
      Dezeen Events Guide lists events across the globe, which can be filtered by location and type.
      Events taking place later in the year include Tallinn Architecture Biennale 2022, Design Miami 2022 and Top Drawer S/S 2023.
      The illustration is by Rima Sabina Aouf.

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      MK&G Hamburg presents optimistic visions for an uncertain future

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      Inflatable “teahouses” and futuristic foods feature in Ask Me if I Believe in the Future, a conceptual exhibition at Museum für Kunst und Gewerbe Hamburg.

      Curated by Maria Cristina Didero, Ask Me if I Believe in the Future comprises a series of objects and installations based around topics that could shape the future of humanity.
      The exhibition features the work of New York-based Objects of Common Interest, Dutch designer Carolien Niebling, Italian duo Zaven and Israeli designer Erez Nevi Pana.
      Ask Me if I Believe in the Future features four design visions for the futureEach has used the thematic question as a starting point to explore their hopes and fears for a changing world, in the light of recent events that include climate change, the Covid-19 pandemic and the Ukraine war.
      “Ask Me if I Believe in the Future is a project about optimism,” said Didero.

      “While the title of this exhibition might sound simple, we have probably all thought about it at least once in our lives without finding a precise answer,” she continued.
      “This exhibition contains a seed of hope, just like the word future itself; it is as much about the future as it is about us.”
      Objects of Common Interest highlights the changing nature of human interactionsThe show is staged across a series of rooms within MK&G Hamburg, with exhibition design by Okolo.
      Objects of Common Interest, led by Greek designers Eleni Petaloti and Leonidas Trampoukis, has created three inflatable sculptures that invite visitors to clamber inside.
      Called Teahouses of Domesticity, these tunnel-like spaces reflect on the changing nature of human interactions in the age of digital media.
      The installation consists of three large inflatables with different properties”The walk-in works were conceived in analogy to Japanese teahouses, where the traditional tea ceremony provides a moment of deceleration and meditation,” said Didero.
      Each inflatable has its own properties: one is wrapped in silver foil to shield the occupant from the outside world, one uses memory foam to briefly map movements, and the third creates space for two people to come together.
      Carolien Niebling proposes algae and seaweed as a future source of foodSwitzerland-based Carolien Niebling, who is best known for her Future Sausage research project, offers a look at food consumption in the future.
      On the grounds that mass-produced food has been a significant contributor to climate change, Niebling proposes a future where algae and seaweed become important sources of nutrition.
      The installation invites visitors to imagine these crops on their dinner platesHer installation, Future-Proof Plating, celebrates these high-yield but largely under-utilised crops through large-scale close-up imagery.
      The designer also suggests how they might one day end up on our dinner plates.

      Erez Nevi Pana designs banana-plant “cocoons” for humans to shelter from climate change

      “This project magnifies the beauty of edible (water) plants such as seaweed and wild leaves and reintroduces them back onto our plates,” said Niebling.
      “Taking food out of its original context allows us to look at it with new eyes and an open mind.”
      Zaven looks at objects that can transcend time, including a coat and vessels for foodZaven founders Enrica Cavarzan and Marco Zavagno have taken a more survivalist approach with their contribution, titled Why Not? Their aim was to pinpoint the “bare necessities” that will transcend time.
      Imagining a time of limited resources, the Venice-based duo have worked with local makers to craft a series of essential objects using only natural and locally available materials.
      The objects, which also include a chair, were made from locally sourced, natural materialsThese objects include a lamp, vessels for holding drinks and food, a coat and a chair.
      “The objects they created, including ceramics, lamps, clothing and chairs, may indeed prove to be essential even in a distant future,” said Didero.
      “The message: when it comes to essentials, our environment gives us everything we need to produce the bare necessities ourselves.”
      Erez Nevi Pana explores a future of multi-planetary lifestylesIn the final room, Nevi Pana – a vegan and passionate animal rights activist – imagines a future where humans are able to travel between different planets.
      His Homecoming installation includes a water basin that represents Earth as seen from above and a flag representing world unity. Pana hopes that a multi-planetary lifestyle would encourage us to take better care of our home planet.
      Ask Me if I Believe in the Future is on show at MK&G Hamburg”A multi-planet species sounds exciting to me, but this doesn’t mean that we should ignore the problems we face here,” he said.
      “I imagine our future on other planets, not as refugees, but as species that chose to cross boundaries and still have the ability to return home.”
      The photography is by Henning Rogge.
      Ask Me if I Believe in the Future is on show at MK&G Hamburg from 1 July to 23 October. See Dezeen Events Guide for all the latest architecture and design events taking place around the world.

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      Ten Zaha Hadid Design products that go “beyond a simple translation from sketch to object”

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      Zaha Hadid Design co-directors Woody Yao and Maha Kutay have selected 10 highlights from an exhibition of the design studio’s objects at Roca London Gallery.

      Called Everything Flows, the exhibition presents a variety of objects created by Zaha Hadid Design (ZHD) over the last 15 years and was curated by Yao and Kutay.
      The pieces on show at the Zaha Hadid Architects-designed Roca London Gallery range from objects from ZHD’s own collection to those made in collaboration with brands including Lacoste, Bulgari and Japanese furniture manufacturer Karimoku.
      “Amongst the large array of pieces currently exhibited at the Roca London Gallery, we have chosen 10 items very different in scope, materials, and price yet sharing the same common denominator in terms of having a truly intertwined design and fabrication process,” Yao and Kutay told Dezeen.
      “All of these pieces are perhaps some of the best examples of the genuinely collaborative effort between ZHD, our clients and the manufacturers we work with: a process that goes way beyond a simple translation from sketch to object, it is a two-way system that allows for continuous and mutually benefitting exchange of ideas, methods and solutions,” the directors added.

      Zaha Hadid Design and Odlo launch activewear collection for women

      The late British architect Zaha Hadid founded her eponymous design studio in 2006, following the success of her architectural studio.
      Zaha Hadid Architects created Roca London Gallery’s showroom, which features undulating walls that take cues from the shapes of water, in 2011.
      To mark 10 years of the sculptural space at Roca, the site itself has now become an exhibition space for objects from the ZHD portfolio, featuring furniture and other home accessories as well as fashion, jewellery, carpets and lighting.
      Read on for 10 of Yao and Kutay’s highlights:

      Duna Chandelier for Lasvit
      “Launched in 2017, this chandelier is inspired by dune formations defying traditional Cartesian geometries: a three-dimensional, asymmetrical, pair of intersecting glass forms.
      “The striated surface of the crystal glass produces ever-changing effects of reflection and refraction.”

      Zephyr Sofa by ZHD
      “Made by Cassina Contract, this piece was launched in 2013. Its design is informed by natural erosion processes occurring in rock formations.
      “The formal language gives the sofa increased ergonomic properties without compromising the design’s fluidity or proportion; translating into a concept that allows for multiple seating layouts.
      “Zephyr’s quality highlights Cassina Contract’s unrivalled technical experience and longstanding tradition of artisan excellence.”

      B.Zero1 for Bulgari
      “Continuing a collaboration between Bulgari and ZHD that started in 2012, the B.Zero1 was launched in 2017 and has been a commercial success ever since.
      “Over the years, the design has evolved into a full jewellery collection including earrings, pendants and various iterations of the ring itself.”

      Eve Chandelier for Lasvit
      “Fifteen glass pieces arranged in one intriguing ensemble, Eve is a chandelier with sculptural qualities: suspended at varying heights, the glass bodies gracefully float in space and create an impressive play of light and shadow. The product was launched in 2017.”

      Node Vessels by ZHD
      “This is a limited-edition range launched in 2018, designed to be versatile and be used either in a composition or as stand-alone pieces.
      “From above, the three pieces appear to fit together organically, yet in profile, the differences in height and scale emerge and they stand apart as a composition.
      “Again, another example of how acrylic can achieve a great degree of subtlety in texture and tone.”

      Royal Thai Rugs Collection 
      “This is a collection spanning 22 designs, inspired by four themes that feature prominently in ZHD’s aesthetics: striated lines, fluidity, pixelated landscapes and organic references.
      “Patterns within each ‘family’ capture ZHD’s masterful use of interweaving, layering and play with light and shadow.”

      Lalique Collection
      “Our collaboration with Lalique dates back to 2014 with the launch of the Visio and Manifesto vases – marking the birth of the Crystal Architecture collection – followed by the Fontana bowl, inspired by the rhythm of rippling water.
      “Recently, Lalique has presented the latest iteration of the collection, which is now available in crystal, black, pink and now also midnight blue.”

      Aria & Avia Chandeliers for Slamp
      “Aria and Avia are lamps combining dramatic architectural features with the intrinsic weightlessness of the material.
      “Composed of 50 individual layers of Cristalflex, a techno-polymer patented by Slamp, Aria and Avia convey an idea of lightness combined with playful luxury. Both lamps are available in a range of different colours and sizes.”

      Seyun Collection for Karimoku 
      “Seyun is a small yet comprehensive furniture collection of wooden furniture pieces, our latest collaboration.
      “We love working with Karimoku: their uncompromising quality standards, achieved through the implementation of the most advanced technologies and handcrafting processes, highlight and enhance the purity of the design.”

      ZHD Serenity Bowl
      “A limited-edition piece taken from ZHD’s own collection, the subtle design freezes the moment when a gentle disturbance interrupts a state of tranquillity.
      “We are amazed by the versatility of this material; unfairly considered a ‘cheap’ option for way too long, acrylic actually proves to be one of the best polymers available, because of its ductility during the fabrication process as well as in terms of overall quality of the final result.”
      Everything Flows is on show at Roca London Gallery from 24 May to 22 December 2022. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world.

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      Artist Anouska Samms crafts “dysfunctional” pots from human hair

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      Artist Anouska Samms created pots from clay and donated human hair to playfully explore her family’s matrilineal relationship, which were recently on show as part of an exhibition in London.

      Called This Myth We Make, the exhibition by Samms included a collection of pots displayed on rugged wood and plaster plinths as well as an accompanying film and a large hanging tapestry.
      Samms created lopsided pots with human hairThe various pots are formed from lopsided shapes made out of coloured clay but are defined by the many strands of human hair that decorate them.
      Samms received the hair from a range of strangers from around the world including Mexico, Australia and Japan after inviting volunteers to offer up their hair through a call-out on her Instagram.
      She sourced the hair from strangers on InstagramThis was achieved during national lockdowns when people were cutting their hair at home as they could not access salons, according to the artist.

      “The combination of hair and clay and the different varieties of each that are used merge in an unusual way,” she told Dezeen.
      “This subverts the more traditional pots – particularly the hand-thrown ones – into what I think of as unstable vessels or dysfunctional containers. Using hair is also just a bit cheeky at times,” she added.
      The pots were presented as part of a London exhibitionAs well as hair from strangers, Samms used hair donated by her mother and grandmother, which she explained links to the meaning behind her work.
      This Myth We Make intends to playfully explore the matrilineal relationship between five generations of women in Samms’ family who all dyed their hair red as an intimate family tradition.

      10 designs made from the human body that will make you squirm

      As a natural redhead herself, the artist described how she poetically continues the tradition without needing to dye her hair.
      “This body of work reflects a deeper unconscious – I would even call it an obsessive illustration of matrilineal connection – and the familial ‘myths’ we consciously or unconsciously adopt to communicate our love for others,” said Samms.
      This Myth We Make explored a hair-dyeing tradition in the artist’s familyIn line with this theme, the artist bleached and dyed the donated hair different shades of auburn, which was also used to form Big Mother – a large tapestry presented in the exhibition.
      Her design process involved tying the hair into bunches before it was coloured, after which she washed it in her own bathtub and eventually sewed or shaped it onto pots or into the tapestry.
      “Sometimes just preparing the hair alone took a couple of days,” reflected Samms.
      A tapestry and an accompanying film were also included in the showWhile the artist chose to incorporate hair into her pots in reference to her family’s unique tradition, she explained how she crafted the vessels from clay due to the material’s similar malleability and organicness.
      “There is also potential for disgust and bodily horror in the use of disembodied human hair – another humorous nod at the purity and absurdity of mother and daughter exchange,” concluded Samms.
      Clay was used for its malleabilityThe exhibition was curated by the V&A museum’s curator of digital design Natalie Kane while the show’s technical producer Greg Bradlaugh created the plinths from abandoned wood that he found and covered in white plaster.
      Other designs that are made from human hair include a textile by research studio Pareid that was created to measure urban pollution and a biodegradable stool by Oksana Bondar called Wiggly.
      The photography is by Benjamin Swanson.
      This Myth We Make took place at SET Studios in Lewisham, London, from 20 May to 1 June 2022. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world.
      Project credits:
      Artist: Anouska SammsCurator: Natalie KaneTechnical Producer: Greg Bradlaugh

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      IKEA designs “safe spaces” for children and at-risk refugees fleeing Ukraine

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      Furniture company IKEA has donated its products and design services to create a series of refugee support centres in Eastern Europe, set up by the United Nations to offer aid and sanctuary to the most vulnerable groups displaced by Russia’s invasion of Ukraine.

      The Swedish furniture brand created interiors with a homely, comforting atmosphere inside several recently established Blue Dot centres, which are run by the United Nations Children’s Fund (UNICEF) and the UN Refugee Agency UNHCR to offer specialist support to children, families and other at-risk refugees.
      Top: numerous Blue Dot shelters have been established in Eastern Europe since Russia’s invasion of Ukraine began. Above: IKEA designed the interiors for the sheltersSet alongside major border crossings and transit routes, the centres supply legal aid, mental health support and family reunification services, as well as food and temporary shelter.
      “The work calls for a whole new set of skills because we’re designing spaces that can support people who are experiencing trauma,” said Martyna Pater, who is an interior design specialist for IKEA in Kraków, Poland.
      “We’re using walls made of Kallax shelving units and thick curtains to create a quieter and more comfortable environment, to make it feel more like a home, and we’ve also used decorations and picture frames, to make the space feel as cosy and calm as possible.”

      6.9 million people have fled Ukraine
      Out of the 36 Blue Dot centres that UNICEF and UNHCR have established across seven European countries since the start of the Ukraine war, IKEA has helped to design 10 in Romania and five in Poland.
      Three more are currently in development and plans are in the making for IKEA to help set up of additional outposts in Hungary and Slovakia.
      The initiative forms part of a wider €1 million donation that IKEA has pledged to UNICEF and UNHCR’s emergency relief efforts for the Ukraine war, with an additional €30 million going to other selected organisations.
      The furniture company previously joined a number of brands and studios in pausing its operations in Russia, closing its stores and halting imports and exports from the country.
      The shelters are run by UN agencies UNICEF and UNHCRSince the war started in February, more than 6.9 million people have fled Ukraine – 90 per cent of which are women and children, who UNICEF says are especially at risk of abuse, exploitation and trafficking.
      Blue Dot centres, which were first established in 2016, are designed to provide “safe spaces” for these vulnerable groups, containing playrooms for children, private areas for mental health counselling and safe places to sleep.
      “By far, most of the refugees who have fled unimaginable loss and devastation in Ukraine are women, children and older people or people with disabilities, in need of dedicated support,” said Marin Din Kajdomcaj, Poland’s representative at the UN Refugee Agency.
      “Thanks to our great collaboration with IKEA, we can design comforting Blue Dot spaces where refugees at greater risk can find a moment to rest, feel safe and protected again, access reliable information, counselling and psychological support, all in an effort to have them start healing and recovering from traumatising events.”
      Shelters designed to be convenient, child-friendly and site-specific
      For IKEA’s design teams, this involved creating interiors that are easy to navigate and tailored to both adults and children alike.
      “We’re designing spaces for children that are cosy and playful, but we use low furniture so their parents can see them when they are speaking to advisors,” Pater explained.
      “With thousands of people coming to the hubs, you also have to think about crowd control and creating good signage that helps people move through the space so they can find the right support they need.”
      Since Blue Dot shelters are temporary, they occupy a wide range of settings from tents to repurposed arenas.
      As a result, IKEA’s designers developed tailored interiors schemes that respond to specific sites and scales, rather than coming up with a universal template.
      Martyna Pater is an interior design specialist for IKEA Poland”It’s all about a fast response and providing a comfortable safe space,” said Laurentiu Stefan Serban, a visual merchandiser and shop designer for IKEA in Bucharest, Romania. “The aim is to create an environment where people can recover and find their strengths again.”
      A number of architects have applied their expertise to creating temporary shelters for those displaced by the Ukraine war.
      Kyiv practice Balbek Bureau developed a concept for a modular refugee village, which was picked up by Ukrainian president Volodymyr Zelensky and is now set to be constructed in the country’s Ternopil region.
      Pritzker Prize-winning architect Shigeru Ban focused instead on creating more privacy in existing shelters by making use of his modular Paper Partition System, which can be constructed from cardboard tubes and strips of fabric in around five minutes.
      The images are courtesy of IKEA.

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      Dimore Studio gives historical Milan palazzo “celestial” makeover

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      Over the course of Milan design week, architecture and design studio Dimore Studio transformed its gallery into “a dreamlike space” filled with lighting, furniture and textiles shrouded in plumes of smoke.

      Dimore Studio founders Britt Moran and Emiliano Salci wanted the interiors to help visitors forget the difficult years of the coronavirus pandemic and instead evoke “hope and joy”.
      Dimore Studio has transformed its gallery space into an installationTucked away in a cobbled courtyard in the city’s Brera district, the hazy space was also informed by its name: oublié translates from French to “to forget” in English.
      Upon entering the second floor of a nineteenth-century apartment turned gallery, visitors are met with classical music playing softly.
      Visitors journey through eight rooms inside the historical buildingAs they walk through the eight interconnected rooms, smoke is blown throughout, making the interior hazy and dusty.

      “This year, the name of our exhibition Oublié is a clear message for our visitors: forget the past two years and embrace our poetic vision of hope and joy through the installation,” Moran told Dezeen.
      “Visitors will find themselves in a dreamlike space where time stands still, where rays of light are cast through half-closed shutters and a soft haze accompanies the movement.”
      Every room is kitted out with Dimore Studio furniture and soft furnishingsThe studio chose a neutral colour palette of muted beiges, browns and ivory white for the space, which the studio used for a previous installation at Milan design week 2017. Splashes of gold can be found in the lighting while the doors are painted silver.
      “The space has undergone a radical change following its transformation: the warm-toned, enveloping walls have become pure, immaculate and almost celestial,” explained Salci.

      Design eras converge in Dimore Studio’s moodily coloured Milan exhibitions

      To add to the dreamlike atmosphere, Dimore Studio played with light. Opting to avoid technical lights, the space is instead lit by lamps such as the Belle de Jour table lamp and the Abatjour lamp. Meanwhile, natural light pours through the open windows.
      “We decided to avoid the technical lights in order to have a more natural and cosy atmosphere with ambience light.”
      “We closed our shutters in order to reduce the natural summer light that in addition to the smokey atmosphere, create this oublié – forgotten environment.”
      Light pours through several shuttersOublié captures the studio’s signature aesthetic which it describes as “nostalgic” yet contemporary through an eclectic mix of the brand’s permanent collection and new pieces such as a chair and a floor lamp.
      Previously the studio has applied its distinctively opulent aesthetic to a London art gallery and a shop in Paris that features textiles in three-dimensional patterns draped across the storefront.
      The photography is by Paolo Abate.

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